Broadway Melody of 1936

The plot of Broadway MELODY OF 1936 is a classic of its kind. Bob Gordon (popular matinée idol Robert Taylor) is producing a Broadway musical--but he runs afoul of actress and financial backer Lilly Brent (June Knight), who sees herself not only as the star of the show but Bob's ladylove as well. When their "romance" is played up by gossip columnist Bert Keeler (Jack Benny) fireworks ensue, and matters are further complicated by the arrival of Bob's old flame Irene Foster (Eleanor Powell) who has come to make her fortune as a dancer on the Great White Way.

The twists and turns of the story are fairly obvious and the outcome is a foregone conclusion--like many Hollywood musicals of the mid-1930s the story really exists as an excuse for comic turns and musical numbers--but the film has a great deal of charm and catches a host of performers moving up to stardom. The big news here is Eleanor Powell and Jack Benny, both fairly new to film and both somewhat stiff in front of the camera... but whatever their faults in this film there's no denying that Powell clearly poised to become a great musical star or that Benny is a comic genius in the making.

Powell, Taylor, and Benny are backed by a truly solid host of character actors and cameo performers, most notably Sid Silvers, Una Merkle, Frances Langford, and Harry Stockwell. But most film buffs will be particularly interested in the brother-sister team of Buddy and Vilma Ebsen, a popular vaudeville act; Vilma would soon retire, but Buddy's scruffy look, dunderheaded comedy, and hilariously eccentric dance style would propel him to a series of popular musicals and a very long career indeed. The musical numbers--which include such perennials as "Broadway Melody," "You are My Lucky Star," and "Gotta Feeling You're Fooling"--are all lots of fun to hear and see as well.

When all is said and done, Broadway MELODY OF 1936 is hardly a "classic musical;" it is too disjointed, too cliché in plot and character to measure up to the truly great musicals of the era. But it is quite a bit of fun, and hardcore 1930s musical fans should enjoy it quite a bit.

Gary F. Taylor, aka GFT, Amazon Reviewer

Why would anybody spend two hours watching a 77 year old movie? The short answer is "because it's a lot of fun." But there are other reasons. It is an interesting relic of the dirty thirties when 25 cents bought you a two hour escape from depression, dust, despair and dire news from Europe. Hollywood catered to this need with wildly happy, unrealistic schmaltz about glamorous people in fancy clothes dancing and singing at posh cabarets in exotic places. And it was great! Just as wars give us great songs, the depression gave us fabulous movies. To a student of either film or history, films such as this are a hugely interesting window on the era. Such films are also revealing lessons in production: staging, choreography, special effects and lighting. Remember this was before digital technology and less than ten years after the arrival of sound. And the lighting! Immaculate highlights and shadows, razor sharp detail. (Thanks to Turner Classic for presenting top quality prints of these old films. I doubt if the theatre audiences of 1935 saw it as well as I did at home on my plasma TV.) Thankfully the trend to colourize these old films was thwarted. The beautiful B&W photography only adds to the fascination. It made for a memorable evening!

Here's a good cast and a very entertaining film with laughs, endearing characters, some good tap dancing and a couple of very catchy songs.

Jack Benny is very good as the snooping obnoxious gossip reporter and Phil Silvers is humorous as Benny's dumb assistant "Snoop." Una Merkel is her typically cute and likable self;, and Eleanor Powell's tap dancing is great to watch, as always. Also interesting to watch perform is the brother-sister duo of Buddy and Velma Ebsen.

This is a strictly lightweight comedy-musical that is long on the corn but also on everything that is entertaining. I always thought this was the best of the several "Broadway Melody" movies. It's certainly the most fun one to watch.

The movie musical of the 1930s studio system period arguably offered the only 100% use of the film medium. ‘All singing, all dancing, all talking' was not then simply a catch phrase; it was what the audience demanded, entertainment pure and simple, 70 minutes or more, during which time they could escape the lingering effects of the Depression. Although Warner Brothers and Busby Berkeley were responsible for the rise and rise of the 1930s musical, MGM came out with ‘Broadway Melody of 1936' which subtly lifted the genre a step higher through the talents of the greatest dancer ever to appear on the screen, Eleanor Powell. Fred had grace (and Ginger) and Gene had strength but Eleanor had both grace AND strength. She needed no partner, either!

Three numbers stand out in ‘Broadway Melody of 1936'. The first, ‘Broadway Rhythm', is a hypnotic combination of music and dance which stands the test of time well no matter how you approach it. For example, the lighting and photography is simply stunning, not unusual from the best musical crew available at any Hollywood studio at the time - possibly any time. The musical backing is likewise; this is a number I've watched and listened to hundreds of times without loss of enjoyment. Francis Langford's wonderful (dubbed for Eleanor) voice grips you and before too much longer, once Eleanor moves onto the dance floor, you are swept up in the feeling of the times. It's difficult to believe this was her first starring role; as Eleanor dances into the camera, her eyes sparkling, you know she's dancing just to please you. There IS love at first sight and this surely must have been the effect on audiences back in the 1930s who took this great performer into their hearts, as box office takings proved. In addition to Eleanor, we have the lovely June Knight dancing with Nick Long, Jr and these two are great together. What a pity they never paired in any other movies. Likewise, Buddy Ebsen and sister Vilma, who are a terrific duo. Yes, I could probably write a book on this number.

‘I've Got a Feelin' You're Foolin' is equally as memorable as ‘Broadway Rhythm' for similar reasons. Technically marvellous (how were the ‘pop-up' effects achieved?) and great fun to watch, we have the sight of arguably the most handsome guy ever to grace the movies, Robert Taylor, bursting into song and yes, he's good, helped by the words of a great song. Stage actress June Knight is a perfect partner, with her facial expressions adding another dimension to the experience. The refrain brings Nick Long, Jr on stage for a knock-em down performance, the first part of which sees him seemingly bouncing with little effort over a row of chorus girls, one by one, followed by a double pirouette. Then comes the return of a sensual June Knight encased in the sexiest dress ever to grace the screen (just my opinion), white and complicated though split to the waist at the front. June and Nick then go into a dance in which the lady offers herself to the gentleman in a manner similar to that seen in films of wildlife in the African jungle. June spins into the camera and my, what a great set of legs!

Finally, ‘You are My Lucky Star' sees Eleanor Powell (voiced by Francis Langford) follow up the song with an exhibition of ballet which must have left the audience with heads spinning. So many memorable moments in one movie and a lot of hard work for the participants, according to Eleanor in an interview with John Kobal (‘People Will Talk', Aurum Publishing, 1986). For this third number she often had to remove blood-soaked ballet slippers at the end of the day and soak her feet in ice. Originally production of the movie shoot was supposed to last a month (for which Eleanor asked a fee of $1250) but it eventually ran for four months. The final result, though, was a 7-year contact from Louis Mayer for Eleanor.

Although this movie hasn't arrived on DVD, it's only a matter of time. The three numbers reviewed are available on the special 2-disc edition of ‘Singing in the Rain', being songs sourced for the later movie.

The Broadway Melody of 1936 is my all-time favorite movie. One day I was watching the special features on the Singin' In the Rain 2-Disc Special Edition DVD. I watched the "Broadway Rhythm" excerpt from this movie and the "I've Got a Feelin" You're Foolin' excerpt, too. After viewing I was all "What was that?" So I watched them again. After the 4th time, I was hooked. So I bought the whole movie about a year ago and here I am today, commenting on it.

The B.M. of 1936 is an amazingly likable movie. The plot is flimsy like most other musicals of the Golden Age, but it's really, really, funny. The other reviewers summed up the plot correctly so I guess I won't be able to add anything new to that. But the smooth blend of plot and musical numbers are so dynamic that it the whole finished product just blows you away.

Now, for the stars. We have Jack Benny, in pretty much top-form as a newspaper gossip columnist. He is very likable in his role, because he (typical of 30's musicals) heroically does a good deed in the end despite all the trash he printed.

Sid Silvers is extremely hilarious as his hare-brained assistant and the scenes where he pretends to be Arlette's secretary are really funny.

This is Buddy and his sister Vilma's 1st film and Vilma's last. They are cute here as Eleanor's friends, and their dance numbers are really cute, too.

Nick Long Jr. has to be seen to be believed in the "Foolin'" number. I've never seen any dancer on screen, not even Fred Astaire do stuff like that.

Una Merkel is her usual wise-cracking, voice-of-reason self as Robert Taylor's secretary, and does top-notch work, as usual.

Little-known Broadway and B-movie actress June Knight gives an wonderful performance as the young, snooty widow who puts up the money for the show. Though probably the closest thing to a villain in the movie, she comes across as extremely likable because of the ah-mazing musical number with Robert Taylor and her wonderfully comedic acting. I don't think this movie would've become my favorite if she weren't in it.

Robert Taylor is as usual, way handsome, suave, and likable. There's really nothing more i can say about him except that he's terrific. And hunky! In here he is at the peak of his matinée idol stardom!

And Eleanor Powell. Her acting is good and she surprisingly is GREAT in her Mlle. Arlette imitation. But the dancing! It's out of this world!!! I think is the best dancer in movie history along with Fred Astaire. You have-have-HAVE to see her in the finale! Her timing and everything is so perfect, it's almost unreal! B.M. of 1936 is definitely one of her best vehicles, because she comes across as very talented, sweet, and likable.

The musical numbers, as I've said before, are extremely dynamic. Why? Because of the music and everything else. It took a lot of work, people, and time to produce the #s and it was not in vain, because all the numbers are spectacular. The key thing is the music. I's so good!!!!! All the songs are either toe-tapping or sweet and elegant ballads. One of the best Freed/Brown movie scores. The sets play a big part, too. Unlike a bunch of musicals from this period, the sets are not over-decorated and unbelievably lavish. No, they are simple, streamlined, very elegant, and art-deco. Because of these great sets, the actors' performances were displayed to the best extent they could be. Here's a list of the musical numbers:

Broadway Melody: Sung in the very beginning by Harry Stockwell.

You Are My Lucky Star: Sung after Broadway Melody by Frances Langford.

I've Got a Feelin' You're Foolin': The 1st big number here and my favorite musical number ever! Robert Taylor and June Knight are terrific together and look great. I think this # is an ultimate example of old-Hollywood glamor with the art-deco night club set, and the glitzy costumes and atmosphere. June Knight is definitely not the world's greatest dancer but her singing is great. Robert Taylor pulls off his number well with a nice singing voice. The whole thing is extremely romantic and elegant. To me, "Foolin'" is unforgettable.

Sing Before Breakfast: Buddy and Vilma Ebsen tap dance to this in the beginning. Later, Eleanor taps. It's the start of her career at MGM and a mere shadow of what was yet to come. This # is fun and adorable.

I've Got a Feelin' You're Foolin: Reprised nicely at a rehearsal by Frances Langford.

You Are My Luck Star: Another big # and enchanting! I am sure everybody will like this lavish ballet but I think it's a tad bit not as good as the other #'s for some reason I can't pinpoint. it's first sung by Eleanor (dubbed by Marjorie White) and then danced by Eleanor and a bunch of chorines.

On a Sunday Afternoon: Another cute big-ish # by Buddy and Vilma. Their tapping is great. They're is in 1890's period costume for this.

A Cappella Tap: Eleanor does an a cappella tap #! She is truly amazing in this while in Arlette guise.

Broadway Rhythm: The glorious finale! You have to see this! The costumes and the set and acts are just wow!!!!!! And that MUSIC is absolutely soul-searing!!!!! And when Eleanor comes out for the end, she does one of her best tap solos ever! I can hardly describe this, just see the number and you'll love it! Well, that's the end of my review. I think this the the Best B'Way Melody and one of the best old musicals ever. Bye!