Broadway

"Broadway" (1929) contains some instances of dizzying, stupendous camerawork; most of the film, however, is shot in a more prosaic manner. The sets are impressive, but the story playing out inside them is mostly trite. The two main leads lack charisma; some secondary roles (the cop, the crook) are better, and then there is Evelyn Brent. Brent had already starred in one of the very few all-talkies made in 1928 (!), "Intereference", so unlike most of the other cast members, she was not new to all this. And she has more star presence than anyone else. She is the perfect embodiment (and what a thick body it is!) of female vengeance, and her climactic scene with the crook single-handedly earns this film an extra half-star. The final sequence is in color, but in current prints, at least, it looks terrible: someone needs to remaster this. **1/2 out of 4.

BROADWAY (Universal, 1929), directed by Paul Fejos, is a Carl Laemmle Jr. Super Production, and it shows. Taken from the hit play by George Abbott and Philip Dunning, BROADWAY came at the time when movies were equipped with new sound technology, putting the silent films to rest. Of the many early talkies from 1929, BROADWAY proved to be one of the finer productions produced due to the Hungarian director's futuristic visuals and offbeat camera angles that make this musical/drama appear more modern than some of the other talkies primitive styles. With a handful of "Broadway" titles used for its early musicals, there are those that were backstage themes. BROADWAY is categorized as a "night club" story with production numbers and murder story combined. Headed by unfamiliar marque names to contemporary viewers, Glenn Tryon, playing the hoofer/singer, gets feature billing supported by actresses known for their silent screen performances as Evelyn Brent, on loan from Paramount, and Merna Kennedy, best known as Charlie Chaplin's co-star in his silent comedy classic, THE CIRCUS (United Artists, 1928).

BROADWAY gets its stunning visual opening with a studio set air view of New York City's Broadway district of glittering lights before a huge, half-naked man walks through the streets superimposed under the title cards, pouring a drink into his glass and sprinkling it over Broadway. Next scene resumes its camera tracking through the Broadway district of theaters, movie houses and hotels before settling into the Paradise Night Club managed by Nick Verdis (Paul Porcasi). Roy Lane (Glenn Tryon) and Billie Moore (Merna Kennedy) are introduced as a dance team for the club. Steve Crandall (Robert Ellis), a bootlegger, assisted by Dolph (Arthur Housman), have a run-on in the cabaret office with gangster, James "Scar" Edwards (Leslie Fenton) who has been robbed of a truckload of liquor by Steve's gang, leading Crandall to shoot and kill Scar in the back. Scar and Dolph carry Scar, passing as an unconscious drunk, outside the club as witnessed by Roy and Billie, onto the back of a parked truck where they cover the body with a blanket. Unknown to Crandall, Scar happens to be married to Pearl (Evelyn Brent), one of the chorus girls in the show. When she learns of his death, she vows vengeance on his murder. During the course of the story, Dan McCorn (Thomas Jackson), having discovered the body a few blocks away, and having his suspicions, enters the scene with investigations. Others in the cast are: Otis Harlan (Andrew "Porky" Thompson); George Davis (Joe, the Waiter); Marion Lord (Lil Rice); and Gus Arnheim and his Orchestra. Though some sources list character actor, Fritz Feld, to appear as Mose Levitt, his name is not in either of the cast or visible in the final print. Thomas Jackson stands out as the detective with his overly familiar slow-speaking tone sleuth.

The songs by Con Conrad, Archie Gottler and Sidney Mitchell include: "Hitting the Ceiling" (sung by Glenn Tryon), "Hot Footin' It," (featuring Glenn Tryon dressed as a child); "Which Came First? The Chicken or the Egg" (performed by Tryon dressed as a school teacher); Tap Dance Number; "Sing a Little Love Song" (sung by Tryon and Merna Kennedy); "Broadway" and "Hitting the Ceiling" (reprise/Technicolor finale). The production numbers are as impressive as the film's visual opening, especially with its Art-Decco sets. They are not as stunning as some of the latter musicals of the 1940s, 1950s and beyond, but often start with Glenn Tryon walking down a long and wide pathway introducing his songs as the camera captures him many feet above the stage and looking down at him. The first song opening occurs 20 minutes into the start of the film. With the songs interlude not performed in its entirely, often interrupted by cutaways and dialogue by other actors, it is evident that the plot element comes as its main factor.

Glenn Tryon, who physical appearance makes one think of either a teenage Frankie Darro or cowboy actor, Guinn Williams, gives a good account of his portrayed character. Virtually forgotten, and having performed on stage and the silent screen in the twenties appearing in both short and feature films, BROADWAY should have paved the way for greater success, but didn't. Eventually Tryon became director before returning to acting in the 1940s, mostly in minor roles before disappearing from view. BROADWAY was later adapted for the screen again by Universal in 1942 starring George Raft, Pat O'Brien and Janet Blair, with new songs and updated story, but without those visuals and art-decco sets that have made the 1929 original so memorable.

Fortunately a film survivor, this 105 minute production was placed on DVD. To date, BROADWAY has never been shown on cable television, which is a shame because the film as a whole remains as impressive today as it must have been in 1929. (***)

This musical was directed by Paul Fejos at Universal Studios in 1929. There were so many musical films made in 1929 with the title "Broadway" in them, thus you might ask - why is this one unique? For one its director was a Hungarian bacteriologist by trade who dabbled in film and is famous in particular for two late 20's films - 1928's "Lonesome" and this film, "Broadway". Fejos made a crane the actual star of the picture. It was a custom built contraption that allowed the camera to sweep about the nightclub in which most of the movie was set. Most early sound films were very static by necessity, and Fejos wanted his musical to have some of the fluid motion of the late silent era restored. However, during these sweeping scenes, Fejos had to use silent film and then dub over it with recorded sound. This gives these parts of the film a surreal and disembodied quality.

The film is like "Faust" meets "Lights of New York" in that the film opens with a metallic-painted giant stalking about Broadway at night, filling his glass with ale, and gesturing for the residents of Broadway to join him in his debauchery. The film then moves to a nightclub where the story is largely unremarkable. It's basically just another gangster film set in a nightclub punctuated with two-strip Technicolor musical numbers. "Hitting the Ceiling" is the best and most remembered of these moments. My main complaint about this film is that Evelyn Brent looks so bored during most of it. She could and did turn in good performances in the early talkie era, so I'm not sure why with all of the intrigue that is lurking about the Paradise Club her reaction seems to be that it's just in a day's work.

The film was shot both silent and in sound, and has never been on VHS or DVD. The silent version I saw had Technicolor, and the sound version I saw was in black and white. I don't think that a talking version with color still exists. Some people have attempted to dub the speech of the talkie version into the silent version to get the maximum effect of the music and the color, but what I've seen hasn't worked too well. The film's director, Paul Fejos, decided to leave the film industry shortly after "Broadway" was complete due to his dislike of the people running Universal. Instead he embarked on a career in anthropology, where he became a leader in his field. An unusual end to the film career of a man who made very unusual films.

After 75 years considered lost, "Broadway" directed by Herr Paul Fejos was found in Hungary, in a very well preserved copy with Hungarian titles but that European language is not a problem for this German Count because he remembers very well those Austro-Hungarian old times. This remarkable discovery gives silent fans the chance to watch the virtuosity of camera work of a director not very well known. His obscurity is a complete disgrace because Herr Fejos'surviving silents are absolutely fascinating.

"Broadway" tells the story of underworld criminals who run the "Paradise Club". In between musical numbers we have crimes and intrigues involving showgirls and special investigators. Passion, strange business and love affairs are all part of the mix too."Broadway" shows characters caught up in dual roles and the turmoil in which feelings come out into the open, the sort of conflicts that Herr Fejos was so fond of.

The most remarkable aspect of this film is the extraordinary camera work, especially Herr Fejos' use of an enormous and amazing camera crane which he himself designed and which scrutinizes every corner of the "Paradise Club", giving a frenzied rhythm to the film with those incredible camera movements. It also highlights with many details and angles, the beautiful and astounding sets that are the backgrounds for the fuss, happy and dangerous night life in the Broadway streets. The second notable aspect of this modern silent film is that it was made before the superb "Lonesome" (1929) and, like that film, it is part of the transition period between silent films and talkies. "Broadway" was an early musical available in both formats, silent and talkie and what's more, the silent version found in Hungary is a complete copy that includes at the end of the film "Technicolor" footage ( faded after so many years ) of the final musical scene number and this so startled this German Count that his monocle popped out from his aristocratic eyes more than once.

And now, if you'll allow me, I must temporarily take my leave because this German Count must leave vaudeville behind and attend the opera.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

The Film Forum in NYC screened the sound version of this film on July 24,2012. The Technicolor last reel of course is lost but the rest of the film was complete and ran about 108 minutes. Will not give away the plot but is worth viewing just to see the innovative use of a giant camera crane to film the Night-Club scenes. Really amazing for a film made in 1929. I must say that the acting is really not that great for a film listed as a Universal "Super Production" in the opening credits.Glenn Tryon is passable playing the role of the comedian but you have to wonder how much better the film would have been if Lee Tracy, who played the same role in the Broadway Musical that the film was based on had appeared in the film also.