Two Girls on Broadway

The revelation here is Lana Turner's dancing ability. Though she was known privately to be an excellent nightclub and ballroom dancer, Miss Turner rarely got the opportunity to demonstrate this ability on film.

So, viewers take notice! Here, MGM were clearly still trying to determine in what direction they would develop the still young starlet, and were, therefore, consigning her to everything from Andy Hardy to Doctor Kildaire.

In "Two Girls on Broadway," however, she is given an excellent opportunity to display her native rhythm and ability to shift tempo in the lavish production number, "My Wonderful One, Let's Dance." This number, is conceived and filmed, as a sort of hybrid between a Busby Berkely style extravaganza and the sort of routines Hermes Pan was designing for Astaire and Rogers at RKO.

Thus, the number opens with George Murphy and Miss Turner depicted as bar patrons (with full chorus) before a curtain of black lame wherein Mr. Murphy croons the number to Miss Turner. Then the camera, (on a boom) pulls backward in a remarkable crane shot to reveal an enormous stage, and a rotating set equipped with steps, columns, enclosures and sliding walls.

From this point on, Murphy and Turner execute a fast stepping variety of moods and attitudes, including lifts, spins, soft shoe, and ending with an electrifying series of conjoined pirouettes that concludes with Murphy both lifting and rotating Turner with thrilling speed to a racing orchestra.

All told a dizzying feat that proves Miss Turner was fully capable of more than holding her own as a dancer, though I daresay most of her admirers would balk at relinquishing her from her throne as the queen of melodrama.

Joan Blondell and Lana Turner co-star with future US Senator George Murphy in Two Girls On Broadway. The three are from Rome City, Nebraska and Murphy is in New York to try and hit it big again as he's been somewhat at liberty since vaudeville declined. The women who are sisters operate a dance studio in Nebraska and Blondell was once Murphy's dance partner.

Murphy pulls off quite a con game but gets a big break with an appearance Richard Lane's nightclub and he parlays it for Blondell and Turner to come east. Now it's Turner who is Murphy's partner and Blondell gets work as a cigarette girl.

It's all looking good, but there's a Broadway wolf in the picture. Kent Taylor is a Tommy Manville type who's already been to the altar 8 times. He zeroes in on Turner who goes along because while she likes Murphy she doesn't want to hurt her sister. It all gets straightened out in the end as it always does.

I think a lot of you will recognize some sets from The Great Ziegfeld which makes it look like this film is more expensive and lush than it is. Wallace Ford has an interesting role as a Broadway Winchell like columnist which would be true to life since Winchell was a performer before he took up journalism. He knew Blondell and Murphy from vaudeville days.

Nacio Herb Brown, Arthur Freed and Roger Edens wrote My Wonderful One Let's Dance as part of the score and if it sounds familiar you're thinking of Cole Porter's Riding High. Porter really could have sued over that one.

Two Girls On Broadway showcases its star's talents well. Murphy was quite a hoofer before he went into Republican politics.

"Two Girls on Broadway," made in 1940, is a remake of "Broadway Melody of 1929" and not as much fun. It stars George Murphy, Joan Blondell, Lana Turner, Kent Taylor and Wallace Ford. Murphy is Eddie Kerns, who sells a song, himself, his fiancé and her sister to a Broadway producer. The sisters rush out from the midwest to audition, but the show only wants Pat (Turner) while Molly (Blondell) is given the job of cigarette girl. Molly swallows her pride and watches her sister replace her in a number she used to do with Eddie. Then Eddie realizes that he's also interested in Pat, and she with him.

Nurphy is charming, energetic, and fine dancer, and Blondell is her usual excellent self. But it's hard to keep your eyes off of young, gorgeous, fresh-faced Lana with her gorgeous figure and vivacious personality. She dances with Murphy, and despite being a little stiff in her upper body, she's surprisingly good. Lana really had something in those days. It's no surprise she became a huge star.

The musical numbers are enjoyable. This movie is nothing to write home about, but if you've never experienced the young Lana, this is a great film to see her in.

TWO GIRLS ON BROADWAY (Metro-Goldwyn-Mayer, 1940), directed by S. Sylvan Simon, is a lightweight, updated partial remake to the ever popular Academy Award winner of THE BROADWAY MELODY (MGM, 1929). While the update could have been titled BROADWAY MELODY OF 1940, this latest edition as TWO GIRLS ON BROADWAY, based on the original story by Edmund Goulding, is more of a second feature (74 minutes) and showcase for young Lana Turner. Supported by such screen veterans as Joan Blondell and George Murphy, it also displays Turner's rare ability as a singer and dancer, but soon proving her future success in the movies would be in dramatic roles instead.

The story begins in Rome City, Nebraska, where Trooper One, Molly Mahoney (Joan Blondell), runs a dancing school for children along with Trooper Two, her kid sister, Pat (Lana Turner), Dismissing their class to listen to the radio program, "Oddities of the Air," as hosted by Mr. Boyle (Don Wilson), by which Trooper Three, Eddie Kearns (George Murphy), Molly's fiance, happens to be auditioning one of his composed songs with a song and dance. Eddie wins audience approval and a spot in Buddy Bartell's (Richard Lane) upcoming musical show. Telephoning the good news to Molly, he invites the girls to take the next bus out to join him for a possible audition. Upon their arrival, Molly and Pat do a song and dance for Bartell, whose main interest is more on Pat. To keep Pat under his employ, he offers Molly a night club job working as a cigarette girl. Regardless of this humiliation and wanting Pat to succeed in show business, Molly accepts the job. As Pat finds herself becoming more interested in Eddie during dress rehearsals, she decides to spend more time with her sponsor, Chat Chatsworth (Kent Taylor), so not to come between Molly and Eddie's plans for marriage. Problems arise when Molly discovers from Jed Marlowe (Wallace Ford), a reporter friend of hers, that Chatsworth is a womanizer with five ex-wives with intentions on having Pat as wife number six. Others in the cast include Otto Hahn (Ito); Lloyd Corrigan (Judge Hennessey); and Edward Gargan (The Policeman),

The distinction between TWO GIRLS ON BROADWAY and THE BROADWAY MELODY are its acting and production numbers. Though the original 1929 had its merits of success, its over-the-top acting among the leading actresses (Bessie Love and Anita Page) along with brief production numbers consisting of cart-wheels and back flips by ensembles, both weaken the original for contemporary viewers. Blondell, in her role originated by Bessie Love, gives a more natural performance as does Lana Turner's carnation to Anita Page's kid sister performance. For being Turner's movie, it is Blondell who proves herself more of a real trooper than the others.

The production numbers, well choreographed by Bobby Connolly, consisting of "My Wonder One, Let's Dance" (sung by George Murphy); "Broadway's Still Broadway" (dance rehearsal dance with Lana Turner) and reprise of "My Wonderful One, Let's Dance" (performed by Murphy and Turner) are entertaining enough, but not as memorable in scoring as the 1929 original that produced such classic tunes as "You Were Meant for Me." George Murphy, like Charles King, displays good showmanship in the entertainment department, yet it was Murphy who lasted a lot longer as a movie actor than the heavily New York accented Charles King, whose movie career ended in 1930.

As much as TWO GIRLS ON BROADWA Y is not a scene by scene remake to THE BROADWAY MELODY, it does lead to a similar structure to the original. Never distributed on video cassette but available on DVD, both TWO GIRLS ON BROADWAY and THE BROADWAY MELODY can be seen and compared whenever shown on Turner Classic Movies cable television. (**1/2)

It's a much better film than the one it was remaking, although perhaps too streamlined. The core trio of Lana Turner, Joan Blondell, and George Murphy was a definite improvement over Bessie Love and whoever the other two actors were. I don't quite know what LIFE Magazine meant by calling Turner a "glamour-plus girl," but it was clear, even in her feature film debut, that she had more going for her than looks. George Murphy was fine. The emotional core of the story, though, is Joan Blondell and she showed quite a bit of depth in what could have been a thankless supporting role. By this point in her career, she was beginning to settle into more matronly parts, but it really seemed like she gave it her all. Overall, I found this to be quite good, although a little more music wouldn't have hurt.