1929’s The Broadway Melody was an attempt to capitalize on the success of The Jazz Singer, showcasing the combination of visuals and music that had previously not been available in the movies. In that way, it was an innovative film which helped propel it to an Outstanding Production Oscar in the 2nd Academy Awards. A handful of years later, MGM studios, looking to showcase some more of their up-and-coming song-and-dance talent, brought back The Broadway Melody for a revival. This sequel, in name only, would showcase some beautiful songs and excellently choreographed dance numbers but, like the original film, it had just a skeleton of a plot that was only there to bridge the production numbers together. This formula was once again successful and MGM would go on to do it two more times, with a fifth film planned but scrapped, over the next few years.
Despite the title, this film released in the fall of 1935, indicating that we were here to see the stars of the future. Among those potential future stars were Buddy Ebsen and his sister Vilma, both making their debuts here. Eleanor Powell had been in a couple of films before this but was largely known for her appearances on the stage where she already was a bona fide star. She had been acting on stage since she was 17 and had proven herself as a graceful and athletic tap dancer. In Hollywood, she was initially cast in chorus girl roles until her big break at MGM with Broadway Melody of 1936. She would go on to appear in the final two installments of the series, the last one alongside Fred Astaire.
These films were ultimately profitable for MGM and, on top of making money, helped launch careers and introduce faces to eager audiences who didn’t have access to the stages on Broadway. In that way, these films are successful for what they are. From a more modern perspective, though, they fall a bit flat, especially when viewing them with the higher expectations that come from Oscar-nominated films. Broadway Melody of 1936 was nominated for three Oscars, including one for the story but not for any of the performances or for the script itself nor the music. It did get a nomination for Best Dance Direction, an award only given out from 1935-1937 and is famously the only Oscar ever awarded to a Marx Brothers film.
The Broadway Melody films are sequels in name only. They share no characters or through line, though some actors are in multiple installments. They do share similar elements, such as performers trying to break into the scene. In Broadway Melody of 1936, that character is Irene Foster (Eleanor Powell). Irene has traveled to New York City to track down Robert Gordon (Robert Taylor), a Broadway producer whom she once had a flirtatious relationship with when they were still in school. Robert is hard at work on a new stage production but is being pursued by Lillian Brent (June Knight), a rich widow who is financing his new play with expectations that she will be the lead. Robert needs the money but not the wannabe actress and sets out to find anyone to fit the bill instead of her, especially someone whose name will bring in audiences.
Robert is also being vexed by Bert Keeler (Jack Benny), a snide reporter who is constantly publishing articles mocking the producer and getting a sock in the jaw for his efforts. When Bert hears of the search for a leading lady, he invents a French actress and has his partner, Snoop Blue (Sid Silvers), man a phone and intentionally make the famous actress impossible to get ahold of, driving Robert and his secretary, Kitty (Una Merkel), insane with frustration. Meanwhile, Irene keeps trying to get Robert to give her the role, but he never gives her an opportunity to prove herself, instead insisting on sending her back to Albany to keep her out of the rough-and-tumble business of acting. Peppered in amongst all of this are a handful of songs and a few highly choreographed dance numbers, all of which would be show-stoppers in a live show.
This film is leaps and bounds better than the first film in the series. Part of that is the years between, as Hollywood had figured out how to handle talking pictures better. There is less of the static filmmaking that plagued The Broadway Melody. But because other studios had also improved their processes, this film did worse in critics’ circles, failing to win Outstanding Production. The third and fourth films didn’t even get nominated, and the only real reason to seek one of them out is to see a young Judy Garland in the role that got her The Wizard of Oz. Musical productions have their role in films, but there needs to be more than just that to make a film worth watching, and this film struggles mightily to provide that.
It’s easy to see why Eleanor Powell had star quality. She is charismatic, charming, and easy to look at. She also has dance moves that rival Ginger Rogers, and when she is allowed to let it all out, it is mesmerizing to watch. She’s also surrounded by some tremendously talented co-stars. Buddy Ebsen and his sister, Vilma, have a memorable dance routine that makes great use of props. It also makes great use of their own chemistry that could only be cultivated from a lifetime of working off each other. They work great together, and it is a shame we don’t see more of them in future films; their vaudeville routines are funny and full of energy. Unfortunately, MGM elected to separate the duo, wishing to make Vilma more like Myrna Loy. She chose not to go this route and left Hollywood behind. Buddy, on the other hand, had a long career in the movies that lasted clear into the 1990s.
Broadway Melody of 1936 has many wonderful moments to it and even more great songs. But the plot is cliché and it struggles to keep interesting as it gets more and more convoluted. Then it just kind of ends, wrapping things up quickly and efficiently but not particularly satisfying. By the time we get to that ending, though, it has strung things along for so long that it has long since grown disinteresting. It has moments of life, and there is no denying the talent on screen, but the product as a whole is just not worth spending so much time invested in it.
Academy Award Nominations:
Outstanding Production: John W. Considine Jr.
Best Writing (Original Story): Moss Hart
Best Dance Direction: Dave Gould, for Broadway Melody of 1936 and Folies Bergère de Paris (won)
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Release Date: September 20, 1935
Running Time: 101 minutes
Not Rated
Starring: Jack Benny, Eleanor Powell, Robert Taylor, Una Merkel, Frances Langford, Sid Silvers, Buddy Ebsen, and Vilma Ebsen
Directed By: Roy Del Ruth
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