Broadway Melody of 1936 (1935) User Reviews (35)

Eleanor Powell Steals The Show

[bkoganbing · 8/10 · 6 December 2005]

When critics talk about the Thirties being the era of escapist entertainment, believe me they have Broadway Melody of 1936 in mind.

For people like my parents growing up in the midst of The Depression this world where everyone wore tuxedos and danced away at rooftop parties in between Broadway shows can only be described as escapist.

The nice thing about escapist films is that the plot really doesn't have to make sense. You couldn't have a Broadway producer as young as Robert Taylor, he was 25 when this came out. And certainly a talent like Eleanor Powell would certainly have been discovered long before Taylor rediscovers his old grade school chum from Albany.

The plot such as it is involves producer Taylor and Walter Winchell like columnist Jack Benny engaging in a feud. During the course of things Benny creates a fictitious French stage star who is visiting New York. Later Taylor "discovers" Eleanor Powell masquerading as the fictitious Mademoiselle Arlette and signs her for his show.

Taylor and Benny are fine and Jack Benny gives a good performance in a character that is free of the usual Jack Benny clichés he so carefully created for his radio persona. But the film really belongs to Eleanor Powell. You look at her dance and then you look at Ruby Keeler over at Warner Brothers and there just ain't a contest. Powell was primarily a dancer, but she had good comic timing, could put over a song, and even act decently.

You will also like June Knight as the rich girl Taylor is courting for financial backing of his show. And Sid Silvers as Benny's sidekick is pretty funny especially in drag and with his scenes with Una Merkel.

Broadway Rhythm

[lugonian · 8/10 · 4 April 2003]

Broadway MELODY OF 1936 (Metro-Goldwyn-Mayer, 1935), directed by Roy Del Ruth, from an original story by Moss Hart, with choreography by Dave Gould and Albertina Rasch, marked the new beginning in the cycle of MGM musicals that would be carried through the 1950s. Minus Technicolor thus far, which would become the standard by the mid 1940s, this production has more song and dance, lavish sets and a bright score than in previous years. Capitalizing on the enormous Academy Award winning success of THE Broadway MELODY (1929), this new edition plays more on the current trend of sassy comedy highlighted by new songs by resident composers Arthur Freed and Nacio Herb Brown, along with a lineup of new faces featuring Eleanor Powell, Buddy and Vilma Ebsen, Frances Langford, Harry Stockwell and Nick Long Jr. Of the newcomers appearing in the specialty acts, it's Eleanor Powell who would become the overnight "lucky star," in her MGM debut. Not only does she tap dance her way to fame, she does an imitation of Katharine Hepburn from a scene in MORNING GLORY (RKO, 1933) to acting the role of the fictitious French actress, Mademoiselle LaBelle Arlette. The story also takes time for an assortment of snoring sounds, compliments of Mr. Hornblow (Robert Wildhack). He would repeat this gimmick again in Broadway MELODY OF 1938 (1937), changing from snores to sneezes. Broadway MELODY OF 1936 starts off like a vaudeville show combined with comedy, skit and songs interacted in the storyline, but by the second half, becomes cliché musical show preparations.

Starting off like an intended sequel to the 1929 edition, the plot deals with Bert Keeler (Jack Benny), a columnist only reporting on who's going to have a baby, is advised by his managing editor (Paul Harvey) that, in order to boost up circulation, he must go out and report something of real interest. With his assistant, "Snoop" (Sid Silvers), Keeler improves himself by becoming a real gossip columnist. He starts off by writing about Park Avenue widow Lillian Brent (June Knight, an Ann Sothern look-alike), who's investing $60,000 on Broadway producer Robert Gordon's (Robert Taylor) latest show, "Broadway Rhythm" Brent's reasons aren't honorable because she's only using Gordon to break into show business. The circulating news on Gordon and Brent in the tabloids has the angry Gordon rushing his way through the World Tribune (on three separate occasions), followed by a gust of wind blowing away stacks of papers, into Keeler's office and giving him a good sock on the nose. This doesn't discourage Keeler, for that with each sock makes him the most read and talked about gossip columnist in the business, thus, earning a big paycheck raise from his editor. Later, Irene Foster (Eleanor Powell) of Albany, comes to New York look up Gordon. Formerly high school sweethearts, she believes he could give her a break in one of his shows. She is soon discouraged when Gordon insists she return home and forget about her ambition for that Broadway isn't a place for a nice girl like her. With the help of Kitty Corbett (Una Merkel), Gordon's secretary, she arranges for Irene in masquerading as a fictitious French star, originally created by Keeler, to boost up circulation, to audition for the show.

Featured in the musical program are: "The Broadway Melody" (sung by Harry Stockwell); "You Are My Lucky Star" (sung by Frances Langford); "I Gotta Feelin' You're Foolin'" (sung by June Knight and Robert Taylor, danced by Knight and Nick Long Jr.); "Sing Before Breakfast" (sung by Buddy and Vilma Ebsen/ danced by Eleanor Powell); "I Gotta Feelin' You're Foolin'" (sung by Frances Langford); "You Are My Lucky Star" (sung by Eleanor Powell); "All I Do Is Dream of You" (unknown French vocalist on record); "On a Sunday Afternoon" (sung and danced by The Ebsens); "Broadway Rhythm" (sung by Frances Langford/ danced by Eleanor Powell); and "You Are My Lucky Star" (sung by cast).

Of the production numbers, "I Gotta Feelin' You're Foolin'" won the Academy Award as best dance direction. While this particular number plays like a scene within a scene in a Broadway show, it's actually part of the plot. This would be the only time Robert Taylor would sing on screen. Nick Long Jr., a hoofer who physically resembles Fred Astaire, dances like Gene Kelly. "Sing Before Breakfast" has the Ebsen's singing and dancing on the rooftop of their apartment, with Powell going into her dance face front towards the camera while the Ebsens watch her from behind. "You Are My Lucky Star" is seen through the mind of Powell as she daydreams herself as the leading performer in a show to a full theater of patrons. Of the hit tunes, only "On a Sunday Afternoon" failed to catch on.

In the finished product, it's evident that Eleanor Powell would become the star of tomorrow, considering several extreme close ups of her throughout. Considering she was not an accomplished singer as she was a dancer, MGM prepared Frances Langford as her backup in the vocalizing department. As for Jack Benny doing his Walter Winchell impersonation, it would be a few short years before achieving fame as the stingy Jack Benny audiences got to all know and love. Una Merkel and Sid Silvers (who has one hilarious scene disguised as Mademoiselle Arlette) make an unlikely pair who add to several humorous scenes. In 1936, Powell, Merkel, Buddy Ebsen, Langford and Silvers would be reunited once more in another tune feast titled BORN TO DANCE. In spite of its pros and cons, Broadway MELODY OF 1936 (which was also nominated for an Academy Award for Best Picture of 1935), is a very lively musical-comedy 1930s style worth viewing. This Eleanor Powell showcase, presented occasionally on Turner Classic Movies, is also available on video cassette and DVD. (***1/2)

Most Fun Of The Broadway Melodies

[ccthemovieman-1 · 8/10 · 29 October 2005]

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.

another variation on the unknown becoming a star

[didi-5 · 7/10 · 11 January 2009]

A musical that does just what you expect, really. Decent songs, a sarcastic comedy foil (Jack Benny), a romantic couple (Robert Taylor and Eleanor Powell), a couple of talented friends (Buddy and Vilma Ebsen), and a wafer-thin plot which includes female impersonation, silly accents, and a daydream musical sequence.

The 'Broadway Melody' series didn't really tax its viewers with complicated plot lines, but certainly delivered in big spectacle numbers, decent casting of both singers and dancers, and mushy happy endings. Just what America needed during the Depression, and something which has stayed as standard, with slight variation, ever since.

Superb musical

[vincentlynch-moonoi · 9 October 2011]

Yes,great and famous MGM musicals, but then again, this was 1935 (the year the film was made). But make no mistake, this is a great musical! It kept me entertained from beginning to end and had a number of great songs -- including "Broadway Melody" and "You Are My Lucky Star" Unlike another reviewer (who wrote a darned good review), I actually think the plot here was substantial enough -- though perhaps not totally logical in the details -- to make sense.

Jack Benny is excellent here as a newspaper man who writes a gossip column about Broadway. His column isn't exactly knocking them dead, so his editor orders him to get gritty, or else. And he does, focusing his wrath on Broadway producer Robert Taylor. Benny is very good here, though he plays a cynical role, unlike what we were used to in the later Benny of television. But, if you watch Benny movies like "George Washington Slept Here", you learn that Benny -- in some of his films -- could be sarcastic and a bit edgy. So for me, this was not a surprising character.

Sid Silvers, an actor with whom I am not familiar, played a good second banana as Benny's assistant. It's not always funny when a male actor plays a female bit, but this one is.

I wish I had read about this film before watching it, because I didn't realize that Buddy Ebsen's partner is this film was his real-life sister! They are hardly the greatest of hoofers. I always thought that Buddy Ebsen was a decent dancer with little discipline, and that came across in this film, too. But he lends a character to his films that usually makes sense, and that overshadows a less than great dancing talent.

Una Merkel was a greatly underrated actress, and as with most of her film roles, she turns in a really enjoyable performance here.

Robert Taylor seems cast out of character here, but of course, this was very early in his career. Though it was his 10th film, it was only his second year in the business. But, he handles himself well here, playing the part of the Broadway producer in a reasonable way.

I kept wondering who that one female singer was. She was so good. Quite to my surprise, it was Frances Langford, with whom I was only familiar due to performances in Bob Hope's USO shows.

And, while Eleanor Powell has turned in greater dance performances in later films, she is still great here. For me, the great female hoofer of all time.

Production values in this film were extremely high for the time. It's not easy to find anything to really criticize.

I place this film above a good half of the MGM musicals the next two decades. For many it will belong on their DVD shelf!

Eleanor Powell bursts into stardom as a great dancer...

[Doylenf · 6/10 · 1 January 2007]

Although this is clearly a showcase for the talented dynamo ELEANOR POWELL, MGM's forerunner to the tap-dancing Ann Miller, Broadway MELODY OF 1936 has some painfully clumsy musical moments that are mercifully offset by some brilliant dance routines by Powell. You have to take the good with the bad, and thankfully, the best moments are worth watching.

Worst of the lot, is the tenement roof dance "Sing Before Breakfast" sung by Buddy and Velma Ebsen while Powell does the dance steps, possibly the clumsiest musical moment in the whole film with an uninspired song to boot. But when Powell is daydreaming to "You Are My Lucky Star" her dancing reaches the zenith of her particular appeal as a performer. Lots of other musical moments are equally worthwhile, but as said before, there are some poorly staged moments too.

In fact, the whole story is an uneven blend of music and dance with a thin story serving as a mere excuse to introduce each new number. JACK BENNY, as a gossip columnist, and PHIL SILVERS, as "Snoop", his sidekick, have some funny moments in early screen appearances, and MGM's matinée idol ROBERT TAYLOR gets to sing a ditty or two in a pleasing enough fashion. Powell was always dubbed for her singing, in this case by Frances Langford.

It's not the best of the Broadway MELODY flicks, but has its moments of pure fun with the very talented Powell proving that she could even act a little between dance numbers.

Lightweight, But Lots of 1930s Musical Charm

[gftbiloxi · 7/10 · 31 March 2005]

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

Jack Benny Plays It Straight

[DKosty123 · 7/10 · 21 November 2016]

It is interesting to have Benny as one of the stars as Eleanor Powell and Robert Taylor are together here and MGM packs the cast with other talents including a man who would do a lot of these type movies but would make his biggest name on television- Buddy Ebsen. Vilma Ebsen, who is Buddy's sister makes one of her rare film roles here.

Benny is a muck raking scandal reporter who column is the blog of Broadway here who seems to be always checking on Taylor (Gordon) who is casting his next Broadway show. Powell (Irene) is from Albany, Taylors hometown and is trying to get into his show and into him. That is the basic plot which holds this together.

Really, the plot is just here to hold together the music and dancing performances. Buddy gets quite a bit of dialogue in this one, though his dancing is ageless. Most of his is worked in with someone other than Powell.

Una Mirkel (Kitty) is the all knowing secretary for Gordon (Taylor) and conspires with Powell (Irene) to get her a rehearsal with his knowing what hit him. The pleasure is in the period music, and seeing these folks work, sing and dance.

Full-on MGM musical classic!

[opsbooks · 10/10 · 24 November 2003]

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.

Enjoyable example of Hollywood's Golden Age

[robert3750 · 7/10 · 23 June 2017]

While watching the film, I kept thinking it was no wonder that audiences flocked to theaters to see something like this. The costumes and sets in the party dancing scenes in particular look great! Such glitz and glamour, such wonderful dancing. Eleanor Powell's dancing is Ne Plus Ultra. I stand in awe of her. She took a back seat to NO one in this regard. I thought her acting was just fine for what she was asked to do, and I got a kick out of her Katherine Hepburn imitation and her French actress persona (she looked particularly beautiful when made up that way). Some of the comedy bits fell flat for me, such as the snorer and Sid Silver's shtick, but the rest of the cast (Taylor, Benny, Ebsen and his sister, etc.) acquitted themselves well. Taylor was quite the handsome leading man. I never heard of Nick Long before, but his dancing was great too. Light, enjoyable escapist fare.

Uneven Melody of 1936

[ArtVandelayImporterExporter · 5/10 · 4 November 2018]

This movie actually does better as a comedy than a musical. Jack Benny delivers some great lines and has an appealing sidekick. Una Merkel is funny and cute as producer Robert Taylor's secretary.

But it falls flat as a musical. The songs just didn't grab me. The dancing was insipid. I mean, it's fascinating to see Jed Clampett hoofing it up there like Gumby with tap shoes, but only as a curio. As one reviewer has noted, Ebsen delivers his lines as though he'd just hit 4 tabs of Ambien. His sister had a face for radio and her dancing didn't make me lament her early retirement.

But the real disappointment is Eleanor Powell. Not her fault, but who put her in that smokin' hot outfit and then decided to drape her in a long coat so we don't get to see her legs when she's auditioning as Fifi LeBalle. Then in the big closing number they've got her in thick, long pants that belong on a back alley hobo. Maybe she was packing around a few extra pounds on those gorgeous legs because her costuming completely mystifies me. However, I will admit her spinning in that final dance is remarkable; I kept looking for figure skates. Good thing Powell could dance b/c she couldn't act. No amount of costuming could cover that up.

Robert Taylor is the pretty-boy producer. Looks great in a suit. That's about it.

This movie is little more than a hack of the great Busby Berkley musicals. For 5c at the Bijou in the middle of the Depression, or late night on TCM, it's a pleasant way to pass 80 minutes but hardly worth a second look.

They Just Don't Make 'Em Like This Anymore

[broadway_melody_girl · 10/10 · 3 April 2007]

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!

A great leap ahead for this series

[brchthethird · 7/10 · 25 August 2022]

Leaps and bounds ahead of the original Broadway Melody in technical terms. Plot, not so much, but the performers here were all more naturally charismatic, so it almost didn't matter. With this, I feel like MGM finally leveled back up to what Busby Berkeley had been doing at Warner Brothers, and Astaire/Rogers were doing at RKO. The musical/dance numbers were that good. While there might not have been a single overriding personality who dominated, Eleanor Powell definitely shone, particularly in her expertly choreographed tap routines. Buddy Ebsen and his sister were also quite charming. Jack Benny was fine, I guess. Among the supporting cast, my favorite was Una Merkel, doing a Joan Blondell-type role. Overall, the film did run a little long, but I had a fun time.

Good Luck Staying Awake Through This One

[evanston_dad · 2/10 · 30 November 2016]

Despite its Oscar nomination for Best Original Story, the plot of "Broadway Melody of 1936" could fit on a toothpick. And what little there is moves forward at a glacial pace, completely stopped from time to time by a lavish musical number warbled out in supreme 1930s style.

Though I prefer musicals post-"Oklahoma!", when songs were integrated into the plot rather than existing as stand-alone numbers strung together by the thinnest of stories, I'm not resistant to the charms of these more antiquated examples of the genre. "42nd Street," from a couple of years before this film, is one of the best movies of the 1930s, while a couple of the Astaire/Rogers films from the same decade are some of the best movies ever made, period. No, my problem is that "Broadway Melody of 1936" just isn't very good. It sits in that awkward place between stage vaudeville and movie musical, not completely one or the other, and not harnessing the best attributes of either. The humor is broad and tired -- a running gag about a snore expert wears out its welcome the moment it's introduced. Famous showman Buddy Ebsen has a small role that showcases his singing and dancing abilities, but he uses the opportunity to give one of the most bizarre performances captured on screen. I'm not sure whether his decision to deliver all of his lines as if he's just starting to feel the effects of swallowing a handful of sleeping pills was his choice or the director's, but it was the wrong choice in either case. The only asset the film has is Eleanor Powell, who's certainly no musical comedy legend, but does display some impressive hoofing, and gives the film the only jolt of energy it manages to muster in a tap dance routine she performs in a slinky black dress and without any musical accompaniment. The rest of the film is a bore that I had trouble staying awake for.

Even with 12 Best Picture nominees in 1935, it is inexplicable that this film managed to snag a nomination for the big prize, when films like "Bride of Frankenstein" and Hitchcock's "The 39 Steps" were left off the list. The film's only real point of interest is the "I've Got a Feeling You're Fooling" number, which won film choreographer Dave Gould the inaugural Oscar for Best Dance Direction, a category that would only survive for three years before being abandoned by the Academy.

Grade: D

Second of four Broadway Melody movies; the first won the Best Picture Oscar

[jacobs-greenwood · 21 October 2016]

Opens with the title song from the Academy Award winning Best Picture Broadway Melody (1929), sung by Harry Stockwell, but is otherwise unrelated to the earlier film.

This one was directed by Roy Del Ruth, with a screenplay by Jack McGowan and Sid Silvers that was based on a story by Moss Hart, who earned the first of his two (unrewarded) Oscar nominations; Harry Conn provided additional dialogue. This Musical did win Oscars for Dave Gould's Dance Direction, for the "I've Got a Feeling You're Fooling" number, and was nominated in the Best Picture category itself.

The cast includes Jack Benny as a Walter Winchell-like columnist- radio personality, a tap dancing Eleanor Powell, handsome Robert Taylor as a young Broadway show producer, Una Merkel as his meddling secretary, Silvers as (Benny's) Snoop, Buddy Ebsen (in his screen debut) and his sister Vilma, June Knight as the show's financial backer and wannabe star, Nick Long Jr. as the shaw's director (and Taylor's assistant), Robert Wildhack as an unfunny snoring professor (each of these scenes drag), Paul Harvey as (Benny's) media boss, and Frances Langford as herself - she sings "Broadway Rhythm" (the name of the film's fictional show) and "You Are My Lucky Star", written by Nacio Herb Brown and Arthur Freed.

Bert Keeler (Benny) is told by his media boss Scully (Harvey) that his baby announcements won't do anymore, that gossip and 'dirt' is what the public wants, and Keeler better get it if he wants to keep his job. Keeler and Snoop (Silvers) notice that rich young widow Lillian Brent (Knight) is getting cozy with show producer Robert Gordon (Taylor) at a nearby rooftop party, and later learn that she's financially backing his show. When Keeler writes about it, Gordon visits him, punching both he and Snoop in the nose. Irene Foster (Powell) from Albany visits Gordon's office in New York, hoping to see her former high school classmate, but can't get past his secretary Kitty Corbett (Merkel).

However, once Kitty hears her (sob) story, and sees that Irene wears Gordon's pin, she's sympathetic and later helps her. Meanwhile, Keeler continues to learn inside dope about Gordon's production from Snoop, who's fond of Kitty, like the fact that Gordon has promised the lead role to Ms. Brent if he can't find a name talent. Keeler and Snoop conspire to create a fictional French sensation, La Belle Arlette (named for a five cent cigar), to dupe Gordon.

When Kitty finds out there is no such person, she helps Irene pretend to be Arlette to finally get an audition; Gordon had sent his former sweetheart home to keep her from being irreparably changed by the big city. But there's a problem, there really is a Belle Arlette, who threatens suit by telegram to prevent the use of her name.

Naturally, everything is resolved in time for the "Broadway Rhythm" finale, performed in a nightclub by Langford, the Ebsens and Powell, whose character kisses Taylor's in the end.

Everybody dance

[guswhovian · 7/10 · 7 August 2020]

Small town girl Irene Foster (Eleanor Powell) tries to convince her high school sweetheart Bob Gordon (Robert Taylor), who is now a Broadway producer, to cast her in his new show.

While I prefer the Broadway Melody of 1940, this Broadway Melody is still a delight, and was much better than I remembered. Eleanor Powell, in her first starring role, is excellent, and her dance scenes are great. Jack Benny is fun as a gossip columnist, while a young Robert Taylor even gets to sing a bit(!). Sid Silvers and Una Merkel are great in comedic supporting roles, while Buddy Ebsen and his sister Vilma do a couple of dance scenes. There's a horrendous comedy bit with Robert Wildhack as "The Snorer".

I'm no fan of Arthur Freed as a lyricist, but the songs here are halfway decent. "You Are My Lucky Star" (sung a staggering three times throughout the film) and "Broadway Rhythm" are the highlights; both of them would later be featured in Singin' in the Rain. The "I've Got a Feeling You're Fooling" dance number, with furniture popping out of the floor, is strange to say the least. It won the inaugural Academy Award for Best Dance Direction.

Overall, this is an incredibly fun musical. The public obviously liked it as well, as it was the fifth highest-grossing film of the year.

Make that 7.5!

[JohnHowardReid · 7/10 · 18 October 2017]

Copyright 16 September 1935 by Metro-Goldwyn-Mayer Corp. New York opening at the Capitol, 18 September 1935. Australian release: 29 January 1936. 10 reels. 103 minutes.

SYNOPSIS: Waspish newspaper columnist feuds with a Broadway producer. (In actual fact, this was a very clever publicity stunt, but this aspect is never mentioned in the movie).

NOTES: Academy Award to Dave Gould for Dance Direction (the "I've Got a Feelin' You're Foolin' " number — shared with his "Straw Hat" number from Folies Bergere).

Also nominated for Best Picture (lost to Mutiny on the Bounty), and Original Story (lost to Ben Hecht and Charles MacArthur's The Scoundrel).

Eleanor Powell's first starring role in pictures. (She had a guest spot in George White's Scandals earlier in the year).

Number 8 in the annual poll of U.S. film critics conducted by The Film Daily. (David Copperfield was first, followed by The Lives of a Bengal Lancer, The Informer, Naughty Marietta, Les Miserables, Ruggles of Red Gap and Top Hat).

The bright Freed-Brown songs and inventive Dave Gould dances are undoubtedly this movie's main attractions. The story is not too uninteresting, despite its familiarity, but the jokes are weak and their execution is below standard. Otherwise Del Ruth's direction has occasional flashes of sparkle, and technical credits are smooth, with one lamentable exception — the poor sound recording.

Of the straight players, Sid Silvers makes the most impression as Benny's stooge. Taylor tries a song (which is still in the movie) and dance (which has been cut) for the first and last time in his career. So far as dancing goes, Miss Powell as usual is absolutely a wonder to behold, although Buddy Ebsen and sister Vilma certainly run her close.

Despite the picture's comedy and technical shortcomings, the musical production numbers are so marvelously zesty the whole movie deserves an honored place in any film-lover's permanent collection.

NOT BAD BUT IT COULD'VE BEEN BETTER...!

[masonfisk · 6/10 · 13 February 2020]

From 1935, we have another in series of musical films (much like the Gold Digger series) starring Jack Benny. A Broadway producer wants to put on a show but he needs the backing of a woman (who also wants to star) to get the show off the ground. Enter an old friend of the producer from out of town, played by Eleanor Powell, who has the kicks needed for the show but since she's not a name, the producer, played by Robert Taylor, is reluctant to cast her. Meanwhile Benny plays a gossip columnist out to make Taylor's life hell since his paper is hoping for the worst to come out of the show's pre-production, even concocting a French actress to be the spearhead of the tumult but when Taylor's assistant gets wind of this, she prompts Powell to assume the guise of the Parisian thespian to get the part. Hitting all the right notes but even for 1936 feeling a bit long in the tooth, this musical works in fits & spurts w/a lot of the comedic going's-on falling flat since we see the set-up & delivery from a long way off. Notable for being an early showcase for Buddy Ebsen's (TV's Barnaby Jones) hoofing skills (along w/his sister Vilma), this is more of smiler than an all out wellspring of good feelings.

One of the glitziest musicals ever produced.

[jpickerel · 8/10 · 29 March 2007]

The songs in this film are classics. "Dream of You", "Lucky Star" are just two of the best every written. The choreography is what you learn to expect from the likes of Eleanor Powell, Buddy Ebsen and Nick Lang. And you get a rare chance to glimpse the talents of Vilma Ebsen, Buddy's sister. (One of the few negatives of the film is Vilma's lack of acting ability. But this is a very small distraction.)

Robert Taylor is his silky smooth self. Normally easy to dislike in other films, his character (the producer) comes off as likable and honest.

If you are an Una Merkel fan, as I am, she would be reason enough to spend the time watching this picture. She is her adorable self, as Taylor's secretary.

Powell shows up as an ex girl friend from Albany, with stars in her eyes, looking for a break in show business, only to be turned away by Taylor, who honestly believes Broadway is no place for this innocent. Eleanor has a tough time emoting with the veteran actors here, and her shallow acting talent can be a little grating at times. But her dancing and off beat beauty far over ride any real distractions.

Jack Benny has a chance to display an edgier side; one which we are not used to seeing from him, and it both surprising and gratifying to see how well he carried it off.

This is one of those films you can dust off and watch any time you're feeling the need for a shot of simpler, easier times.

broadway melody 36

[mossgrymk · 5/10 · 23 December 2021]

A standout exhibit at the Ho Hum Convention this musical features a couple good songs, good hoofing by the Ebsens and Eleanor P and occasional amusement from Sid Silvers. But in general there's too much half ass Busby choreography, Jack Benny not being very funny and way too much Rat Fink Bob, who I noticed saved his good singing for HUAC fifteen years later. Solid C. PS...Would someone please explain the code to me? 'Cause I just don't get it. You're allowed to have a brother/sister dance team do a number where they're married but a real life married couple has to sleep in separate beds. (Did Will Hays have a thing for his sister?)

Great, great fun

[blanche-2 · 8/10 · 28 November 2006]

Robert Taylor is a Broadway producer and Eleanor Powell is his ex-girlfriend from Albany who wants a chance in his Broadway show in "Broadway Melody of 1936," also starring Jack Benny, Sid Silvers, Buddy and Vilma Ebsen, June Keith, Frances Langford, and Una Merkel.

The plot is thin, as it often is with a musical is all singing and dancing, so who cares. But this plot is extra fun - Benny, as a columnist, creates a fake French star, La Belle Arlette (the name of his cigar) to tantalize Taylor, who can't find a lead for his new show. When Taylor's secretary finds Benny's assistant, played by Sid Silvers, sleeping in Arlette drag with a cigarette hanging out of his mouth, she knows it's a hoax. In the meantime, Taylor refuses to give sweet, unspoiled Parker a chance and escorts her to the train to Albany. Soon afterward, he meets Arlette, a fabulous singer and tap dancer.

The songs include The Broadway Melody." "You Are My Lucky Star." "I Gotta Feelin' You're Foolin'," "Sing Before Breakfast," "All I Do Is Dream of You," "On a Sunday Afternoon," "Broadway Rhythm." "I Gotta Feelin' You're Foolin'" won the Academy Award for best dance direction.

Funny thing about MGM - they let their non-singing leading men do their own singing and dubbed their non-singing female stars. Taylor actually sings in this, and, like Jimmy Stewart, his voice is pleasant enough. Taylor is stunning, no doubt in the film for box office. Powell is fantastic - great dancing - not just tap but ballet - and her comedy is wonderful. Have to say I LOVED both her disguise and disguised persona. For some reason, I much prefer this to "Born to Dance," but don't ask me why. It was also a pleasure to see a young Frances Langford and Ebsen dance with his sister, who would soon retire.

A real treat.

A great treat!!!

[rps-2 · 9/10 · 22 November 2012]

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!

Benny and Taylor duel, Langford sings, Powell and Knight dance,

[weezeralfalfa · 9/10 · 11 June 2012]

Thr first of 3 films of the late '30s that featured the dancing of Eleanor Powell among other things, and were modeled on the '29 film Broadway Melody.Nearly all the musical numbers were composed by the team of Nacio Herb Brown and Arthur Freed, and included the most memorable group of songs in this series of films. In contrast to the subsequent 2 films, Eleanor was not given a male dancing partner for any of her numbers, except when dancing with the Ebsen brother-sister team.

There are essentially 3 big production number. Eleanor, along with a dance troupe, is featured in one, to the memorable "You are my Lucky Star", staged as a daydream by Eleanor, who is trying to convince her boyfriend, played by heartthrob Robert Taylor, to allow her the lead in his new play.This dream has two clearly divided parts. First, she sings(dubbed) alone before an audience. Then, she appears in a white wintery-looking ballet outfit while a male chorus continues the song. Eventually, she joins in a ballet troupe to do a twirling ballet number amid a wintery-looking stage setup that includes a reflecting pond. I thought this was a more visually pleasing number than the somewhat similar ballet number she did in the '40 film.

Eleanor is not in the first big production number, which begins with Mae West-like June Knight singing to Robert Taylor "I've Got a Feeling You're Fooling with Me", which Taylor joins in at times.This is followed by a dance routine by Nick Long and a female dance troupe, in which Long includes some gymnastic stunts, such as jumping over a lineup of dancers, and a series of cartwheels.Long and June finish up with a romantic dance, after which June rejoins Taylor.

The third big production serves as the finale, in which various stars, singly or in combination, are featured singing or dancing to the memorable "Broadway Rhythm". After cute Frances Langford, in glittering top hat and suit, sings this at length, Buddy and Vilma Ebsen do an eccentric dance, followed by a dance troupe,then another romantic dance by Long and June.Eleanor, in sparkling top hat and suit, finishes up with a lengthy tap dance and spins-dominated solo that finally convinces Taylor that she is ready to be his female lead and wife.

The film begins with a brief rendition of "Broadway Melody" by Harry Stockwell, followed by a beautiful rendition of "You are my Lucky Star" by Francis Langford. Next, Jack Benny (as Bert Keeler) does a Walter Winchell radio broadcast impersonation. He will burlesque Walter Winchell's prominent position in radio and newspaper gossip and political commentary throughout the film, aided by his assistant Snoop(Sid Silvers). As such, he acts as a constant thorn in the side of Broadway producer Robert Gordon(Taylor) and his Mae West-like financial backer-romantic admirer Lillian Brent(June Knight).This leads to a running gag of Gordon rushing off to Keeler's office to beat him up, along with Snoop, for publishing the intimate details of his show personnel and plans. Lillian also wants to become the leading lady in Gordon's show, but Gordon is hesitant, as she is an unknown as an actress. Eleanor also wants this role, but is also an unknown. Thus, Gordon jumps at the news that famous French actress: Madame La Belle Arlette, is in town. Unfortunately, this actress is purely Keeler's invention. He keeps everyone guessing where she is, with Snoop masquerading as her unhelpful secretary. Eventually, Gordon's secretary(cute winsome Una Merkel) discovers the truth, and arranges for Eleanor to masquerade as the French actress as a means of getting her foot in the door as Gordon's leading lady.This episode provides Eleanor with the best opportunity in these 3 films to demonstrate her considerable talent as an actress, detached from her dancing persona.Her impersonation of Bill Robinson in "Honolulu" is another indication of her acting talent. A very fussy Madame receives a stage audition, is accepted, but Eleanor appears as herself in the show, so that Gordon can see her talent.

I should mention Robert Wildhack, who appears several times as another running gag, with his inane snoring classification demonstration.Apparently audiences of the time were more amused by this act than most present day viewers. It gave them a chance to to laugh at the commonly perceived tendency of scientists to over intellectualize everything. He would return for the BM '38 film to do a similar demonstration of sneeze classification! Other returnees for the BM '38 would include Eleanor, Taylor and Buddy Ebsen, but not sister Vilma, who retired.

In contrast to the present film, Eleanor would be given a romantic dance partner, George Murphy, in the '38 film, and both Murphy and Astaire in the '40 film. Her dancing much more dominates the '40 film, in the absence of other lead female dancers or singing without dancing. Personally, I have a slight preference for the '38 film. Eleanor made some other films during this period that featured her dancing. I recommend "Honolulu" because she does several specialized dances you won't see in other films, including jumping rope while tap dancing and doing spins, a blackface impersonation of Bill Robinson, and a modified hula.

Broadway Melody of 1936.....The year of Robert Taylor and Eleanor Powell

[thephonzy · 10/10 · 7 January 2008]

Broadway Melody of 1936 is definitely recommended to those who have a kick for Eleanor Powell. This musical is an excellent introduction to the Queen of Taps!!! Not only does Eleanor Powell dance with such terpsichorean display but also manages to act fairly well in all her scenes. Robert Taylor as handsome as ever delights his audience in a pleasant singing voice along with June Knight and Buddy and Vilma Ebsen.

MGM's future relied but not too severely on this film, it proved a success and Eleanor Powell became an overnight star. This musical is a must see for those who adore musicals in their original state.

Broadway Melody-Melodious Tuning ****

[edwagreen · 9/10 · 14 April 2010]

Something was very different in the making of this 1936 musical. Robert Taylor actually does some singing here and he isn't bad at all.

Eleanor Powell shines as his girlfriend from Albany coming to the Great White Way to get into show business.

Jack Benny is absolutely wonderful as the gossip columnist who needs a change of pace from reporting baby births. He comes up with a beauty of a story. His assistant, Sid Silvers, steals the show.

With it all, it's still Powell's picture as the Broadway seeking gal with her fabulous take off of Paris bomb shell Arlette.

O that Broadway rhythm! The dances are marvelously staged and as it's 1936, the cast is young and shines.

The under-rated Una Merkel is great as Taylor's secretary whose up to her ears with the plot to get Powell as Arlette to impress Taylor. Imagine, Merkel would have to wait 25 years after this film to secure a supporting Oscar nomination as Geraldine Page's hopelessly addicted mother in "Summer and Smoke."