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  • pacificgroove15 July 2012
    Designed partially as a showcase for RKO owner Howard Hughes girlfriend, Janet Leigh. Hughes could afford to import quite a lot of first rate talent in the effort, mostly from best in the musical business MGM. Current or former MGM talent included Leigh, Ann Miller, Gloria DeHaven, and Tony Martin, along with musical number director Busby Berkeley. Leigh proved herself competent as a singer and dancer, and is certainly pleasant in personality and a pleasure to look at.

    In the musical numbers featuring the four "girls", Gloria DeHaven is the standout (sorry Ann Miller fans). DeHaven sings superbly, handles the dancing with aplomb, has just the right mix of charisma, humor, sincerity, and takes a back seat to no one in the beauty department.

    I thought the musical numbers well staged and mostly very pleasant (exception the very banal Pellican Falls school song). The comedy of Smith and Dale, I could live without, if you'll excuse the expression. And Eddie Bracken is too frenetic and broad in his comedy for my taste.

    Though none of the songs became a standard, a couple are excellent; I especially enjoyed "The Worry Bird", and "The Closer You Are" has a gorgeous melody.

    All in all, the film is the equal of many of the lower budget MGM musicals, and that ain't bad at all.
  • Warning: Spoilers
    I'm a sucker for Tony Martin's singing, so I watched this. It stars Martin and some lovely stars: Ann Miller, Gloria DeHaven, Barbara Lawrence, and Janet Leigh. Leigh was the fresh-faced, pretty, vivacious discovery of Norma Shearer. She was a natural.

    The film also features Eddie Bracken, Bob Crosby, plus Charles Dale and Joe Smith (in roles intended for Laurel and Hardy).

    Despite this cast and some humorous and romantic moments, this isn't a great musical. The songs are very uninspired.

    Tony Martin is described in this film as a baritone. You classify singers by sound and not range, and he sounds for all the world like a tenor to me.

    In fact, the Prologue from Pagliacci, sung by Tonio, a baritone, was low for him, and demonstrates that the beauty of his voice was in the upper range. Compare his voice to Nelson Eddy's, a true baritone.

    Leigh plays Nancy Peterson, the star of her home town who leaves to become a Broadway star. She meets three hungry, out of work showgirls: Hannah, Foxy, and Joyce (DeHaven, Lawrence, and Miller) whose show just closed and whose agent did not send them money to return to New York.

    The agent is Lew (Bracken), who is as low level in the agency world as you can get. He lies like a rug and has been promising his great talent, Dan Carter (Martin) a big job. His last lie gets him into big trouble. He has a supposed rep from Crosby tell Dan that he needs to put together an act, and then Crosby will feature him on his television show.

    Lew convinces the deli owners (Dale and Smith) to finance this big act. Of course rehearsals are interminable; Lew has no place to put it.

    Everyone is good. Barbara Lawrence was a highly touted actress who never achieved stardom; she's mentioned throughout the film "The Star" but no matter what they put her in or how often they mentioned her, the public never was attached to her.

    Miller, of course, was a tremendous tapper and featured in some great films. She almost seems to be slumming here.

    DeHaven, who used to live where I'm from with her then-husband, car dealer Richard Fincher, (she married him twice), was beautiful and a good performer. She did everything - Broadway, theater, movies, TV, hosting, game shows. Today she is 90 and one of the last living actresses from the golden age. There must be something in the water here because the city's men attract film stars. Ingrid Bergman lived here also with her husband, Dr. Lindstrom.

    Martin sang beautifully, as he always did, but I could have used better music.

    Leigh was very vibrant, and if her dancing wasn't perfect, she was a delight and sang well. A perfect ingénue.

    The color in this film is so garish it's not funny. Someone said Howard Hughes knew what he was doing - I frankly don't think he knew much about making movies. He knew a good-looking woman when he saw one, and he had knowledge of airplanes. Irving Thalberg he wasn't.
  • Two Tickets to Broadway was to be Howard Hughes's answer to MGM type musicals and in fact he engaged the two leads from MGM, Tony Martin and Janet Leigh. The usual criticism was voiced with Martin being 15 years older than Leigh, but in this case it works because part of the plot is fresh faced Ms. Leigh avoiding being taken in by older Broadway sharpies.

    No memorable songs were written by composers Jule Styne and Leo Robin for this film and that's a pity because if a hit had come out of it, the film would be better remembered. Martin, I'm sure realized no hits were coming out of this and he probably had two of his own songs put in there. He had hit records around this time of the Prologue from Pagliacci and There's No Tomorrow (O Sole Mio). He performs them well.

    I would love to know if Janet Leigh was dubbed and by who. I don't believe she ever sang in any other film. For that reason I suspect a dubbing if for no other reason that she wouldn't want to be going up against a singer with as powerful a voice as Tony Martin.

    Ironic that two of the players in this Ann Miller and Janet Leigh died this year. Nobody had to worry about dubbing Ann Miller in any department. She performs her big number, Let the Worry Bird Worry for You in classic style.

    Bob Crosby who by that time was known as the afternoon Crosby because his radio and later TV show came on in the afternoon unlike his legendary brother. Being the Bing Crosby fan that I am, I have a soft spot in my heart for his Let's Make Comparison where he's comparing himself to brother Bing. Bob led a pretty good jazz band at that time and had a modest career in B films.

    Eddie Bracken who was so good in his Paramount films was cloying and annoying in this one. His machinations trying to get his clients on the Bob Crosby show were downright stupid here and not terribly funny.

    The ending though was an unintentional hoot. Janet Leigh comes from Pelican Falls, Vermont and early in the film she's given a send off by the high school band performing their alma mater song. I thought the ending with the high school band, interrupting Bob Crosby's broadcast to reprise their high school song was ridiculous. Was that Howard Hughes's idea? Well he didn't do as much damage here as he did on The Outlaw.

    The film had a lot of potential and it could have been done better even at RKO, but I suspect Howard Hughes meddled a bit too much here.
  • Tony Martin was the only singer/actor who I EVER had a crush on, so I totally disagree with the reviewer who said that he's only fit for gangster roles (REAL women don't want a man who looks pretty like a woman)! I graduated HS in 1955, so I was younger than Janet Leigh in 51, but I loved his big hit "I get ideas". As to the film, he did not look as good as I remember in publicity pictures (there was not the extent of distribution back then so I do not remember ever seeing him in film). I agree that his acting was not superb, but not much worse than Gene Kelly, tho' the dancing could be better. In those days the studios tried to make their people as versatile as possible. I think I'll save this one on DVD just for old times sake (of my old crush) because (with that "Big Chief Hole in the Ground" musical number), it will probably not get much exposure in the future. It is not at all PC (it's almost offensive even to me). It is surely offensive to native Americans.
  • Old-fashioned without being embarrassing, "Broadway" features Janet Leigh as a sparkling small town lass who moves to the Big Apple to work in theater, falling in league with other young hopefuls and staging their own revue. Not too far-fetched(Carol Burnett did the same thing in real-life)and Janet bounces happily throughout. Not really remarkable, but a nice time-filler. Bob Crosby pokes fun at older brother Bing in the film's most self-conscious moment. **1/2 from ****
  • Prismark1013 August 2016
    Howard Hawks and RKO combine to make a MGM musical but fails as this musical lacks pow wow even though Busby Berkeley did some choreography.

    Janet Leigh plays Nancy Peterson who leaves her small home town of Pelican Falls to go to New York and make it big on Broadway. She bumps into three out of work showgirls who were on tour with a flop show and now try to get back to New York and they want to give their agent a piece of their mind for leaving them stranded.

    The sleazy agent is Lew (Eddie Bracken) who always ducking and diving. He promises a lot and delivers little. He wants to keep hold of his number one talent Dan Carter (Tony Martin) from quitting show business by promising him that he will get him a spot on a television show with musician Bob Crosby but it is more lies. Carter meets Peterson over a suitcase mix up and he teaches her not be taken in by shysters but he himself gets roped in by his agent's outlandish schemes.

    The film drags despite a few bright song and dance numbers from the showgirls. A lot of the songs are a dull and the deli store owners and their shtick is interminable.
  • Warning: Spoilers
    After years of first reading of this movie in a Laurel & Hardy filmography book (They were supposed to appear in this but Stan's illness after Atoll K prevented it. They were replaced by Smith & Dale who I had never seen before.), I finally watched this on a DVD I checked out from the local library weeks ago. In summary, it was quite enjoyable on its own merits though it seemed a bit long during the last 30 minutes when a bit too many numbers were being performed. Still, I liked Tony Martin's singing, at least when he went for more pop tunes though I was amused when he performed "There's No Tomorrow" which would later become Elvis Presley's "It's Now or Never"! Also pretty entertained by Janet Leigh's singing and dancing. Interesting fact: One of Ms. Leigh's early films was a straight part in Words and Music which was supposed to be a bio of Rodgers & Hart where Mickey Rooney performed "Manhatten". Here it's performed by her and Martin with some added lyrics mentioning "South Pacific" which was a current musical by Rodgers & HAMMERSTEIN! She's not bad doing either singing or dancing which was choreographed by the legendary Busby Berkeley. The best dancing is by Ann Miller, of course, every time she spins and taps up a storm! Eddie Bracken and Gloria DeHaven are the comic couple and they're quite funny throughout. I also liked a funny number concerning Bob Crosby and his famous brother who appears as a mannequin but then comes to life at the end though we don't see if that actually was Bing by that point though it certainly looked like him from behind! As for Smith & Dale, well, I thought they were funny enough though part of me can understand why they didn't make too many movies during their lifetime. In summary, I mostly enjoyed Two Tickets to Broadway. P.S. That Indian number at the end is definitely not politically correct today!
  • A run-of-the-mill musical with Tony Martin and Janet Leigh in the lead roles. Eddie Bracken provides semi-comic relief. You can see the hand of producer Howard Hughes in this one, with its profusion of showgirls and, for 1951, a heaping helping of skin(albeit, G-rated by today's standards).
  • Warning: Spoilers
    Reading Kim Newman's Facebook page,I found out about a rare Musical that had recently aired on the BBC.Finding the only DVD edition around to be a pricey Warner Archives version,I decided that it was the best time to book two tickets.

    The plot:

    Failing to get attention at a show in Vermont,a girl group (whose agent is Lew Conway) get on a bus for New York.Joining the group in their search for fame, Nancy Peterson discovers that she has accidentally swooped her suitcase for Dan Carter's (who also has Conway as an agent) suitcase. As Conway and Carter meet up to correct the mistake,the conniving Conway starts making plans on how to give all his talent their 15 minutes of fame.

    View on the film:

    Whilst Busby Berkeley delivers the dance numbers with a fourth wall breaking touch of class, (with one sequence involving a Bing Crosby mannequin!) director James V. Kern makes sure that the rest of the movie does not miss out on the glitz,with expertly handled,ultra- stylised crane shots flying along on Peterson's ride to the bright lights. Whilst the screenplay never goes in-depth with the characters,writers Sid Silvers/Hal Kanter & Sammy Cahn keep up with Kern's snappy pace with Carter and Peterson's light comedic dialogue darting across the screen.Despite lacking a big, memorable Musical number,the writers make up for it with slick satirical shots on Hollywood, (and the threats from the TV industry)that are whisked with the playful romance between Peterson and Carter.

    Unintentionally crossing paths with Peterson, Tony Martin gives a very good performance as Carter,whose rather manner behaviour Martin delivers with a real relish. Lavished with an expensive production by her would-be lover Howard Hughes, (whose attempts to start a romance made her skin crawl) Janet Leigh gives a great performance as Peterson,with Leigh rubbing doubt on Peterson's starry eyes,as she tries to get two tickets to Broadway.
  • Warning: Spoilers
    Pelican Falls Vermont seems to have a pride that surpasses Broadway conventions. The town band seems to think that they can interrupt the Bob Crosby Show on television (without being stopped by security) to honor through their silly high school sing one of their own who just half an hour was ready to give up her dream for Broadway success. She's Janet Leigh, playing a former majorette named Nancy who just months before got a huge send-off from the same band and chorus who rhymed "Mary Martin" with "Kindergarden" and "Merman" (as in Ethel) with "German".

    Ironically, the composer of that song was Jule Styne who later wrote a few songs for Ms. Martin for "Peter Pan", and of course, wrote the music for Merman's final Broadway smash, "Gypsy". This Broadway of two male vaudeville performers (Smith and Dale) who run a delicatessen and argue like an old married couple has chorus girls returning from an out of town engagement on a show boat (which sunk) and a hotel for women in show business where the ladies act out a day in the city to the tune of Rodgers and Hart's "Manhattan" (which includes, ironically, new lyrics mentioning Rodgers and Hammerstein's "South Pacific"). Any comparison between this and even early 1950's Broadway reality as as close to life as Disney is.

    The musical numbers range from corny but fun ("The Worry Bird") to downright tacky ("Petrolium"). Ann Miller gets to do her traditional tap-and-twirl, while Gloria DeHaven is a bit less dainty than normal as the girlfriend of sleazy agent Eddie Bracken who lies to singer Tony Martin and the other girls about getting them a gig on the Bob Crosby television show. Barbara Lawrence, the fourth member of the team, has no other purpose than to fill out the female foursome. Pretty Technicolor is a major plus, although the television show finale, which would be black and white on the air, seems far too lavish for an early network variety show. Bob Crosby's spoof of brother Bing ("Let's Make Comparisons") is a wonderful novelty number, and a humorous acrobatic sketch is another highlight. Ironically, like the Russian ballet in "Bye Bye Birdie" (starring Ms. Leigh"), the acrobatic number is victim to foul play by Bracken so the group can get on the air without having to wait a week.
  • f11115127 August 2008
    The initial commenter wondered if Janet Leigh was dubbed in this film since he couldn't remember her singing in any of her other pictures. Well, she did sing in other films, most notably in "Bye Bye Birdie", and "My Sister Eileen", and while she was not known as an accomplished singer or dancer, she managed to give fairly good performances in both films and to demonstrate a competent ability in numerous guest appearances on variety television programs of the '50's and the '60's. I hope this will help to answer your questions. You might also look at her work in "Rogue Cop", where she plays a singer, and "Walking my Baby Back Home", a musical she made with Donald O'Connor, as well as "Fearless Fagan" where again, she is a singer/entertainer. She speaks at length about her musical experiences in her autobiography, "There really was a Hollywood", and gives a great accounting of her early career.
  • Howard Hughes's line up of acts is basically his way of responding to the other studios' efforts to do the same thing. There are echoes of the Garland/Rooney cycle of musicals from MGM, with a spice of Fox glitz and the good ol' feelin' of well-being from Warners' Doris Day vehicles of a similar period.

    The only snag is that Hughes did really have any big stars on his payroll. What TWO TICKETS TO Broadway presents is a panoply of would-be leading lights, youngsters on their way to stardom, and imitations of more famous originals such as Bob Crosby who does a specialty number with a cardboard cutout of his more illustrious sibling Bing.

    Having said that, some of the cast give winning turns. The triumvirate of Janet Leigh, Ann Miller and Gloria DeHaven adumbrate a similar conception in Fox's GENTLEMEN PREFER BLONDES (1953); and they acquit themselves thoroughly well in the song and dance sequences, with Miller getting the chance to show off her famed legs. Tony Martin croons his way through one or two numbers, to the delights of hordes of adoring bobbysoxers. Eddie Bracken camps it up in a largely extraneous comedy role.

    Yet perhaps the most interesting aspect of James V. Kern's all-star line-up is its inherent structural contradiction that tells us a lot about the contradictions of movie capitalism at the time. The film begins in Garland/ Rooney fashion by suggesting that, given time and talent, anyone can make it big so long as they have the drive and energy to do so, even if they originate from small-town and America and have to travel to New York by Greyhound bus. This is precisely what Leigh, DeHaven and Miller try to do.

    Yet once they get there, they find that they are very much at the agents' and radio program-makers' mercy. They have to alter their work to suit specific formats, and compromise at every opportunity in line with their employers' requirements. We wonder at this point whether Broadway - like Hollywood - actually values originality, or whether or not both institutions would be much happier with carbon copies of tried and tested formulas.

    The film does not attempt to answer the question, of course (why should it, when it was planned as a joyful musical), but it reveals an undercurrent of cynicism about the potentially adverse effects of money-making and success.
  • MovieKen15 April 2020
    I'm not a big fan of musicals in general, so I tend to like only the really good ones (Guys and Dolls, Anchors Aweigh, Singing in the Rain, American in Paris, etc.). I thought I'd give this a try because I usually love Janet Leigh movies. However, I found this film to be rather mediocre.

    First what Iiked. Janet Leigh and the supporting cast did well with their roles. Some of the songs were kinda catchy and I enjoyed several of the performances. Tony Martin really sings well, and Eddie Bracken is his usual dopey self.

    Now what I didn't like. Tony Martin can't act. Or at least he couldn't in this movie. Plus I didn't like his character at all. He seemed way too old for this role. He looked old enough to be Janet Leigh's father - and he acted like it too. It was very creepy and I didn't care for it at all.

    I didn't like the deli owners, either. I found them to be annoying and I was tempted to fast-forward all of their scenes. The movie plot was rather weak, as is usual in musicals. But this one especially seemed like a disjointed collection of song and dance routines. For me, a good musical is one that can weave songs and dances into the narrative more organically. This didn't do it for me.

    I thought Bob Crosby's number making fun of his more famous brother Bing was amusing, but honestly I thought it detracted from the flimsy storyline in the first place. I probably would have left it out of the movie entirely.

    And near the end of the film, there's a rather insensitive (if not offensive) routine when the main characters dress up like Native Americans and portray them in a stereotypical manner. I didn't care for this at all, and I'm sure there will be many people who would find it to be offensive. True, this was made in 1951 when such portrayals were not seen negatively, but I still didn't like it. If you are offended by such content, you shouldn't see this movie - or you should at least fast-forward the film through this part.

    Overall, I give this a 5/10, though I think it's probably closer to a 4.
  • I hated this film when I first saw it, perhaps thanks to a truly embarrassing performance from Tony Martin (a good singer but not the world's greatest actor).

    Janet Leigh, Gloria de Haven, and Ann Miller want to make it big in show-business, and come through their vaudeville roots to stage a revue that they hope will be taken up by the Bob Crosby Show. There's some pretty good musical numbers along the way but the film creaks and drags badly in some sections (although the girls are consistently good). Crosby has a number all about 'brother Bing' which is fun. And there's a good support role from Eddie Bracken.

    On subsequent viewings I have warmed a bit more to 'Two Tickets to Broadway'. It isn't all bad and there are certainly musicals out there which are worse. But I still can't watch Tony Martin in a number in Indian dress without cringing ...
  • Most musicals are quite preposterous and unreal and this one is no exception. Despite some good singing and dancing, this one is pretty lame. Lots of mistakes and unbelievable events. When Tony is at the boarding house to pick up his missing suitcase, the suitcase changes positions throughout the scene. When he leaves he doesn't take his suitcase???? When he and his girls are summoned at the last minute to go on Bob Crosbys TV show, how in the hell could they get all those costumes and orchestrations and fancy sets in such a short time. It would take days to set everything up. And it's very mean spirited of the Eddie Bracken character to lock up and hide the act that was supposed to go on. Just a few of the many complaints about story lines and realities. Oh, Its a musical and anything goes. Impressed with Janet Leighs singing and dancing talents.. Always nice to see Ann Miller do her routine that she has done in all her films. Eddie Bracken is terrible and the two delicatessen characters are worse.
  • I was getting ready for work this morning, but almost didn't come in thanks to this movie being on TCM. This was a totally silly, frothy, fun movie to watch, and was reminiscent of "Bye Bye Birdie" (at least in the opening) and a thousand other movies that involve a small-town girl moving to the Big Apple to pursue her dreams of being a Broadway star.

    Tony Martin was a revelation to me; I don't think I'd ever heard of him or heard his singing, but I thoroughly enjoyed his performances, solo and with "his girlfriends". Janet Leigh was a solid choice for the ingenue. Bob Crosby looked and sounded like a slightly more famous man with the same last name, and even did a song poking fun at that.

    :LIke I said in the title, you'll never mistake this movie for "Citizen Kane", but it's a funny take on the girl-makes-good genre.
  • Warning: Spoilers
    I figured, "How can anything with Janet Leigh be bad?" and I wasn't wrong. This musical has lots to recommend it.

    The Pelican Falls sendoff of Ms. Leigh's Nancy Peterson is a rousing bit of old-time Americana. And who knew that Janet could twirl so well? (My late mom had been a majorette and would have savored that scene.)

    I enjoyed Tony Martin's wistful love song -- "So kiss me and hold me tight...There's no tomorrow, there's just tonight" -- to a backdrop of rapt children. Exquisite.

    I didn't mind the Eddie Bracken character, as have some earlier reviewers. (Could he have inspired Woody Allen's Broadway Danny Rose?) His "Oh, well, one problem at a time!" comment is one that we can all live by.

    A couple of other nice lines:

    "I think I'll resign from the human race!"

    "There's always a guy who wouldn't -- who does."

    I also liked the performance of the Charlivels, who expertly meld acrobatics and dance. The bit with the cigar-puffing circus barker was beyond cool.

    I am the last to be politically correct, but I understand other reviewers' reservations about the Indian number. I think the sequence pays less respect to women than to Native Americans, however.

    This colorful, zany film came out only six years after World War II ( and five before my birth). I can see how fare like this might have provided a little respite after humanity's darkest moment.
  • I enjoyed the story to "Two Tickets to Broadway" and I really enjoyed SOME of the music. But the problem is that the studio poured nearly a dozen musical numbers into the film...more than most musicals. And, had they deleted a few of the numbers (particularly the godawful American Indian one near the end), it could have easily earned a 7...possibly an 8.

    Lew (Eddie Bracken) is a small-time agent whose client is the very talented Dan Carter (Tony Martin). But Lew's been able to accomplish nothing for Dan nor for his other clients, various ladies at a boarding house for Broadway hopefuls. So, he does what any good agent would do...lie his head off and make promises he'll likely never be able to keep. But how long can he keep doing this until the truth is discovered?

    Tony Martin is excellent in the film....with a gorgeous voice. My only complaint is casting Janet Leigh as his love interest, as when the film begins she's just graduated high school. Why is this a problem? Well, Martin is 38 and sure looks every bit of it...making the relationship seem a tad creepy. I don't blame him or Leigh for this...just the script and casting department. Leigh is also fine, though I am pretty sure she's not actually doing any singing, as she never was known for musicals and had her voice REALLY been this good, surely they would have put her in more musicals. Smith & Dale are also very good in comic relief...and given the style of comedy, they probably worked out better than the originally planned team of Laurel & Hardy, who were just too old and sick to perform in this film.

    No, everyone was fine...but the songs were just too often, often very bland and the Indian song, well, it'll surely make the more PC folks out there heads explode! Worth seeing but far from as good as it should have been.
  • First of all, to those upset about the Indian number - get a life. This was '51. Don't take it so seriously - and keep away from pictures with Mantan Moreland, etc.

    Then there are the criticisms about Tony Martin. He has the dark look, so some people automatically assume he should portray gangsters. Prejudice, prejudice against dark-haired people. Tsk.

    Martin sang grand opera in this movie, pop songs, novelties and did beautifully with all of them. Not all of the music was memorable, but even the songs that might be described as mediocre were beautifully presented. The girls were attractive and personable. Miss Leigh was a doll and, yes, she did her own singing and dancing.

    No one can knock Ann Miller. What a great talent. Speaking of talent, The Charlivels were outstanding as a high wire act, and as dancers.

    Interesting casting was Max Baer's bro, Buddy, also a boxer, as a tough swabbie.

    The Bob Crosby number, where he compares himself with brother Bing was very well done - real life situation. The one thing I missed - I wish his band had played some of its trademark Dixieland. OOoops - is that word offensive to northern ears? The plot was ancient but, who cares. Howard Hughes put this together and came up with a fun, pleasant movies.
  • I found this movie quite enjoyable and entertaining. Janet Leigh and Ann Miller don't disappoint and neither do the rest of the cast. Basically this movie is about trying to break into show business after vaudeville. There's plenty of singing and dancing. There's one number that includes them portraying American Indians. If you're "offended" because it's considered politically incorrect now, then don't watch! Please save your criticisms and just don't watch so you won't be "offended" ! If you just want to be entertained and even laugh at a couple of parts, the do watch. This movie was made to entertain, and it does.
  • Warning: Spoilers
    A rare classy RKO musical, post Astaire and Rogers, that seems more like a minor MGM musical., with mostly borrowed stars. Tony Martin, as Dan Carter, serves as the alpha male who eventually collects a 'harem' of 4 beautiful young women, in Janet Leigh, Gloria DeHaven, Ann Miller, and Barbara Lawrence. Noted choreographer and occasional director Busby Berkeley was 'stolen' from MGM to direct the musicals, the most impressive(in my opinion) being Janet's beautiful ethereal dance while Tony sang "Are You a Beautiful Dream?"..........The Soundtrack credits at this site does Tony a grave injustice, crediting him with only one solo, whereas I counted at least 6 solos or duets! This included his biggest career hit "There's No Tomorrow", released the year before. Overall, Tony was the most impressive I've seen him as an actor, with lots of screen time. He is often criticized as being a wooden actor, hence was often included in films as just a singer. But, I saw none of this here..........Most of the new songs were composed by the team of Jule Styne and Leo Robin. James Kern, former attorney, singer, and screenwriter, was the director, and mostly specialized in B pictures and TV series. I don't think we can characterize this as a B movie, being close to 2 hours long, despite some of the stars being 2nd tier A movie stars. The film did poorly at the box office, perhaps mainly because of sleepy-eyed Tony's poor reputation as an actor, his 'heavy' looks, and his being a relatively obscure movie singing talent.........Gloria DeHaven had matured in looks since her early and mid-'40s films, so that I barely recognized her. Behind Janet, she was 2nd in the pecking order of Chickamauga chicks. She is cast as the complaining girlfriend of comic Eddie Bracken, who has a prominent role as Tony's unreliable, blow hard, agent. Gloria and Eddie get to sing one comical song together...........Next inline is the beautiful, charming, and talented MGM tapdancing star Ann Miller, much underrated as a potential star actress, instead of being just a dancing specialist, or second lead. She gets to exhibit her tapdancing in a scene where the girls are frolicking.........Lastly, there's young Barbara Lawrence, who neither gets to sing nor dance solo. She never really caught on with audiences despite a number of opportunities and striking looks...........Near the beginning, Janet, along with a high school glee club and band, sings "Pelican Falls": in honor of her recent high school, and as a sample of what she hopes to do on Broadway. She meets the other 3 women, who are angry with Brachen's character, on the bus from Pelican Falls to NYC,..........Janet meets 40ish Tony: a discouraged wanna be Broadway singer, who has packed his things, ready to leave for home. At the depot, their 2 suitcases get mixed up. Even after the suitcase Tony has is opened, they still manage to walk off with the wrong one! At least, they find each other and get things straitened out. They get to know each other, and soon a relationship develops. Unlike Gloria and Eddie, once they form a connection, they are a steady pair. Also, this is unlike the primary romantic pair in many musicals, where the pair have big ups and downs to generate drama. Incidentally, Janet married her 3rd husband: Tony Curtis, the year this film was released............Janet's character has a misunderstanding with Bob Crosby about the performance of 'the gang' on his show. She runs, crying, to her room, packs her bag, and boards a bus for home. Fortunately, Brachen gets on the bus before it leaves, and tells her that she is soon due to go on stage on Crosby's program. She doesn't believe, so they argue while the bus is rolling. Finally, she sees a TV with Tony singing, and then believes. There follows pandemonium as they try to get the driver to turn the bus back to NYC. Evidently, they succeeded, because soon we see her and the other girls dressed as Indian maidens, dancing around as Indians tend to do. Tony is dressed as an Indian chief, singing "Big Chief Hole-in-the Ground", recounting that he used to be a flop with chicks, until oil was discovered under his section of reservation land. Now, women flock to get to know him. He invites the 4 Chickamauga chicks into his tepee with himself. Soon we see them emerge, each with a papoose strapped to their back! Yes, Indian chiefs are often allowed several wives. Several reviewers have a problem with this skit, but I don't.........I should mention the 2 supporting actors Charles Dale and Joe Smith, who formed a comedy team while functioning as deli meat cutters and servers, at a deli frequented by the others. One of them agreed to loan the gang money to get started on their program...........Also, I should mention the Charlivel team of trapeze artists and gymnastic dancers and tumblers, who provided a break from the music. At their conclusion, Bracken directs them to the boiler room and locks them in, convincing Crosby to delay their televised performance in favor of 'the gang's' performance today.........Presently available on a DVD.
  • This is not a bad musical. It's also not a good one. Tony Martin has a solid - yet unexciting - singing voice, and Janet Leigh - of course - cannot sing OR dance. So she was the perfect choice for a musical? It all drifts along without offending or titillating (now and then touched by a nice bit from Eddie Bracken, or the "Jewish" banter of the restaurant owners), and one can watch it or not.

    And then Martin appears as "Big Chief Hole-In-The-Ground" in a musical number that should be profoundly repulsive to modern audiences. Its caricature of reservation Indians as being somehow rich, due to oil being found on the land, is quite offensive when one realizes that many, many times entire tribes were moved off their land simply because it suddenly became valuable. So this bit is no longer amusing in the least. It wouldn't be any great problem (given that such casual racism pops up in a lot of older films), except that the film is so near to being empty of interest, that this concern - at least for this viewer - is downright horrifying. All the film's other problems (Janet's non-musicality, a general lack of wowser tunes, the presence of that "Dancing Loutess" Ann Miller, and a drifting filmic sensibility) fade to nothing beside this large hole in the "entertainment."
  • Warning: Spoilers
    TWO TICKETS TO BROADWAY looks like an MGM musical, but it isn't, despite stars like Ann Miller, Tony Martin, Janet Leigh, and Gloria DeHaven. Rather, it's a Howard Hughes production for RKO, in color, and with no expenses spared. Musical has Vermont girl Leigh going off to Broadway to be a star in a big production number called "Pelican Falls." That's the one and only ticket to Broadway (not two) in the film. On the bus she meets three weary chorus girls (Miller, DeHaven, and Barbara Lawrence) heading back to New York after their stinker of a show closes and leaves them stranded. Their inept agent, Eddie Bracken, had no money to send them. Meanwhile, another of his clients (Martin) is about to leave town because he can't get a job. The gathering spot is a deli run by the bickering Smith and Dale comedy team. Bracken hits on a plan to hire an actor to pretend to be a TV producer who's interested in hiring everyone for a show, so Bracken wheedles the up-front money from Smith and Dale to create an act. Eventually it all comes to a head when they find out they've been tricked but the TV host (Bob Crosby) hires them anyway because they're so swell.

    Leigh, who was supposedly Hughes' girlfriend at the time, gets a chance to sing and dance, but Miller outshines everyone else. DeHaven gets a few songs, but Martin gets the majority of them. Among the supporting cast are Taylor Holmes as the fake agent, and among the chorus girls are Joan Shawlee, Joi Lansing and Vera Miles. Interesting to note that the bickering deli partners were originally to be played by Stan Laurel and Olivier Hardy, but one of them was ill at the time of shooting.

    Several of the song numbers are duds, but the jaw-dropper is "Big Chief Hole-in-the-Ground" in which Martin plays an Oklahoma Indian who hits oil and gets rich, allowing him to have his four squaws quickly ditch their moccasins and don high heels, minks, and glittering jewels, and then get pregnant (each one carries a papoose on her back).