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Special Features
- All-new digital transfer
- Ann Miller hosts Cole Porter in Hollywood: Begin the Beguine
- Our Gang short: "The Big Premiere"
- Behind-the-scenes notes
Editorial Reviews
Amazon.com
One of the most famous tap numbers in film history distinguishes Broadway Melody of 1940, the fourth and final installment in MGM's Broadway Melody series. When Clare Bennett (Eleanor Powell, who had appeared in Broadway Melody of 1936 and 1938) needs a new partner for her hit Broadway show, small-time hoofers Johnny Brett (Fred Astaire in his MGM debut) and King Shaw (George Murphy) get their big chance. But due to a case of mistaken identity, King, rather than the more talented Johnny, gets the job, and the girl. Astaire and Powell can't match the chemistry he had with Ginger Rogers at RKO, but she was the best technical dancer he was ever teamed with, and the sense of fun they share is infectious. Their above-mentioned tap duet to Cole Porter's "Begin the Beguine" is legendary, but there are other fine moments as well: Astaire and Murphy's duet "Please Don't Monkey with Broadway," Powell's athletic number with a chorus of sailors "I Am the Captain," Astaire playing the piano and singing "I've Got My Eyes on You," and his and Powell's high-velocity duet "Jukebox Dance." --David Horiuchi
Product Description
Top-flight entertainment highlighted by a marvelous Cole Porter score ("Begin the Beguine"), exciting Fred Astaire-Eleanor Powell dance numbers, and some hilarious skits. Also stars George Murphy, Frank Morgan and Ian Hunter. Other songs include "I've Got My Eyes on You," "Between You and Me," and "I Concentrate on You." 102 min. Standard; Soundtracks: English Dolby Digital mono, French Dolby Digital mono; Subtitles: English, French, Spanish; featurette; bonus short "The Big Premiere" (1940); production notes; theatrical trailer; more. NOTE: This Title Is Out Of Print; Limit One Per Customer.
Customer Reviews
Most Helpful Customer Reviews
100 of 101 people found the following review helpful
Format:DVD
This film is tons of fun!
It's not a masterpiece along the lines of "The Wizard of Oz" or "Meet Me in St. Louis." Some may think it inferior to such MGM glitz as "The Ziegfeld Girl" (which is dazzling and a milestone in the careers of Lana Turner and Judy Garland).
But it is what it is and entertaining and joyful make up a lot of that.
It's the first and only time that MGM paired tap queen Eleanor Powell with Fred Astaire (fresh at MGM from some dazzling films at RKO with Ginger Rogers). Nevertheless, the unique pairing produced one of the great musical moments in film history (more below).
It's also unique in that it's one of the few times Alfred Newman, longtime 20th Century-Fox music department head and master composer/conductor (he's possibly one of the greatest conductors EVER) supervised a musical film at another studio prior to taking over at Fox in 1940. Newman previously supervised the music, along with Roger Edens, for MGM musicals "Born to Dance", and "Broadway Melody of 1936", plus various films for both Fox and Samuel Goldwyn.
The plot, today, seems typically trite for that period. Astaire, a great hoofer in a lousy gig, has a crush on Powell, a big Broadway star. He sneaks in to her shows to see her do a production number when he's not performing with his partner, George Murphy. One night, as he and Murphy are dancing, a bumbling fool of a Broadway angel -- adeptly portrayed by Frank Morgan -- sees the two tappers and gets real excited about the prospect of forwarding Astaire to auditions to co-star with Powell in a new show. Astaire, trying to help his buddy out, and having mistaken Morgan for a bill collector, gives Morgan his buddy's name when they meet. Later, it's Murphy who gets a call to go audition and Astaire helps get him ready. Murphy lands the role and his head swells, and Powell learns that it's Astaire who...and on and on and lots of backstage drama ensues until magic time.
George Murphy is endearing in this film -- both as a wannabe tough guy and as a sensitive slob afraid of failure. Murphy had risen to "leading man" status in a number of MGM "B" pictures, and I sense (rightly or wrongly) a bit of 'make-or-break' urgency in his portrayal that I attribute to his finally getting a leading role in a big MGM musical with Powell and Astaire. To me, he seems more comfortable when he's playing tough with Astaire than he does when he's actually singing and dancing with Powell (who probably intimidated him as she was a much bigger star than he).
Morgan's character has a buddy, too -- a white chinchilla cape that seems to have quite a history on the shoulders of starlets he either dates or encounters during the film.
The music is Cole Porter and it's miraculous.
The overture is amazing. The pacing of the music must have been a great challenge to the musicians that made up the MGM orchestra of the late 30s and early 40s (it was not the world-class outfit that Johnny Green would pull together at the end of the decade). From the opening notes, you get a sense of great urgency -- all the pictures about NYC and Broadway you ever saw all rolled into one hyperkinetic several minutes of music.
Astaire and Murphy totally nail the "Don't Monkey With Broadway"
number and it's a wonderful routine! While the number was meant to be typical of the entertainment to be found in NYC at that time, you still have that paradox of "would Astaire really have been dancing for peanuts"? Just like you had to ask, "Wasn't Liza just too good to be performing in that little cabaret"?
The audition number between Murphy and Powell -- "Between You and Me" -- is MGM glitzy and glamorous with a heavy dollop of kitsch...all the ramps for sliding and jumping and twirling (to show off the costume, dontcha know). The sincere looks between Powell and the suddenly shy and nervous Murphy are well worth a grin.
Eleanor Powell was not a great actress. She was, however, a brilliant tap dancer. Today, some wouldn't have kind things to say about her dancing style, especially going from tap to toepoint. But the fact remains that she was a MAJOR star at MGM and Astaire thought her amazingly gifted (sadly, she didn't have his creative flair for invention). Eleanor danced pretty much the same way in each film, with her signature backdrop-handtouch to the floor. She had a tiny voice, but a beautiful face with a gorgeous smile and she made the world seem magical.
She did everything asked of her...with smiles and determination and earnestness.
The "I've Got My Eyes on You" number Astaire does on the empty stage, using Powell's powder puff as his dancing "partner" is inspired. And he and Powell give us a glimpse of what's coming when they do that little tap number at the outdoor cafe.
But let's be absolutely clear about the merits of this film. Its place in cinema (musical) history is assured with the finest tap dancing display ever committed to film...and possibly ever created for any medium...and that is the "Begin the Beguine" number toward the end of the film. It's a jazzy arrangement and Astaire and Powell -- reflected in a black shiny floor -- tap their hearts out in one of the most dazzling terpsichorean displays of athleticism and art ever seen. It's an AWESOME number.
The earlier artsy stuff is a little too cute (along with the meant-to-be-sincere delivery of lines by Powell in those backstage moments as Astaire worries with Murphy). "I Concentrate on You" has been better served in many other films, so it's operatic presentation here should not be mourned.
But it's more than made up for by the glittering delights and leaps to delirium provided by Astaire and Powell AND Murphy when they're tapping.
The film was a major effort and preserves a moment in film history that will never be equalled.
It's not a masterpiece along the lines of "The Wizard of Oz" or "Meet Me in St. Louis." Some may think it inferior to such MGM glitz as "The Ziegfeld Girl" (which is dazzling and a milestone in the careers of Lana Turner and Judy Garland).
But it is what it is and entertaining and joyful make up a lot of that.
It's the first and only time that MGM paired tap queen Eleanor Powell with Fred Astaire (fresh at MGM from some dazzling films at RKO with Ginger Rogers). Nevertheless, the unique pairing produced one of the great musical moments in film history (more below).
It's also unique in that it's one of the few times Alfred Newman, longtime 20th Century-Fox music department head and master composer/conductor (he's possibly one of the greatest conductors EVER) supervised a musical film at another studio prior to taking over at Fox in 1940. Newman previously supervised the music, along with Roger Edens, for MGM musicals "Born to Dance", and "Broadway Melody of 1936", plus various films for both Fox and Samuel Goldwyn.
The plot, today, seems typically trite for that period. Astaire, a great hoofer in a lousy gig, has a crush on Powell, a big Broadway star. He sneaks in to her shows to see her do a production number when he's not performing with his partner, George Murphy. One night, as he and Murphy are dancing, a bumbling fool of a Broadway angel -- adeptly portrayed by Frank Morgan -- sees the two tappers and gets real excited about the prospect of forwarding Astaire to auditions to co-star with Powell in a new show. Astaire, trying to help his buddy out, and having mistaken Morgan for a bill collector, gives Morgan his buddy's name when they meet. Later, it's Murphy who gets a call to go audition and Astaire helps get him ready. Murphy lands the role and his head swells, and Powell learns that it's Astaire who...and on and on and lots of backstage drama ensues until magic time.
George Murphy is endearing in this film -- both as a wannabe tough guy and as a sensitive slob afraid of failure. Murphy had risen to "leading man" status in a number of MGM "B" pictures, and I sense (rightly or wrongly) a bit of 'make-or-break' urgency in his portrayal that I attribute to his finally getting a leading role in a big MGM musical with Powell and Astaire. To me, he seems more comfortable when he's playing tough with Astaire than he does when he's actually singing and dancing with Powell (who probably intimidated him as she was a much bigger star than he).
Morgan's character has a buddy, too -- a white chinchilla cape that seems to have quite a history on the shoulders of starlets he either dates or encounters during the film.
The music is Cole Porter and it's miraculous.
The overture is amazing. The pacing of the music must have been a great challenge to the musicians that made up the MGM orchestra of the late 30s and early 40s (it was not the world-class outfit that Johnny Green would pull together at the end of the decade). From the opening notes, you get a sense of great urgency -- all the pictures about NYC and Broadway you ever saw all rolled into one hyperkinetic several minutes of music.
Astaire and Murphy totally nail the "Don't Monkey With Broadway"
number and it's a wonderful routine! While the number was meant to be typical of the entertainment to be found in NYC at that time, you still have that paradox of "would Astaire really have been dancing for peanuts"? Just like you had to ask, "Wasn't Liza just too good to be performing in that little cabaret"?
The audition number between Murphy and Powell -- "Between You and Me" -- is MGM glitzy and glamorous with a heavy dollop of kitsch...all the ramps for sliding and jumping and twirling (to show off the costume, dontcha know). The sincere looks between Powell and the suddenly shy and nervous Murphy are well worth a grin.
Eleanor Powell was not a great actress. She was, however, a brilliant tap dancer. Today, some wouldn't have kind things to say about her dancing style, especially going from tap to toepoint. But the fact remains that she was a MAJOR star at MGM and Astaire thought her amazingly gifted (sadly, she didn't have his creative flair for invention). Eleanor danced pretty much the same way in each film, with her signature backdrop-handtouch to the floor. She had a tiny voice, but a beautiful face with a gorgeous smile and she made the world seem magical.
She did everything asked of her...with smiles and determination and earnestness.
The "I've Got My Eyes on You" number Astaire does on the empty stage, using Powell's powder puff as his dancing "partner" is inspired. And he and Powell give us a glimpse of what's coming when they do that little tap number at the outdoor cafe.
But let's be absolutely clear about the merits of this film. Its place in cinema (musical) history is assured with the finest tap dancing display ever committed to film...and possibly ever created for any medium...and that is the "Begin the Beguine" number toward the end of the film. It's a jazzy arrangement and Astaire and Powell -- reflected in a black shiny floor -- tap their hearts out in one of the most dazzling terpsichorean displays of athleticism and art ever seen. It's an AWESOME number.
The earlier artsy stuff is a little too cute (along with the meant-to-be-sincere delivery of lines by Powell in those backstage moments as Astaire worries with Murphy). "I Concentrate on You" has been better served in many other films, so it's operatic presentation here should not be mourned.
But it's more than made up for by the glittering delights and leaps to delirium provided by Astaire and Powell AND Murphy when they're tapping.
The film was a major effort and preserves a moment in film history that will never be equalled.
45 of 46 people found the following review helpful
By S. Copeland
Format:DVD
If you love the movie "Chicago", you will love "The Broadway Melody of 1940". It's got the best tap dance sequences in movie history and a Cole Porter music score. The best dances in my opinion are "Begin the Beguine" and "The Jukebox Dance". This infamous movie musical stars Fred Astaire and Eleanor Powell; two of the best dancers of the 20th century or any century. The story is cute, and typical: boy meets girl, they put on a show and fall in love.
The chemistry between Powell and Astaire is notably tense, but as the movie goes along it gets better. For history buffs: Ms. Powell and Mr. Astaire were perfectionists; outstanding in their craft. Eleanor Powell was the only female dancer at MGM to choreograph all her routines, and Fred Astaire at times did his own or with Hermes Pan. They were in awe of each other; but during rehersals for this movie, they stopped all the formal talk
and got down to hoofing like two hoofers should.
Enjoy this movie...you will NEVER see dancing like this again!
20 of 20 people found the following review helpful
By Miss Mazeppa
Format:DVD
Because it can capture brilliance like this and hold it there forever. If I had to be shipwrecked on a deserted island with a DVD player and only one Fred Astaire musical number, I would want it to be "Begin the Beguine". To me, this is the most outstanding Hollywood production number ever made! Now, you can see it in all its glory in crystal clarity on this excellent DVD.
From the minute you hear the familiar tune being sung by an exotic siren, you are lulled to a breathtaking black & white world of mirrored-floors, starlit ceilings, giant foil palm trees, very deco Egyptian-esque female dancers and Eleanor Powell and Fred Astaire. The number is "told" in two parts: the first being a more Spanish style of dance, with a Latin tempo, and the two dancers dressed in beautiful costumes, especially Eleanor's flowing pleated gown. The second half of "Begin the Beguine" is a total 1940 Big Band swing number introduced by an Andrews Sisters-like quartet. Fred and Eleanor come tapping out in modern day clothes and perform a swing tap number that is truly astounding. Pure fluid movement. What is so appealing is they look like they are loving every minute of it! Their precision and synchronization will leave you breathless.
But wait, there's more! The film also has these musical numbers, too: "Don't Monkey with Broadway", "All Ashore", "Between You and Me", "I've Got My Eyes on You", "Jukebox Dance" and "I Concentrate on You". The story may not be that good, but who cares? There are some special features, notably a short documentary narrated by Ann Miller about the making of the film.
RUN, don't walk to your nearest DVD store and get "Broadway Melody of 1940"!
Most Recent Customer Reviews
5.0 out of 5 stars
Excellent
This is excellent because of Eleanor Powell. This was the only time she was teamed with Fred Astaire and she definitely is on the same level. Her tapping is excellent!
Published 29 days ago by lovehollywood
5.0 out of 5 stars
Broadway Melody of 1940
This was a gift to my mother-in-law for Christmas. The item was shipped on time so I could receive it before the Holiday. She enjoyed it very much. Great value for the price paid.
Published 2 months ago by Pellerito
4.0 out of 5 stars
Dancing is flawless.
Eleanor Powell was such a perfect dancer. She only lacked the chemistry that Ginger Rogers was able to accomplish with Fred Astaire. But, Eleanor had the gams for sure. Read more
Published 3 months ago by Laura M. Pivonka
5.0 out of 5 stars
REAL entertainment! Loved it!!!
There is nothing more enjoyable than a happy-go-lucky, well-acted, well-performed song and dance musical story. Read more
Published 4 months ago by Grace Bartal
5.0 out of 5 stars
Musical Magic
Who could not enjoy Fred Astaire and Eleanor Powell. These two should have been paired in many many more movies, but as fate had it, this was it. Read more
Published 4 months ago by Larry C. Finley
5.0 out of 5 stars
wonderful dancing
an exciting movie about mistaken idenity and true friendship finally revealed. good songs with a good plot and all star cast.
Published 4 months ago by christine fought
5.0 out of 5 stars
Very happy with our purchase.
It was an early Christmas present for my husband and he has already watched it a dozen times or so since we got it. He's very happy. Read more
Published 5 months ago by gail l zartman
5.0 out of 5 stars
The world's best
I have been watching films since when I saw the Jazz Singer in 1929. As a teenager and young adult I saw them all. Fred Astaire and Eleanor are ubelievable perfection. Read more
Published 5 months ago by Pecky
4.0 out of 5 stars
Tap dancing delights
Two of the greatest movie screen dancers of the 20th Century displaying their art: Astaire and Parker. And it looks so easy.
Published 5 months ago by Paul M. Steinle
4.0 out of 5 stars
Great movie....
and since all the other reviews have said it better than I could, I won't go on about what great talent these stars had. Read more
Published 6 months ago by midwestfarmgirl
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