Customer Reviews

Broadway Melody of 1940

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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.

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!

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"!

"Broadway Melody of 1940" was MGM's final film in a series that began with the original Oscar-winning movie from 1929/30. After nearly a decade of big time hits with Ginger Rogers, Fred Astaire made the trek from RKO to MGM to star opposite the best tap dancing lady of them all - Eleanor Powell. The two hoofers are ably assisted in the comedy portion of this fun-loving movie by costar George Murphy and the inimitable Frank Morgan (the wizard from "The Wizard of Oz"), here, playing a bumbling Broadway producer. The plot, generic by any standards, has Astaire mistaken for Murphy and falling in love with Powell. What sets the production apart is a series of mind-boggling dance routines capped off by a mesmorizing set piece to the tune of Cole Porter's evergreen hit, "Begin The Beguine".
Warner's DVD suffers from an inconsistently rendered picture. The opening credits are clear as a bell. So is the opening musical number "Please Don't Monkey With Broadway". But then we get into scene upon scene of low contrast, bad shadow and shutter flickering that creates a distraction impossible to overlook and made all the more evident by more than a hint of edge enhancement and shimmering of fine details. Contrast levels are particularly bad during Astaire's solo "I've Got My Eye On You" as well as Murphy and Powell's art decco dance number "I Concentrate On You". The one saving grace on this disc is that none of the above mentioned problems intrudes on the film's climactic show stopper "Begin The Beguine". It remains an untainted spell-binding display of tap dancing from two professionals at the top of their game. The audio on this disc is mono, as originally recorded, but extremely well represented with low background hiss and little distortion.
Extras: A toss-away featurette hosted by Ann Miller and a theatrical trailer are the only things worth mentioning.
Bottom Line: Disappointing - considering Warners usual sterling efforts for classic movies on DVD. Let's hope that this disc, along with "High Society" and "Kiss Me Kate" are flukes and not what is going to become the norm for a studio with such a rich film heritage, worthy of great pains in preservation.

Most of this picture is terrible, but who's complaining? The epically long "Begin the Beguine" is the climax & it makes the whole mess worthwhile. The last 11 minutes are stunning, great beyond belief -- absolute perfection. The sets, the cinematography, the costumes, the orchestrations & the extraordinary routine itself -- everything combines to make "Begin the Beguine" the most ravishing, glamorous black & white production number ever put on film. It's Hollywood at its apogee, the quintessence of silver screen glamor.

A few of the other numbers are fun: the first, "Don't Monkey with Broadway," is clever & pleasant; later on, Fred Astaire's lovely "I've Got My Eyes on You" is also winning: a charming routine that he dances to a delightful, cheerful orchestration. Some other numbers are worth seeing, as well, but "Begin the Beguine" outshines everything else in this picture.

In between the numbers, there's a lot of dreary silliness afoot. Happily, DVD technology makes it easy to skip over the dross & go straight for the gold.

Eleanor Powell was a very odd actress. She was rather pretty & decidedly perky (how much you go for perky will determine how agreeable you find her personality); she was also quite feminine. Why, then, does she speak out of the side of her mouth like a gangster? She often sounds like a distaff Edward G. Robinson ("Dat was SWELL, Johnny, SWELL! Nyah!"). But man oh man, could she dance!

There's little reason to see this Fred Astaire-Eleanor Powell movie except for the dance numbers--and they provide the best reasons in the world. The plot involves a song-and-dance team (Astaire and George Murphy), a Broadway show with a big star (Eleanor Powell), mistaken identity, true friendship and boy gets girl.

Most of the dance numbers, however, are extraordinary, with songs by Cole Porter. Powell sings and taps out "I Am the Captain" in a major production number featuring big sets and lots of chorus boys. She shows why she was a great tap dancer and a major musical star who could carry a movie by herself. Astaire and Murphy do "Please Don't Monkey With Broadway," a fine example of a song-and-dance tap act that involves intricate patterns, humor, even a mock duel. "I Concentrate on You" is a great Porter standard written for the movie. "I've Got My Eyes on You" is a first-rate light romantic ballad that is a solid Astaire solo number. He was a good piano player and shows it with this number. He's backstage and dances with a photograph of Powell over and around props and furniture, and at one point uses a small ball which he seems to have mesmerized to do his bidding. He was always great using objects, and he was great because he rehearsed endlessly. He's got that ball's number. The showstopper, of course, is "Begin the Beguine." It's a big production number that starts with Astaire and Powell in costume, then moves to singers, then moves back to Astaire and Powell. This is the portion that gets the raves. She's in a white dress, he's in a white tux. They're tap dancing on a mirror-finish black floor. Off camera Artie Shaw and his orchestra continues with the song. They start tapping together, move to a challenge tap, then come back together in an extraordinary tap routine that involves them circling each other, throwing up their arms in counterpoint to their tapping and to each other. This part is excerpted in That's Entertainment. Sinatra introduces the excerpt by saying that you won't see anything like it again. I don't think anyone would disagree.

Fans of Astaire might consider getting a copy of Arlene Croce's The Fred Astaire and Ginger Rogers Book. Croce was the dance critic for the New Yorker. She goes through each of the Astaire-Rogers movies explaining the background, how the dance numbers were developed and analysing why Astaire was as great as he was. It's an interesting book.

The art direction in this movie is incredible. It is one of the ultimate "New York as nightlife fantasyland" films (like the 1936 Melody, and Astaire's own "Swing Time"). The DVD replicates the silky B&W images just fine, especially the finale, which looks incredible on a big screen TV. Though Astaire tended to blow this off as "one of those big Metro things", it is a fun movie with a cool Big Band feel and a dream soundtrack, and Eleanor Powell is a revelation--it's too bad she isn't as well known today. Though the silly harlequin ballet doesn't really belong, I'll still take this over the pretentious MGM musicals of the 50s.

As far as I'm concerned, no one -but no one- tops Fred Astaire in dance. But that's not all he did well musically. In fact, his dancing was so superb and was so heralded by his peers and the public that it seems to have blinded everyone's eyes to his underappreciated abilities as a vocalist. The man was not a shabby singer. Most of the renowned songwriters of his day (Irving Berlin, Cole Porter, Jerome Kern, the Gershwins)preferred to write lyrics and tunes specifically for Mr. Astaire because of his knack for phrasing and personalising a song. And let's not forget how capably the man performed with various musical instruments (drums, piano, accordion...).

But I digress.

Most folks would no doubt select Top Hat, The Gay Divorcee, Swing Time or even Easter Parade as their favorite Astaire flick. Me, I choose The Broadway Melody of 1940. The plot is awfully thin, yeah, and could George Murphy be any stiffer? But there's so much else in this film that more than makes up for those faults. There are the Cole Porter melodies: "I Concentrate On You", "Begin the Beguine" and one of my all-time favorite Astaire renditions "I've Got My Eyes On You". The movie also stars Eleanor Powell, one of the most celebrated, talented female tap dancers of the era. Geez, that girl could spin. Those who've already seen the movie know that the highlight comes in the second act of "Begin the Beguine" in the big finale. In that scene, Astaire and Powell perform a routine in which they seemed to be trying to top each other (personally, I thought Astaire won it).

This movie just clicked for me. As per usual for Astaire films, The Broadway Melody of 1940 is lighthearted musical fluff set in an art-deco world where all the world's problems seemed solveable either by a witty, heartfelt ditty or a springy flex of the knee and a cheerful toe tap. And, man, that's just fine with me.

Right after watching this, my wife and I called our (now) 14 yo dancer in to see it. She in turn had her dance buddies watch it the next time they were over. The look of amazement on ALL of our faces as we watched some of the best there ever was worth the price of admission. Like the commercial says; DVD player; $200, DVD; $15, Watching your daughter work ten times harder on her tapping-priceless.

Having watched Broadway Melody of 1929 (the story of two sisters trying to have a break at Broadway with the younger sister winning both love and the spotlight in the end), this 1940 version with Fred Astaire (as Johnny Brett) and George Murphy (as King Shaw) waiting for their break excelled both in terms of the plot and wonderful dance numbers.

The fact that Eleanor Powell (as Clare Bennet) starred in the previous 1936 and 1938 versions certainly helped a lot. The first thing that impressed me is the dramatic build up for Clare to discover Johnny as the real dancing star. How she overheard tap dance nextdoor, watched Johnny sang "I've got my eyes on you" on the piano and danced with her photo was romantic and alluring. Fred Astaire with his honest look and sacrificial personality was the perfect Johnny. And Eleanor Powell portrayed the intelligent and discerning Clare well - she saw through the playful side of her present dancing partner King. Another lovely character was played by Frank Morgan (Wizard of Oz, Shop around the corner) as the aghast agent when King, rather than Johnny (his discovery), took the leading role. The scene when he tried to make it up for Johnny was touching.

Of course the most impressive element is the dancing numbers not seen elsewhere. Clare Bennet's signature acrobatic dance and footwork was evident in her "I am the Captain" sequence, with somersaults and gliding on slopes. But the great finale "Begin the Beguine" is a Metro-Goldyn-Mayer show off - Astaire-Bennet duet in white dancing against a black background, their reflections in the floor-to-ceiling mirrors at the back and on the floor are eye candies. Bennet's flowing dress and its reflection on the floor moved fluidly. The moment you thought all was over, the duo came out in a simpler outfit and performed another great sequence. This time Astaire and Bennet danced side by side, the amazing footwork in the spotlight and the taps on the floor music to the ears. No frills, no distracting pop-ups, just tap dance, Astaire and Bennet danced as naturals and as equals. Bennet is tall, elegant and graceful.

I've watched 5 of Astaire-Ginger movies and they are a perfect match. Yet "Begin the Beguine" took it to the next level - superb, exciting and most gratifying. Frank Sinatra is so right saying "You can wait around and hope, but you'll never see the likes of that again." Musical fans, you simply can't miss this.