Broadway Melody of 1940 (1940)

Copyright 9 February 1940 by Loew's Inc. A Metro-Goldwyn-Mayer picture. New York opening at the Capitol: 28 March 1940. U.S. release: 9 February 1940. Australian release: 4 July 1940. 11 reels. 9,144 feet. 101 minutes.SYNOPSIS: Astaire and Murphy play a couple of struggling song-and- dance men in New York. Their act is seen by a big theatrical agent who picks out Astaire to be the dancing partner in his big new show opposite the big star, Powell. Through an accident of mistaken identity Murphy gets the job instead, but by the end this is straightened out and Astaire gets not only the part but, apparently, the girl as well.COMMENT: Fine dancing, good songs, silly story. True, Frank Morgan conjures up a mildly amusing portrait, but the romantic triangle with the principals is not only dull but does them all — particularly Astaire — a distinct disservice. Judicious cutting would certainly help. We're surprised that editor Sewell left in so much rubbishy padding between the musical numbers. Taurog's middle-of-the-road direction lacks any sparkle and finesse that might have lifted the boringly straight script into the realm of passable entertainment. Fortunately, once they put on their dancing shoes, Astaire, Powell and Murphy kick up some suitable storms!This was the last of The Broadway Melody series. It would seem to promise much in the union of Astaire and Powell (with George Murphy thrown in as a bonus) — plus a Cole Porter score — but alas in dancing terms it delivers somewhat less than expected. Too much attention is paid to the trite surrounding story.

With that quote Sinatra summed Broadway Melody of 1940 up perfectly. The 30s, 40s and 50s were especially timeless for musicals, and in the past twenty years or so(though this may seem unfair) we haven't seen stars in the same ilke as the likes of Fred and Ginger, Eleanor Powell, Cyd Charise, Judy Garland and Gene Kelly to name a few. The story for Broadway Melody of 1940 is familiar and very predictable but everything else dazzles to the extent that it doesn't matter so much, even with the story Broadway Melody of 1940 is from a personal point of view one of the best film musicals of the 40s. The sets and costumes are polished and glossy in a beautiful way. The Begin the Beguine set is particularly striking, while the photography captures everything lovingly and with care. The songs are like really juicy bon-bons with catchy melodies and clever lyrics, I Concentrate On You is one of Cole Porter's best ever songs and sung with such a wonderful richness by Douglas McPhail. They are helped too by the outstanding quality of the choreography, the clear standout is Begin the Beguine, which is one of the greatest dance routines of any Fred Astaire film. But let's not dispute how seamlessly sophisticated Please Don't Monkey with Broadway is or how wittily choreographed I Concentrate on You is. The dialogue is funny and warm-hearted and it is directed with a lightly assured touch. The three lead performances carry Broadway Melody of 1940 wonderfully. Fred Astaire is still his usual likable and sweet-natured self and dances with his typical as well as unique athleticism and elegance. Eleanor Powell is charming enough and dances a dream, some of the best tap dancing on film is courtesy of her and apparently Astaire was intimidated by her for that. George Murphy is terrific as well, not the finest of actors but his terrific singing and especially dancing more than make up for it. The supporting cast do well too, with an amusingly bumbling Frank Morgan. In conclusion, once you get past the story you'll find an absolute treat in Broadway Melody of 1940. 10/10 Bethany Cox

Here i go again, rhubarb, hubarb. I don't have a lot to say about this movie. So I'll have to waffle on again here about nothing.lively film about a dance team who have to break up when one of them is offered better things. The thin plot is just an excuse for the wonderful dancing from the three principals.It's not a classic, but t's worth watching. I enjoyed it, especially for the dancing. Did anyone else like the dancing in this movie or was it just me.Anyway blah blah, blah, summer wishes, ice cream, jolly roger, nuts. favourite jolly gumdroms, mixamatosius. yupee , corn dolly, Is that enough o write, i hope it is. If i can't

A fine black-and-white musical with a weak script, great dancing by Eleanor Powell and Fred Astaire, and songs (mostly) by Cole Porter.It's the only film that Powell and Astaire made together. They really didn't get along together that well. Astaire had always been sensitive about having partners who were nearly as tall as he was, and Powell fit the template. She claimed to take baths full of soap bubbles every day hoping she'd "shrink or something." But one suspects that their lack of magic together had more to do with their different styles than their different altitudes.Powell was trained in ballet but her specialty was tap. Astaire came out of ballroom dancing. And both were used to being the stars of their vehicles. Powell was a formidable partner and a spectacular soloist. She seemed made of some super-flexible flesh-covered metal. Her fans, kicking her leg high and swerving it before her in a semi-circle, seemed to reach for the stars. And she seemed to move herself through brute muscular force, whereas Astaire was narrow-shouldered and skinny and seemed to float. In "Broadway Melody of 1940," Astaire used only one lift, perhaps because he couldn't get Powell off the ground.You can't help contrasting Eleanor Powell with Ginger Rogers. Powell was by far the better dancer, but not nearly as good a partner for Astaire. There was something winsome about Ginger Rogers, even when she was being sarcastic. She seemed tiny, blond, frangible, and excelled in her duets with Astaire. (In all their movies together she was only given one solo.) And she seemed radiant next to Powell, although Powell was a good-looking woman. I wouldn't have minded taking Eleanor Powell out to dinner at a fancy French restaurant. I'd have minded even less if she'd have taken me out, although, granted, she was intimidating enough, even without picking up the check. There's something else too. Rogers strikes me as the better actress. You can't really watch Powell with her big grin and theatrically modulated voice and believe that you're watching Eleanor Powell, the person, whereas it's possible to believe that Ginger Rogers just brought genuine, if latent, traits to her performances, that Rogers was the same way off screen as she was on screen.The most impressive number is at the climax, "Begin the Beguine." It was a big hit at the time, thanks to Artie Shaw's 1938 recording, with its famous Jerry Gray arrangement. The lavish number is split into three or four parts, ending with a jazzed-up fast duet by Powell and Astaire, in which they seem to be genuinely enjoying themselves. It's done on a mirrored floor against a black backdrop of lighted stars. Black-and-white film has never looked more sophisticated or barbarously expensive.The story behind the numbers is a rude lump of foul deformity. Forget it. But watch the numbers.