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.
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.