Broadway Melody of 1940
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Movie Reviews of Broadway Melody of 1940
Movie Review: SHE WAS ONE OF THE GREATEST DANCERS OF ALL-TIME!!!
Summary: 5 Stars
I do not often post reviews or respond to reviews as I am doing here, but after reading R. L. Pulliam's remarks about Eleanor Powell, I feel the need to do so because I wouldn't want anyone who may be just discovering Ms. Powell's talents to get the wrong idea about her dancing because of R. L. Pulliam's remarks.
While I do believe that R. L. Pulliam is entitled to his opinion when it comes to Powell's dancing style, at the same time, I must take exception to the remarks that Powell didn't have "creative flair for invention" and that Powell "danced pretty much the same way in each film".
Nothing can be further from the truth!!!
Perhaps R. L. Pulliam has not actually SEEN many of her other films. Perhaps he is only judging Powell by the very short excerpts which were shown in the "That's Entertainment" films (most of her numbers in these were extremely cut-to-the-bone and do not provide even a small glimpse of what she was capable of).
She did ALL of her own choreography and much of it was quite inventive! In "Lady Be Good" she did a very creative number with a cute little dog! In "Ship Ahoy" she did a very inventive number teaming herself with the great drummer Buddy Rich! In that same film she also did a number where she tapped out a message in Morse code. Extremely creative! In "I Dood It" she did a very inventive western rope dance! In "Honolulu" she did an excellent impersonation of the great Bill Robinson, dancing his famous stairway-dance routine, step-for-step (one need only compare this to Robinson's own version which can be found on a VHS called "Jazz Band Ball"). When Ms. Powell was still in her teens she worked often with Mr. Robinson at private parties in New York, where he taught her his famous dance
I would also like to point out that this film was not the first time that Powell worked with George Murphy! They had first appeared together in the film "Broadway Melody of 1938", so perhaps Murphy was not so intimidated by Powell after all. Oh, by-the-way, in that film, Powell choreographed a very creative number for Murphy and herself where they danced in the rain, and almost 15 years BEFORE the great Gene Kelly did it!!! Anyone who watches this number today will no doubt see how this routine influenced Mr. Kelly's later and more famous number. However, in Powell's version, she and Murphy actually end up by falling into a large puddle!!!
I will end with a quote from Mr.Astaire, who In his autobiography 'Steps in Time', remarked about Powell: "She 'put 'em down like a man', no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself."
The only thing which I will add to Mr. Astaire's remarks is that while Powell did "put 'em down like a man", she remained extremely feminine while doing it.
Movie Review: Have never seen such beautiful footwork
Summary: 5 Stars
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.
Movie Review: One of my all-time Astaire favorites...
Summary: 5 Stars
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.
Movie Review: Thank god for film!
Summary: 5 Stars
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"!
Movie Review: You will never see anything like this again!
Summary: 5 Stars
Over the years this movie has usually been panned. Today, with availability on VHS, then on laser disc, and now on DVD this film is getting the acclaim it deserves. This is one of my favorite Astaire films, the first time I watched it I knew I would be watching it again and again. The true test of a classic filmThe movie was panned, not for the dancing, but for the story. The story involves mistaken identity: Eleanor Powell is a musical star looking for a dancing partner. Fred Astaire and George Murphy are dancing partners trying to make it to Broadway when Eleanor Poewll's agent - manager - Frank Morgan sees their act. He wants Fred Astaire for Eleanor's new partner but through a mixup George gets the part. Of course, everything works out by the end of the film and we have a happy ending. I didn't think the story was so bad or sentimental or whatever but let's face it, who cares? Fred Astaire and Eleanor Powell in top form with Cole Porter music, who could ask for anything more?
The final big number is Begin The Beguine and it will knock your socks off. It is quite long, about twenty minutes as I remember. The last part was seen in That's Entertainment and when Frank Sinatra introduced it he said: "You'll never see its like again."