Broadway Melody of 1940 (1940)

hyped garbage

Disturbing yet enthralling

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

The movie really just wants to entertain people.

Forget about topnotch tap-dancer, Fred Astaire being teamed up with Ginger Rogers - It's Fred Astaire and Eleanor Powell (here in "Broadway Melody of 1940") who were the real, true dancin' dynamic duo of the dance floor. There's no question about it.And forget about this movie having much of a story to back it up - (Who cares?) - It's the musical numbers and its dancers (who really kick up their heels) that are the real stars of the show in this lavish production.Yep. If you enjoy movie-musicals from Hollywood's golden era - Then - This is the one for you. Believe me - The dancing doesn't get any better than this, with songs written by Cole Porter, including the sensational "Begin the Beguine".

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.

George Murphy and Fred Astaire are a dance team that has struggled for five years. Now, one of them is about to be offered the lead in a big Broadway extravaganza--the only problem is that through a mix-up, the wrong guy has been signed for the part. And, that guy is unreliable, a bit selfish and getting a swollen head.While the plot of this film has quite a few clichés and a few of the dance numbers have flat moments, this is a definite must-see for lovers of dance. The film pairs the best male and female tappers in Hollywood (Fred Astaire and Eleanor Powell) and has some very able assistance from George Murphy--one of the few men who could keep up with Fred on the dance floor. The dance numbers are amazing--with tons of energy, grace and athleticism. The two best numbers are the opening on with Fred and George as well as the first number with Fred and Eleanor. In between, Fred actually dances alone on several occasions and these scenes are delights as well. The flat moments I mention included PARTS of the final big number, 'Begin the Begine'--as the operatic warblings and showiness really detracted from the fact that Fred and Eleanor were amazing together. But the wonderful dancing in the rest of the film make it easy to overlook the overly produced parts and it's a joy to watch.

Fred Astaire's first MGM vehicle could well pass off for one of his RKO teamings – especially plotwise – with Ginger Rogers, except that she's replaced here by Eleanor Powell; the latter's dancing is flashier but she lacks Rogers' gift as a comedienne, which had stood her in good stead in those classic 9 films with Astaire. In fact, here we get yet another instance of mistaken identity as entrepreneur Frank Morgan notices Astaire dancing (as part of a duo with George Murphy) and recommends him to his own partner, Ian Hunter; however, since Astaire had given him Murphy's name (thinking him a creditor), it's the latter who lands the job of co-starring in the new Hunter/Morgan production featuring tap-dancing diva Powell! The ever-humble Astaire decides to stay on in order to choreograph his pal's moves; the trouble starts when both fall for Powell and, this being Hollywood, she's made to romance her co-star when she really loves Astaire. Of course, on the big night, Murphy is drunk and Astaire has to step into his shoes and, by the end, he's reconciled himself to the idea that his pal merits both success and happiness. Incidentally, several "Broadway Melody" films were made over the years – with the first one even emerging the Best Picture Oscar-winner of 1929 (which I'd watched via a screening on local TV, of all places); this, then, was the last official entry in the loosely-connected series. Given my coolness to old-style Musicals, I can't say I was enthused by the splashy numbers (despite their surface style, not to mention a Cole Porter score – with, for instance, the climactic "Begin The Beguine" running a full 10 minutes!); that said, Astaire and Powell's natural elegance is fully evident in the simpler i.e more intimate dances. Apart from their contribution, the most pleasant element here is surely Frank Morgan's comic relief as the befuddled impresario who not only comes up with the unlikeliest of talents (such as a wacky female opera singer/male pianist combo) but is forever having to swipe an all-purpose fur coat off girlfriends (notably one with a heavy Southern accent) who think it's being donated to them.