With the advent of sound in motion pictures, MGM made musical productions one of its trademarks. Starting with "The Broadway Melody" of 1929, it produced a succession of films set in or around Broadway over the next decade. These would not rival the major musical play productions of that time or later, such as those of Rodgers and Hammerstein. But they were very good musical revue films that showcased the talents of singers, dancers, musicians, comedians and actors.
And, they may have helped America weather the Great Depression of the 1930s, and the Dust Bowl years of mid-America. This and similar films no doubt provided a respite in the daily difficulties and suffering of millions of people.
At first thought, one might think as I did that "Broadway Melody of 1938" couldn't be very good with Robert Taylor as the male lead. He wasn't a song and dance man. But he could play comedy very well, as well as dramatic and romantic roles. And, his usually affable and happy persona fit well here. His role as Steve Raleigh is not unlike that of William Powell in "Ziegfeld Follies" of 1945, or of Walter Pidgeon in "Funny Girl" of 1968. Their Florenz Ziegfeld was a producer of musicals, not himself an entertainer.
So, Taylor works well here as the writer and director of a Broadway musical and for the romantic element with female lead, Eleanor Powell. But the best of this film, as all others of the series, is in the performances of the very talented cast. Eleanor Powell's Sally Lee shows why she was known as the queen of tap dancing. She has a superb, long dance scenario toward the end of the film. And, she and George Murphy have a wonderful, very exciting and entertaining dance routine together in the park, through the rain and ending in a pond.
Murphy is Sonny Ledford and he and Buddy Ebsen's Peter Trot are sidekicks who follow the horses. Ebsen is the source of most of the comedy in the film, but he also shows his substantial dancing talent. The horse-racing sub-plot of the movie doesn't fit very comfortably with the main plot. It's used to bring Murphy, Ebsen and Powell into the film, and as backing for the romance.
Binnie Barnes plays Caroline Whipple and Raymond Walburn plays her wealthy husband, Herman. They and most of the cast give good performances, although Powell is just a little stiff at times. It's an aspect that shows on the acting end of her roles in most films. But her smiling persona and tremendous dancing talent and performances soon crowd out notice of that.
Judy Garland was just 15 when this movie was made, and the two numbers she sings show the talent of this future singing super-star. She had a very mature voice with a limited, but perfect range for singing popular tunes.
Most of the humor is of the vaudevillian type. But it fits with the period of this musical comedy and romance film. Here are some of the best of those lines.
Emma Snipe, "How do you eat?" Peter Trot, "Like a horse." Snipe, "Well, frankly, you'll have to cut that out. From now on you'll sit up at the table just like anyone else."
Emma Snipe, "How much do you want to lose?" Peter Trot, "About 70 pounds." Snipe, "70 pounds? Frankly, you take that much off and you'll be nothing but a blood vessel to keep your clothes warm."
Peter Trot, "Well, I'll still do it. How much do you charge?" Emma Snipe, "Well, we charge by the pound. 50 cents a pound. You pay that much for good rump steak."
Emma Snipe, "Uh, what's your name now?" Peter Trot, "Same as it always was, Peter Trot."
And, they may have helped America weather the Great Depression of the 1930s, and the Dust Bowl years of mid-America. This and similar films no doubt provided a respite in the daily difficulties and suffering of millions of people.
At first thought, one might think as I did that "Broadway Melody of 1938" couldn't be very good with Robert Taylor as the male lead. He wasn't a song and dance man. But he could play comedy very well, as well as dramatic and romantic roles. And, his usually affable and happy persona fit well here. His role as Steve Raleigh is not unlike that of William Powell in "Ziegfeld Follies" of 1945, or of Walter Pidgeon in "Funny Girl" of 1968. Their Florenz Ziegfeld was a producer of musicals, not himself an entertainer.
So, Taylor works well here as the writer and director of a Broadway musical and for the romantic element with female lead, Eleanor Powell. But the best of this film, as all others of the series, is in the performances of the very talented cast. Eleanor Powell's Sally Lee shows why she was known as the queen of tap dancing. She has a superb, long dance scenario toward the end of the film. And, she and George Murphy have a wonderful, very exciting and entertaining dance routine together in the park, through the rain and ending in a pond.
Murphy is Sonny Ledford and he and Buddy Ebsen's Peter Trot are sidekicks who follow the horses. Ebsen is the source of most of the comedy in the film, but he also shows his substantial dancing talent. The horse-racing sub-plot of the movie doesn't fit very comfortably with the main plot. It's used to bring Murphy, Ebsen and Powell into the film, and as backing for the romance.
Binnie Barnes plays Caroline Whipple and Raymond Walburn plays her wealthy husband, Herman. They and most of the cast give good performances, although Powell is just a little stiff at times. It's an aspect that shows on the acting end of her roles in most films. But her smiling persona and tremendous dancing talent and performances soon crowd out notice of that.
Judy Garland was just 15 when this movie was made, and the two numbers she sings show the talent of this future singing super-star. She had a very mature voice with a limited, but perfect range for singing popular tunes.
Most of the humor is of the vaudevillian type. But it fits with the period of this musical comedy and romance film. Here are some of the best of those lines.
Emma Snipe, "How do you eat?" Peter Trot, "Like a horse." Snipe, "Well, frankly, you'll have to cut that out. From now on you'll sit up at the table just like anyone else."
Emma Snipe, "How much do you want to lose?" Peter Trot, "About 70 pounds." Snipe, "70 pounds? Frankly, you take that much off and you'll be nothing but a blood vessel to keep your clothes warm."
Peter Trot, "Well, I'll still do it. How much do you charge?" Emma Snipe, "Well, we charge by the pound. 50 cents a pound. You pay that much for good rump steak."
Emma Snipe, "Uh, what's your name now?" Peter Trot, "Same as it always was, Peter Trot."