Product Description

No Description Available.
Genre: Musicals
Rating: NR
Release Date: 22-APR-2003
Media Type: DVD

Product Details

• Amazon Sales Rank: #24724 in DVD
• Brand: ASTAIRE,FRED
• Released on: 2003-04-22
• Rating: NR (Not Rated)
• Aspect ratio: 1.33:1
• Formats: Black & White, Closed-captioned, Dubbed, DVD, Full Screen, Subtitled, NTSC
• Original language: English, French
• Subtitled in: English, Spanish, French
• Dubbed in: French
• Number of discs: 1
• Dimensions: .20 pounds
• Running time: 102 minutes

Amazon.com
One of the most famous tap numbers in film history distinguishes Broadway Melody of 1940, the fourth and final installment in MGM's Broadway Melody series. When Clare Bennett (Eleanor Powell, who had appeared in Broadway Melody of 1936 and 1938) needs a new partner for her hit Broadway show, small-time hoofers Johnny Brett (Fred Astaire in his MGM debut) and King Shaw (George Murphy) get their big chance. But due to a case of mistaken identity, King, rather than the more talented Johnny, gets the job, and the girl. Astaire and Powell can't match the chemistry he had with Ginger Rogers at RKO, but she was the best technical dancer he was ever teamed with, and the sense of fun they share is infectious. Their above-mentioned tap duet to Cole Porter's "Begin the Beguine" is legendary, but there are other fine moments as well: Astaire and Murphy's duet "Please Don't Monkey with Broadway," Powell's athletic number with a chorus of sailors "I Am the Captain," Astaire playing the piano and singing "I've Got My Eyes on You," and his and Powell's high-velocity duet "Jukebox Dance." --David Horiuchi

Customer Reviews

"Begin the Beguine" again and again and again....
This film is tons of fun!

It's not a masterpiece along the lines of "The Wizard of Oz" or "Meet Me in St. Louis." Some may think it inferior to such MGM glitz as "The Ziegfeld Girl" (which is dazzling and a milestone in the careers of Lana Turner and Judy Garland).

But it is what it is and entertaining and joyful make up a lot of that.

It's the first and only time that MGM paired tap queen Eleanor Powell with Fred Astaire (fresh at MGM from some dazzling films at RKO with Ginger Rogers). Nevertheless, the unique pairing produced one of the great musical moments in film history (more below).

It's also unique in that it's one of the few times Alfred Newman, longtime 20th Century-Fox music department head and master composer/conductor (he's possibly one of the greatest conductors EVER) supervised a musical film at another studio prior to taking over at Fox in 1940. Newman previously supervised the music, along with Roger Edens, for MGM musicals "Born to Dance", and "Broadway Melody of 1936", plus various films for both Fox and Samuel Goldwyn.

The plot, today, seems typically trite for that period. Astaire, a great hoofer in a lousy gig, has a crush on Powell, a big Broadway star. He sneaks in to her shows to see her do a production number when he's not performing with his partner, George Murphy. One night, as he and Murphy are dancing, a bumbling fool of a Broadway angel -- adeptly portrayed by Frank Morgan -- sees the two tappers and gets real excited about the prospect of forwarding Astaire to auditions to co-star with Powell in a new show. Astaire, trying to help his buddy out, and having mistaken Morgan for a bill collector, gives Morgan his buddy's name when they meet. Later, it's Murphy who gets a call to go audition and Astaire helps get him ready. Murphy lands the role and his head swells, and Powell learns that it's Astaire who...and on and on and lots of backstage drama ensues until magic time.

George Murphy is endearing in this film -- both as a wannabe tough guy and as a sensitive slob afraid of failure. Murphy had risen to "leading man" status in a number of MGM "B" pictures, and I sense (rightly or wrongly) a bit of 'make-or-break' urgency in his portrayal that I attribute to his finally getting a leading role in a big MGM musical with Powell and Astaire. To me, he seems more comfortable when he's playing tough with Astaire than he does when he's actually singing and dancing with Powell (who probably intimidated him as she was a much bigger star than he).

Morgan's character has a buddy, too -- a white chinchilla cape that seems to have quite a history on the shoulders of starlets he either dates or encounters during the film.

The music is Cole Porter and it's miraculous.

The overture is amazing. The pacing of the music must have been a great challenge to the musicians that made up the MGM orchestra of the late 30s and early 40s (it was not the world-class outfit that Johnny Green would pull together at the end of the decade). From the opening notes, you get a sense of great urgency -- all the pictures about NYC and Broadway you ever saw all rolled into one hyperkinetic several minutes of music.

Astaire and Murphy totally nail the "Don't Monkey With Broadway"
number and it's a wonderful routine! While the number was meant to be typical of the entertainment to be found in NYC at that time, you still have that paradox of "would Astaire really have been dancing for peanuts"? Just like you had to ask, "Wasn't Liza just too good to be performing in that little cabaret"?

The audition number between Murphy and Powell -- "Between You and Me" -- is MGM glitzy and glamorous with a heavy dollop of kitsch...all the ramps for sliding and jumping and twirling (to show off the costume, dontcha know). The sincere looks between Powell and the suddenly shy and nervous Murphy are well worth a grin.

Eleanor Powell was not a great actress. She was, however, a brilliant tap dancer. Today, some wouldn't have kind things to say about her dancing style, especially going from tap to toepoint. But the fact remains that she was a MAJOR star at MGM and Astaire thought her amazingly gifted (sadly, she didn't have his creative flair for invention). Eleanor danced pretty much the same way in each film, with her signature backdrop-handtouch to the floor. She had a tiny voice, but a beautiful face with a gorgeous smile and she made the world seem magical.

She did everything asked of her...with smiles and determination and earnestness.

The "I've Got My Eyes on You" number Astaire does on the empty stage, using Powell's powder puff as his dancing "partner" is inspired. And he and Powell give us a glimpse of what's coming when they do that little tap number at the outdoor cafe.

But let's be absolutely clear about the merits of this film. Its place in cinema (musical) history is assured with the finest tap dancing display ever committed to film...and possibly ever created for any medium...and that is the "Begin the Beguine" number toward the end of the film. It's a jazzy arrangement and Astaire and Powell -- reflected in a black shiny floor -- tap their hearts out in one of the most dazzling terpsichorean displays of athleticism and art ever seen. It's an AWESOME number.

The earlier artsy stuff is a little too cute (along with the meant-to-be-sincere delivery of lines by Powell in those backstage moments as Astaire worries with Murphy). "I Concentrate on You" has been better served in many other films, so it's operatic presentation here should not be mourned.

But it's more than made up for by the glittering delights and leaps to delirium provided by Astaire and Powell AND Murphy when they're tapping.

The film was a major effort and preserves a moment in film history that will never be equalled.

Ellie and Fred finally together on DVD!!
If you love the movie "Chicago", you will love "The Broadway Melody of 1940". It's got the best tap dance sequences in movie history and a Cole Porter music score. The best dances in my opinion are "Begin the Beguine" and "The Jukebox Dance". This infamous movie musical stars Fred Astaire and Eleanor Powell; two of the best dancers of the 20th century or any century. The story is cute, and typical: boy meets girl, they put on a show and fall in love.

The chemistry between Powell and Astaire is notably tense, but as the movie goes along it gets better. For history buffs: Ms. Powell and Mr. Astaire were perfectionists; outstanding in their craft. Eleanor Powell was the only female dancer at MGM to choreograph all her routines, and Fred Astaire at times did his own or with Hermes Pan. They were in awe of each other; but during rehersals for this movie, they stopped all the formal talk
and got down to hoofing like two hoofers should.

Enjoy this movie...you will NEVER see dancing like this again!

You will never see anything like this again!
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 film

The 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."