From the chill of Sydney's winter back to the oppressive heat of another Los Angeles summer, I've returned to my adopted home without blogging about the last film I watched before leaving L.A. in the first place. The three weeks in Australia was a nice holiday, but now it's time to get back to business.
Next up, we take a look at another musical entry into 1935's Best Picture contest...
Director:
Roy Del Ruth
Screenplay:
Jack McGowan, Sid Silvers, Moss Hart, Harry W. Conn
Starring:
Jack Benny, Eleanor Powell, Robert Taylor, Una Merkel, Sid Silvers, Buddy Ebsen, June Knight, Vilma Ebsen
Academy Awards:
3 nominations
1 win, for Best Dance Direction
After his boss orders him to make his column more sensational, Broadway gossip columnist Bert Keeler (Benny) stumbles upon a potentially sleazy relationship between producer Bob Gordon (Taylor) and wealthy widow Lillian Brent (Knight). She is investing in his show on the condition that, if Gordon can't find a star within two weeks, she'll take the role. Enter Irene Foster (Powell), Gordon's estranged high-school sweetheart, herself a budding stage actress with her own desire to headline Gordon's show.
From that plot, you'd be forgiven for thinking this is just another run-of-the-mill musical comedy from old Hollywood. They certainly churned those out in those days, but if this is run-of-the-mill, then it's a pretty entertaining mill. I never considered myself a big fan of the extravagant dance musical but something really tickled my fancy with this one. With its exciting showbiz story and its truly toe-tapping musical numbers, this is escapism at its purest.
In the lead role, Jack Benny, already a radio star at the time, is drily hilarious and can already be seen utilizing his trademark exasperated expression with one hand gently perched on his lower jaw. Also enjoyable is Una Merkel's sly and humorous turn as the sassy secretary. Perhaps the standout, though, is Buddy Ebsen, who is immensely charming and quirky and, if you're only familiar with him as Jed Clampett, you'll be surprised at what an accomplished song-and-dance man he is. Plus, that's his real-life sister Vilma playing his on-screen sister. The two of them (pictured with Eleanor Powell) perform an absolutely mind-blowing tap dance routine.
In fact, all the dancing talent is spectacular, particularly that one guy in the opening number who literally jumps over all the chorus girls, lined up in a row. It's a confusingly random feat, but impressive nonetheless. And that's just one example of the unique choreography on display. It's no wonder the film's only Oscar came for Best Dance Direction (a now defunct category). It also nabbed a nomination for Best Writing (Original Story), though, in my opinion, the script's greatest feature is its witty dialogue. And, of course, there was the Best Picture nod, which, it could be argued, makes it the first sequel to ever be nominated for the top prize, despite the fact that the story and characters are entirely unrelated to 1928/29's Best Picture winner, The Broadway Melody.
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