From the Archives: Wow of a sound film on screen: ‘Broadway Melody’ sets new pace for talkies

Say it with singing, dancing and harmony. That’s the new language of the screen. Rhythmically, spiritedly, pathetically and gayly, “The Broadway Melody” will make you believe it, even if you don’t.

This is a picture! It’s an eyeopener and an ear-opener. It’s right off the grille of the latest in sound development, and, oh, what a wow!

Sid Grauman presented it last night at the Chinese Theater; put it in competition with one of the classiest prologues that he has ever produced, and it went over with a bang. Ten minutes of it told the story. Here was something absolutely brand new!

Music written by Nacio Herb Brown, lyrics by Arthur Freed. Stars — Bessie Love, Anita Page and Charles King. And — reaching the climax — direction by Harry Beaumont.

One can easily say that it is the best talkie (also single) yet. In fact, it’s a revolutionary step.

“The Singing Fool” said it with music, too, but it did this with Al Jolson preeminently the center of the show. “The Broadway Melody”’ gives you not only songs but play — plenty of plot, or so it seems, at least. And then there is a dash of spectacle, beautifully staged in color — the “Wedding of the Painted Dolls.” Something to wait for, this ... with a tinkly tune that will be whistled along with the others when the audience leaves the theater.

One searches for comparisons for this particular sound picture. There aren’t any in the movies themselves. “The Singing Fool,” I have mentioned, and that is perhaps the nearest, but this is in such a different mood. “Broadway Melody” like “The Singing Fool” is, of course, a glimpse behind the scenes in a theater. Like “The Singing Fool,” too, it is a story with a certain tragic note — in this case a girl sacrificing her happiness for the sake of a younger sister.

But here virtually all resemblances end, if they can be called resemblances at all. “Broadway Melody” is smart. It is right of today — Times Square visualized, and soundized. Girls and beauty fill its scenes, as much as can be crowded on a flat photographic surface, all too small. It has touches of smartness in the dialogue — yes, there could have been more — and it moves along at a nice zestful tempo, with an ease and fluency that has heretofore been rare in the sound film.

To be sure, “Broadway Melody,” like all synchronized pictures made to date, points the way to an even greater future than it actually fulfills. One cannot have the critical faculty blinded by its remarkable novelty. But as an achievement at this time it is a wonder, and will go round the country to the humming accompaniment of the motion-picture fan’s praise.

The premiere which marked its debut here will be talked about. A gala audience was in attendance at the showing. I doubt whether a single executive or a star or any studio who could beg, buy or borrow a ticket missed the event, because it had been bruited about that this was to be something unusual.

Grauman to best recollections has never had a premiere on a rainy night, but that did not deter the thronging crowd and the glitter, the glamour and what-not that goes with every big first night in Hollywood. The street crowd was smaller, but the lights were going as brightly as usual, and even more so.

There were introductions from the stage of the cast, with Jack Gilbert acting as master of ceremonies. A tremendous tribute of applause went to Bessie Love, who is the unquestioned star, and to director Beaumont when his name was mentioned.

Ovations began early. There were many for the dancing numbers and the scenic effects of the Grauman show. Again and again the Albertina Rasch dancers in particular were the recipients of approval. There must have been fully fifty or sixty of these girls and others on the stage, and the numbers like “The Romantic Ballet,” “The Seasons of the Year” and “The White Stairs” were all enormous hits. One wondered at the fate of a picture after these, but judiciously the intermission was arranged between the stage and the screen show. Only one number in the stage production felt short and that was “Hot.” It was a weak idea. Pasquali Brothers’ aerobatics, and to a degree at least Buster West and John West appealed. Alfred Latell in a dog impersonation was exceedingly clever.

One could spend more time on the stage performance, because it is a veritable Follies with the one fault that it was too long at the opening, but after all, the picture is the thing in a picture theater. Or should be, anyway. And “Broadway Melody,” as you may have gathered from what has already been said, is something to talk about.

In summing it up I might mention that some of its high spots are the following:

• The airplane glimpses of New York, with George M. Cohan’s “Give My Regards to Broadway” going full blast.
• The introduction of the song shop. A fine touch of inharmony to give tone to the melodies that come later on.
• The introduction of the song “Broadway Melody” with Charles King warbling it pepfully and energetically, putting his broad physique behind it.
• The first backstage scenes, with the tap dancing, varying the conversation.

All of this enables the picture to get away to a splendid start.

Then comes the introduction of the story. The elder sister engaged to the song composer and singer. Said song composer and singer smitten by her younger sister.

The younger sister realizing the situation and showing a sudden all too zealous interest in a backer of the show, who wants to furnish her with jewels and an apartment. Lots of trouble then — with mingled motifs of romance and sacrifice, and everything that goes to make good old-fashioned heart entertainment.

Meanwhile we have another song, and a pretty one — “You Were Meant for Me,” which will be on the piano of every popular song player ere long. The “Wedding of the Painted Dolls,” cabaret and party scenes with music, kidding and frequently amusing talk.

It’s all for the showgoer who wants to be lightly, and also a little seriously, entertained.

The picture will assure Bessie Love her place as an emotional actress in a new medium. There is one scene of hers that is unforgettable in its power and pathos. She seems to be one of the most perfect types for the talkies yet. She’s a veritable little Sarah Bernhardt for a few moments in this.

Anita Page adds beauty and charm to the production — plenty of it, and her voice records exceptionally. She will be a great success in this production, because she invests with such a variety of qualities her portrayal, and has the dash of youth besides.

There’s a fine smooth heavy characterization by Kenneth Thomson. It’s right off the bright-light circuit, too. He plays the man about town.

Uncle Bernie, done by Jed Prouty, is a comedy click with his stuttering. Mary Doran, Eddie Kane, Edward Dillon are other prominent. Edmund Goulding and Sarah Y. Mason are responsible for the story and continuity, and Norman Houston and James Gleason for the dialogue. And although his name is not given on the program, I believe that Douglas Shearer is to be credited with the excellence of the sound quality as engineer of the picture.

Yes, we have engineers now among those who deserve a note of recognition in the making of a movie ... I mean a ... well, somebody coin a name.