The Big Broadcast (1932)

80 mins | Musical | 14 October 1932

Director:

Frank Tuttle

Cinematographer:

George Folsey

Production Company:

Paramount Publix Corp.
Full page view
HISTORY

Excerpts from this film were shot at the Eastern Service Studios in New York, formerly Paramount's Astoria Studios, where, according to press material in copyright records, sets and props were duplicated exactly to match those at Paramount's Hollywood studios. According to the Var review, Paramount financed the stage production of Wild Waves in order to secure the screen rights to the story. The review also states that the radio announcers featured in the film--"unbilled but heralded by placards in the footage"--were actual announcers for the radio personalities featured in the film: Norman Brokenshire for the Boswell Sisters, William Brenton for Kate Smith, James Wallington for Cab Calloway and Vincent Lopez, and Don Ball for the Mills Brothers. Bing Crosby's character is called "Bing Hornsby" in all reviews and modern sources and in the copyright records, although in the film, he is referred to by his own name. According to HR, Donald Novis' role was initially cut from the film, but was later re-inserted before the film's release when Novis became a popular radio singer. According to press material found in copyright records, Charles Carver, who was a character voice for Fleisher's screen cartoons, made a cameo appearance in this film as the bass voice in Kate Smith's theme song, "And You Were Mine." Calloway's number "Kicking That Gong Around" refers explicitly to drug addiction. This film was the first in a series of four "Big Broadcast" films which Paramount made in the 1930s that included lavishly staged music and dance numbers and featured famous radio personalities. George Burns and Gracie Allen also appear in The Big Broadcast of 1936 ...

More Less

Excerpts from this film were shot at the Eastern Service Studios in New York, formerly Paramount's Astoria Studios, where, according to press material in copyright records, sets and props were duplicated exactly to match those at Paramount's Hollywood studios. According to the Var review, Paramount financed the stage production of Wild Waves in order to secure the screen rights to the story. The review also states that the radio announcers featured in the film--"unbilled but heralded by placards in the footage"--were actual announcers for the radio personalities featured in the film: Norman Brokenshire for the Boswell Sisters, William Brenton for Kate Smith, James Wallington for Cab Calloway and Vincent Lopez, and Don Ball for the Mills Brothers. Bing Crosby's character is called "Bing Hornsby" in all reviews and modern sources and in the copyright records, although in the film, he is referred to by his own name. According to HR, Donald Novis' role was initially cut from the film, but was later re-inserted before the film's release when Novis became a popular radio singer. According to press material found in copyright records, Charles Carver, who was a character voice for Fleisher's screen cartoons, made a cameo appearance in this film as the bass voice in Kate Smith's theme song, "And You Were Mine." Calloway's number "Kicking That Gong Around" refers explicitly to drug addiction. This film was the first in a series of four "Big Broadcast" films which Paramount made in the 1930s that included lavishly staged music and dance numbers and featured famous radio personalities. George Burns and Gracie Allen also appear in The Big Broadcast of 1936 and The Big Broadcast of 1937. Bing Crosby also appears in The Big Broadcast of 1936.

Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
7 Oct 1932
---
Film Daily
15 Oct 1932
p. 4
Hollywood Reporter
1 Oct 1932
p. 3
Hollywood Reporter
15 Oct 1932
p. 1
International Photographer
Nov 1932
p. 33
Motion Picture Herald
Oct 1932
p. 91
New York Times
Oct 1932
p. 13
Variety
Oct 1932
p. 14
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTOR
PRODUCER
Assoc prod
WRITER
PHOTOGRAPHY
Photog
Cam op
Asst cam
SOUND
J. A. Goodrich
Sd
PRODUCTION MISC
Still photog
SOURCES
LITERARY
Based on the play Wild Waves by William Ford Manley (New York, 19 Feb 1932).
LITERARY SOURCE AUTHOR
SONGS
"The Blue of the Night," music and lyrics by Roy Turk, Bing Crosby and Fred E. Ahlert; "Trees," lyrics by Joyce Kilmer, music by Ralph Rainger; "Hush! Hush! Hush!," "Please," "Here Lies Love," "Kicking That Gong Around," "Major, Sharp and Minor," "Hold That Tiger," "Crazy People" and "And You Were Mine," lyrics by Leo Robin, music by Ralph Rainger. "Hold That Tiger" performed by The Mills Brothers.
SONGWRITERS/COMPOSERS
+
DETAILS
Release Date:
14 October 1932
Production Date:

Copyright Info
Claimant
Date
Copyright Number
Paramount Publix Corp.
15 October 1932
LP3421
Physical Properties:
Sound
Black and White
Duration(in mins):
80
Length(in reels):
10
Country:
United States
SYNOPSIS

Singer Bing Crosby's chronic tardiness, which is the result of his affair with the notorious Mona Lowe, endangers the financial well-being of station WADX. After Mona jilts Crosby, the despondent singer meets Texas oil man Leslie McWhinney, who has also been wronged by a woman. The two make a suicide pact that is foiled by Anita Rogers, station manager George Burns's assistant, who is in love with Crosby and was formerly engaged to McWhinney. Burns, who is plagued by the addled conversation of his stenographer, Gracie Allen, loses the radio station, which McWhinney buys for the sake of Crosby and Anita. Mona's return endangers the budding romance of Crosby and Anita as well as the station's upcoming big broadcast. Despite his efforts to secure a phonograph record to replace the absent Crosby, McWhinney must impersonate Crosby on the air until the singer returns and takes the microphone in mid-song. Crosby, who actually has been feigning irresponsibility to bring McWhinney and Anita together, succeeds both in reuniting the former lovers and in taming ...

More Less

Singer Bing Crosby's chronic tardiness, which is the result of his affair with the notorious Mona Lowe, endangers the financial well-being of station WADX. After Mona jilts Crosby, the despondent singer meets Texas oil man Leslie McWhinney, who has also been wronged by a woman. The two make a suicide pact that is foiled by Anita Rogers, station manager George Burns's assistant, who is in love with Crosby and was formerly engaged to McWhinney. Burns, who is plagued by the addled conversation of his stenographer, Gracie Allen, loses the radio station, which McWhinney buys for the sake of Crosby and Anita. Mona's return endangers the budding romance of Crosby and Anita as well as the station's upcoming big broadcast. Despite his efforts to secure a phonograph record to replace the absent Crosby, McWhinney must impersonate Crosby on the air until the singer returns and takes the microphone in mid-song. Crosby, who actually has been feigning irresponsibility to bring McWhinney and Anita together, succeeds both in reuniting the former lovers and in taming Mona.

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

Mr. Smith Goes to Washington

According to HR news items, "The Gentleman from Montana" (an unpublished story by Lewis R. Foster, alternately called "The Gentleman from Wyoming" by both contemporary and modern ... >>

It's a Wonderful Life

Philip Van Doren Stern's story, which, according to many contemporary and modern sources, was originally written in Nov 1939, was enclosed by him in his 1943 Christmas cards. Although ... >>

The Grapes of Wrath

According to materials contained in the Twentieth Century-Fox Records of the Legal Department at the UCLA Theater Arts Library, Fox paid John Steinbeck $70,000 for the rights to his ... >>

Citizen Kane

This film's end credits begin with the statement, “Most of the principal actors in Citizen Kane are new to motion pictures. The Mercury Theatre is proud ... >>

The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.