The Big Broadcast of 1936 (1935)

97 or 105 mins | Musical comedy | 20 September 1935

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HISTORY

The working title of the film was The Big Broadcast of 1935. According to information in the Jack Mintz Collection at the AFI library, Eddie Welch wrote the Amos 'n' Andy sequence. Although the film was originally released at 105 minutes, later release charts reveal that it was cut to 97 minutes. The screen credits listed all credits except the cast before the film's title. The order of these credits was unusual for this period. Throughout the film, various skits and performances were projected via the "Radio Eye." According to a pre-release article in MPH, Ruth Slenczynski was scheduled to perform on the piano, and William Burress was also supposed to appear in the film. The pressbook includes the following five trios and three quartettes in the cast, noting that they were heard but not seen: The Rhythmettes, The Ingenues, The Three Tones, The Three Shades of Blue, The Singing Guardsmen and The Uptowners. According to Var, the song "It's the Animal in Me" was originally made for We're Not Dressing (see below), but was cut from that film. A DV news item noted that among sequences shot New York are the scenes with Amos 'n' Andy, the Ray Noble Band, and Fox and Walters. In 1935, AMPAS nominated LeRoy Prinz for an Academy Award for Dance Direction for the "It's the Animal in Me" number, which featured Ethel Merman. According to a 1936 HR news item, the film's European release included three pieces not appearing in the American release. These include a song performed by Frank Forest and dances performed by ...

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The working title of the film was The Big Broadcast of 1935. According to information in the Jack Mintz Collection at the AFI library, Eddie Welch wrote the Amos 'n' Andy sequence. Although the film was originally released at 105 minutes, later release charts reveal that it was cut to 97 minutes. The screen credits listed all credits except the cast before the film's title. The order of these credits was unusual for this period. Throughout the film, various skits and performances were projected via the "Radio Eye." According to a pre-release article in MPH, Ruth Slenczynski was scheduled to perform on the piano, and William Burress was also supposed to appear in the film. The pressbook includes the following five trios and three quartettes in the cast, noting that they were heard but not seen: The Rhythmettes, The Ingenues, The Three Tones, The Three Shades of Blue, The Singing Guardsmen and The Uptowners. According to Var, the song "It's the Animal in Me" was originally made for We're Not Dressing (see below), but was cut from that film. A DV news item noted that among sequences shot New York are the scenes with Amos 'n' Andy, the Ray Noble Band, and Fox and Walters. In 1935, AMPAS nominated LeRoy Prinz for an Academy Award for Dance Direction for the "It's the Animal in Me" number, which featured Ethel Merman. According to a 1936 HR news item, the film's European release included three pieces not appearing in the American release. These include a song performed by Frank Forest and dances performed by Eleanore Whitney, Louis DaPron and the LeRoy Prinz dancers. The version produced for release in Latin American markets, entitled Cazadores de estrellas, contained a musical sequence, featuring singer Carlos Gardel, not in the English-language version. This film was the second in Paramount's "Big Broadcast" series. For more information on the series, see the entry above for The Big Broadcast.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
19 Jun 1935
p. 2
Daily Variety
12 Jul 1935
p. 5
Daily Variety
10 Sep 1935
p. 3
Film Daily
14 Sep 1935
p. 7
Hollywood Reporter
10 Sep 1935
p. 3
Hollywood Reporter
24 Oct 1936
p. 4
Motion Picture Daily
11 Sep 1935
p. 16
Motion Picture Herald
31 Aug 1935
p. 54
Motion Picture Herald
21 Sep 1935
p. 41
MPSI
Jun 1935
p. 6
New York Times
16 Sep 1935
p. 15
Variety
18 Sep 1935
p. 35
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
Eddie Montagne
2nd asst dir
PRODUCERS
Exec prod
WRITERS
Contr to spec seq
Contr to spec seq
Contr to spec seq
Cont
Contr to trmt
Contr to trmt
Contr to trmt
Contr to trmt
Paul Moss
Contr to trmt
Contr to trmt
Contr to trmt
Contr to trmt
Contr to trmt
Contr to trmt
Contr to trmt
PHOTOGRAPHY
Photog
Asst cam
ART DIRECTORS
Art dir
Art dir
FILM EDITORS
Asst ed
SET DECORATOR
Bert Granger
Set dresser
COSTUMES
Hazel Haggerty
Women's wardrobe
Men's wardrobe
MUSIC
Violin accompaniment to Bing Crosby's specialty nu
SOUND
E. P. Merritt
Sd rec
J. N. Cope
Sd rec
Stage engineer
Gene Merritt
Mixer
VISUAL EFFECTS
Spec photog eff
Spec photog eff
DANCE
Dance ensembles staged by
MAKEUP
PRODUCTION MISC
Scr clerk
Andy Durkis
Grip
Company grip
Mike grip
Heinrich Schuster
Gaffer
Ted Reed
Asst to prod
Props
Props
Publicity
Set lighting foreman
Set lighting asst
Still photog
Bus mgr
SOURCES
SONGS
"It's the Animal in Me," words and music by Mack Gordon and Harry Revel; "Why Stars Come Out at Night," words and music by Ray Noble; "I Wished on the Moon," words and music by Dorothy Parker and Ralph Rainger; "Cheating Muchachita," English words by Marjorie Harper, Spanish words by Alfredo Le Pera, music by Alfredo Le Pera and Carlos Gardel; "On the Wings of a Waltz," words by Leo Robin, music by Mel Shauer; "A Man, a Maid, a Moon" and "Is Love a Moon-Flower?" words by Leo Robin, music by Ralph Rainger; "Through the Doorway of Dreams," "Miss Brown to You," "Double Trouble" and "Why Dream," words and music by Leo Robin, Richard A. Whiting and Ralph Rainger.
SONGWRITERS/COMPOSERS
+
DETAILS
Alternate Title:
The Big Broadcast of 1935
Release Date:
20 September 1935
Production Date:
began mid Jun 1935 at Eastern Service Studios, Inc.
Copyright Info
Claimant
Date
Copyright Number
Paramount Productions, Inc.
26 September 1935
LP5815
Physical Properties:
Sound
Western Electric Noiseless Recording
Black and White
Duration(in mins):
97 or 105
Length(in feet):
8,514
Length(in reels):
10
Country:
United States
PCA No:
1020
Passed by NBR:
Yes
SYNOPSIS

Spud Miller runs radio station W.H.Y. with his partner Smiley and two young performers, Dot and Dash, but he is about to lose the station due to lack of funds. Entrepreneurs George and Gracie try to sell Spud the "Radio Eye," a contraption that picks up broadcasts and events all over the world and projects them on a viewing screen. Spud keeps the machine, planning to use it for his own broadcasts. He also receives his acceptance notice from the International Broadcasting Competition for his station to compete for the best broadcast. Spud's radio personality attracts Countess Ysobel De Nargila, who goes to the station and discovers that the radio personality known as "Lochinvar," is actually Spud's speaking voice and Smiley's singing voice. Determined to fall in love and marry one of them, Ysobel kidnaps them and takes them south of the border on her yacht to her island country, Clemente. Ysobel's secretary Sue has fallen in love with Smiley and warns him that Gordoni, the caretaker of Ysobel's plantation, is dangerously jealous and has killed all of Ysobel's previous suitors. The next night, Spud and Smiley find out Gordoni plans to kill them at midnight, and they call for help using the Radio Eye. In response, George and Gracie row for Clemente and are rescued by a passing boat. In the meantime, Spud and Smiley frantically try to buy time by broadcasting their story over the Radio Eye and using the images they pick up on the screen to entertain Ysobel so she does not fall asleep, as they are aware that as soon as she falls asleep, Gordoni will attempt to ...

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Spud Miller runs radio station W.H.Y. with his partner Smiley and two young performers, Dot and Dash, but he is about to lose the station due to lack of funds. Entrepreneurs George and Gracie try to sell Spud the "Radio Eye," a contraption that picks up broadcasts and events all over the world and projects them on a viewing screen. Spud keeps the machine, planning to use it for his own broadcasts. He also receives his acceptance notice from the International Broadcasting Competition for his station to compete for the best broadcast. Spud's radio personality attracts Countess Ysobel De Nargila, who goes to the station and discovers that the radio personality known as "Lochinvar," is actually Spud's speaking voice and Smiley's singing voice. Determined to fall in love and marry one of them, Ysobel kidnaps them and takes them south of the border on her yacht to her island country, Clemente. Ysobel's secretary Sue has fallen in love with Smiley and warns him that Gordoni, the caretaker of Ysobel's plantation, is dangerously jealous and has killed all of Ysobel's previous suitors. The next night, Spud and Smiley find out Gordoni plans to kill them at midnight, and they call for help using the Radio Eye. In response, George and Gracie row for Clemente and are rescued by a passing boat. In the meantime, Spud and Smiley frantically try to buy time by broadcasting their story over the Radio Eye and using the images they pick up on the screen to entertain Ysobel so she does not fall asleep, as they are aware that as soon as she falls asleep, Gordoni will attempt to kill them. As they are doing this, the broadcasting competition picks up their transmission and assumes it is their entry in the contest. Midnight strikes, Spud cries for help and a fight ensues. Spud and Smiley take off on a horsedrawn carriage with Gordoni's men in hot pursuit. The carriage and horses separate, and the carriage stops short of plunging into the ocean just as the U.S. Marines arrive. Spud discovers Gordoni inside the carriage, but Gordoni falls into the ocean. Spud is reunited with Ysobel, and Sue is united with Smiley as they all find out that W. H. Y. won the broadcasting competition.

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

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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.