Broadway Melody of 1940
(1940)
100 or 102 mins | Musical | 9 February 1940
Director:
Norman TaurogWriters:
Leon Gordon, George OppenheimerProducer:
Jack CummingsCinematographers:
Joseph Ruttenberg, Oliver T. MarshEditor:
Blanche SewellProduction Designer:
Cedric GibbonsProduction Company:
Metro-Goldwyn-Mayer Corp.This was Fred Astaire's first picture for M-G-M since the 1933 film Dancing Lady, and it was the first picture Astaire made following his departure from RKO. It was also the fourth and last of M-G-M's "Broadway Melody" pictures. For additional information about the films, see entries above for Broadway Melody of 1936 and Broadway Melody of 1938. According to modern sources, the film was originally to have been shot in Technicolor, but because of the unsettled economic conditions caused by the start of the war in Europe, M-G-M decided to film it in black and white. Modern sources add that the set for the "Begin the Beguine" number cost $120,000 to construct and used a sixty foot multi-paneled mirror mounted on a revolving track that swung around to change backgrounds during the dance. Cole Porter wrote the song in 1935, and it was one of his biggest hits. ...
This was Fred Astaire's first picture for M-G-M since the 1933 film Dancing Lady, and it was the first picture Astaire made following his departure from RKO. It was also the fourth and last of M-G-M's "Broadway Melody" pictures. For additional information about the films, see entries above for Broadway Melody of 1936 and Broadway Melody of 1938. According to modern sources, the film was originally to have been shot in Technicolor, but because of the unsettled economic conditions caused by the start of the war in Europe, M-G-M decided to film it in black and white. Modern sources add that the set for the "Begin the Beguine" number cost $120,000 to construct and used a sixty foot multi-paneled mirror mounted on a revolving track that swung around to change backgrounds during the dance. Cole Porter wrote the song in 1935, and it was one of his biggest hits.
The struggling dance team of Johnny Brett and King Shaw is split up when, in a case of mistaken identity, theatrical agent Bert C. Matthews offers King rather than Johnny the job of leading man in Broadway star Clare Bennett's new show. Success goes to King's head, but Johnny loyally sticks by his friend, even coaching him with his dance steps. King grows so egotistical that he begins to neglect practice and becomes convinced that Clare is in love with him. Meanwhile, Clare comes to realize that Johnny is the real talent behind King and finds herself falling in love with him. When, on opening night, King has a spat with Johnny and gets so drunk that he is unable to perform, Johnny goes on in his place and saves the show. Once he sobers up, King realizes that he has acted the fool and rectifies the situation by abdicating to Johnny both Clare and his ...
The struggling dance team of Johnny Brett and King Shaw is split up when, in a case of mistaken identity, theatrical agent Bert C. Matthews offers King rather than Johnny the job of leading man in Broadway star Clare Bennett's new show. Success goes to King's head, but Johnny loyally sticks by his friend, even coaching him with his dance steps. King grows so egotistical that he begins to neglect practice and becomes convinced that Clare is in love with him. Meanwhile, Clare comes to realize that Johnny is the real talent behind King and finds herself falling in love with him. When, on opening night, King has a spat with Johnny and gets so drunk that he is unable to perform, Johnny goes on in his place and saves the show. Once he sobers up, King realizes that he has acted the fool and rectifies the situation by abdicating to Johnny both Clare and his role.
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