Broadway Serenade (1939)

114 mins | Musical, Drama | 7 April 1939

Director:

Robert Z. Leonard

Writer:

Charles Lederer

Producer:

Robert Z. Leonard

Cinematographer:

Oliver T. Marsh

Editor:

Harold F. Kress

Production Designer:

Cedric Gibbons

Production Company:

Metro-Goldwyn-Mayer Corp.
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HISTORY

A news item in HR notes that Walter Pidgeon and George Murphy were also considered for the male lead in this picture, and that Lew Ayres was eliminated from the cast and then later re-instated. This was Robert Z. Leonard's initial assignment as a producer-director for Metro. According to modern sources, this film marked Busby Berkeley's return to M-G-M. ...

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A news item in HR notes that Walter Pidgeon and George Murphy were also considered for the male lead in this picture, and that Lew Ayres was eliminated from the cast and then later re-instated. This was Robert Z. Leonard's initial assignment as a producer-director for Metro. According to modern sources, this film marked Busby Berkeley's return to M-G-M.

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SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
30 Mar 1939
p. 3
Film Daily
4 Apr 1939
p. 12
Hollywood Reporter
17 Nov 1938
p. 2
Hollywood Reporter
26 Nov 1938
pp. 6-7
Hollywood Reporter
31 Mar 1939
p. 3
Motion Picture Daily
5 Apr 1939
p. 5
Motion Picture Herald
31 Dec 1938
p. 41
Motion Picture Herald
8 Apr 1939
p. 61, 64
New York Times
7 Apr 1939
p. 25
Variety
5 Apr 1939
p. 15
CAST
NAME
CREDITED AS
CREDIT
E. Allyn Warren
Lawrence Wheat
William E. Lawrence
Arthur "Pop" Byron
Paul Newlan
Sidney Jarvis
+
PRODUCTION CREDITS
NAME
PARENT COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
Finale number created and dir by
PRODUCER
WRITERS
Orig story
Orig story
Orig story
PHOTOGRAPHY
ART DIRECTORS
Art dir
Joseph Wright
Art dir assoc
FILM EDITOR
Film ed
SET DECORATOR
Set dec
COSTUMES
Gowns
Men's cost
MUSIC
Mus score
Mus score
Vocal and orch collaboration
Vocal and orch collaboration
Mus presentation
SOUND
Rec dir
VISUAL EFFECTS
Montage
DANCE
"Flying High" and "Madame Butterfly" numbers stage
MAKEUP
Makeup
STAND INS
Vocal stand-in for Jeanette MacDonald
Dancer stand-in for Jeanette MacDonald
SOURCES
SONGS
"Time Changes Everything," music by Walter Donaldson, lyrics by Gus Kahn; "High Flyin" and "One Look at You," music by Herbert Stothart and Edward Ward, lyrics by Chet Forrest and Bob Wright; "For Every Lonely Heart," "Rhapsody" and "Broadway Serenade," music by Edward Ward and Herbert Stothart, lyrics by Gus Kahn; "No Time to Argue," music by Sigmund Romberg, lyrics by Gus Kahn; "Ridin' on a Rainbow," music and lyrics by Bob Wright and Chet Forrest.
SONGWRITERS/COMPOSERS
+
DETAILS
Release Date:
7 April 1939
Production Date:
Late Nov 1938--9 Feb 1939
Copyright Info
Claimant
Date
Copyright Number
Loew's Inc.
28 March 1939
LP8751
Physical Properties:
Sound
Western Electric Sound System
Black and White
sepia
Duration(in mins):
114
Length(in reels):
12
Country:
United States
PCA No:
5105
SYNOPSIS

Composer James Geoffrey Seymour is a strong supporter of his wife Mary Hale's singing career and appears with her on the vaudeville circuit. Consequently, when wealthy backer Larry Bryant persuades Broadway producer Cornelius Collier Jr. to put Mary in his show, Seymour and Hale split up as Mary reluctantly travels to Atlantic City with the show and Jimmy remains behind in New York. As Mary soars to stardom, Jimmy struggles with his musical compositions until one day, he reads a gossip column that claims that his wife is having an affair with Bryant. A drunken Jimmy confronts Mary with the accusation, and in the ugly argument that ensues, Mary asks for a divorce. On Christmas Eve, Jimmy is served with divorce papers and bitterly throws his compositions into the fire. When his friend Herman burns his hands while trying to rescue Jimmy's work, Jimmy realizes that the only respite from his misery lies in his composition and throws himself into his work until he finally sells an operetta. Throughout it all, Mary has never stopped loving Jimmy, but when he fails to contest the divorce, she agrees to marry Bryant. On the day that Mary is to sail to England to wed Bryant, Jimmy comes to her to renew their love, but she tells him that he is too late. However, when Collier refuses to produce Jimmy's show unless Mary will star in it, Mary agrees to remain in New York. On opening night, Bryant realizes that Mary still loves Jimmy and breaks their engagement, freeing Mary to return to Jimmy, her true ...

More Less

Composer James Geoffrey Seymour is a strong supporter of his wife Mary Hale's singing career and appears with her on the vaudeville circuit. Consequently, when wealthy backer Larry Bryant persuades Broadway producer Cornelius Collier Jr. to put Mary in his show, Seymour and Hale split up as Mary reluctantly travels to Atlantic City with the show and Jimmy remains behind in New York. As Mary soars to stardom, Jimmy struggles with his musical compositions until one day, he reads a gossip column that claims that his wife is having an affair with Bryant. A drunken Jimmy confronts Mary with the accusation, and in the ugly argument that ensues, Mary asks for a divorce. On Christmas Eve, Jimmy is served with divorce papers and bitterly throws his compositions into the fire. When his friend Herman burns his hands while trying to rescue Jimmy's work, Jimmy realizes that the only respite from his misery lies in his composition and throws himself into his work until he finally sells an operetta. Throughout it all, Mary has never stopped loving Jimmy, but when he fails to contest the divorce, she agrees to marry Bryant. On the day that Mary is to sail to England to wed Bryant, Jimmy comes to her to renew their love, but she tells him that he is too late. However, when Collier refuses to produce Jimmy's show unless Mary will star in it, Mary agrees to remain in New York. On opening night, Bryant realizes that Mary still loves Jimmy and breaks their engagement, freeing Mary to return to Jimmy, her true love.

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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.