Behind the Mike (1937)

68 mins | Comedy | 26 September 1937

Director:

Sidney Salkow

Writer:

Barry Trivers

Producer:

Lou Brock

Cinematographer:

Elwood Bredell

Editor:

Philip Cahn

Production Company:

Universal Pictures Co.
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HISTORY

A. Dorian Otvos, Lester Cole and Gay Stevens are listed in the Universal Production Cost files at the USC Cinema-Television Library under continuity, and Otvos and Cole are listed in the initial HR production chart as screenwriters. Tentative writing credits in SAB list Otvos, Cole, Stevens, Barry Trivers and Lou Brock as contributing writers. The exact nature of their contributions is not known. In the copyright records, a typed-in credit for Richard Wormser was marked for ... More Less

A. Dorian Otvos, Lester Cole and Gay Stevens are listed in the Universal Production Cost files at the USC Cinema-Television Library under continuity, and Otvos and Cole are listed in the initial HR production chart as screenwriters. Tentative writing credits in SAB list Otvos, Cole, Stevens, Barry Trivers and Lou Brock as contributing writers. The exact nature of their contributions is not known. In the copyright records, a typed-in credit for Richard Wormser was marked for deletion. More Less

BIBLIOGRAPHIC SOURCES
SOURCE
DATE
PAGE
Film Daily
2 Nov 37
p. 6.
Hollywood Reporter
6 Jul 37
p. 7.
Motion Picture Daily
11 Nov 37
p. 9.
Variety
3 Nov 37
p. 14.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
Asst dir
PRODUCER
Prod
WRITERS
Orig story
Orig story
Contr wrt
Contr wrt
Contr wrt
Contr wrt
PHOTOGRAPHY
Dir of photog
Cam op
Asst cam
Asst cam
FILM EDITOR
Film ed
SOUND
Sd mixer
PRODUCTION MISC
Scr clerk
Props
Secy to prod
2nd props
Microphone man
Still photog
Still photog
SOURCES
SONGS
"Once You're in Love," music by Jimmy McHugh, lyrics by Harold Adamson
"Street Montage," arranged by Charles Henderson
"Behind the Mike" and "Eat a Crunchie Munchie," composer undetermined.
DETAILS
Release Date:
26 September 1937
Production Date:
7 July--27 July 1937
Copyright Claimant:
Universal Pictures Co.
Copyright Date:
16 September 1937
Copyright Number:
LP7411
Physical Properties:
Sound
Western Electric Mirrophonic Recording
Black and White
Duration(in mins):
68
Length(in reels):
7
Country:
United States
PCA No:
3548
SYNOPSIS

George Hayes, a pugnacious radio producer in New York, is fired when he belts Cyrus Wittles, sponsor of the "Crunchie-Munchie Hour," during a rehearsal. He leaves the city for a job as manager of WBAM, a Valley Falls radio station, but mistakenly wanders into WVOX, where he meets Jane Arledge, an attractive and sharp-tongued program manager. The station is owned by local magnate Harry Fox. Jane leads George to WBAM, which is housed in an abandoned stable. Its one employee is a youth named Tommy Astor. Boasting to Jane that he will have WBAM on its feet in a week, George elicits the help of his friend, Tiny Martin, a New York radio announcer. Although the town's merchants are skeptical about WBAM's prospects, they are anxious to contravene the efforts of Fox, who controls corrupt Mayor Applegate, who is up for re-election. George then listens in on a secret meeting of the merchants regarding the election and broadcasts their suspicions of Fox and Applegate, causing them to repudiate the broadcast. When George threatens to repeat the broadcast, he angers Jane, who believes the accusations against Fox are unfounded, and she and Tiny persuade George to return to New York. While George waits for his train, Jane learns that Fox and Applegate are scheming to embezzle funds from the town and that Fox has bought WBAM to stop George. With Tiny's help, Jane rushes to WBAM and reads George's indictment of Fox and Applegate, adding her newfound evidence against them. George hears the broadcast and, fearing for Jane's safety, tries to stop her, but Jane and Tiny resist him. The exposé prompts the ... +


George Hayes, a pugnacious radio producer in New York, is fired when he belts Cyrus Wittles, sponsor of the "Crunchie-Munchie Hour," during a rehearsal. He leaves the city for a job as manager of WBAM, a Valley Falls radio station, but mistakenly wanders into WVOX, where he meets Jane Arledge, an attractive and sharp-tongued program manager. The station is owned by local magnate Harry Fox. Jane leads George to WBAM, which is housed in an abandoned stable. Its one employee is a youth named Tommy Astor. Boasting to Jane that he will have WBAM on its feet in a week, George elicits the help of his friend, Tiny Martin, a New York radio announcer. Although the town's merchants are skeptical about WBAM's prospects, they are anxious to contravene the efforts of Fox, who controls corrupt Mayor Applegate, who is up for re-election. George then listens in on a secret meeting of the merchants regarding the election and broadcasts their suspicions of Fox and Applegate, causing them to repudiate the broadcast. When George threatens to repeat the broadcast, he angers Jane, who believes the accusations against Fox are unfounded, and she and Tiny persuade George to return to New York. While George waits for his train, Jane learns that Fox and Applegate are scheming to embezzle funds from the town and that Fox has bought WBAM to stop George. With Tiny's help, Jane rushes to WBAM and reads George's indictment of Fox and Applegate, adding her newfound evidence against them. George hears the broadcast and, fearing for Jane's safety, tries to stop her, but Jane and Tiny resist him. The exposé prompts the townspeople to run Fox and Applegate out of town. George realizes Jane loves him and promises never to lose his temper again. Wittles then wires George, asking him to return to his old job, and he and Jane leave for New York. George quickly slips back into his old temper, but is curtailed by Jane's kind reproach. +

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.