5.8/10
85
9 user 2 critic

Lord Byron of Broadway (1930)

Passed | | Musical, Romance, Drama | 28 February 1930 (USA)
A tunesmith, a user and an out-and-out heel, puts the stories of his broken romances into song, turning old love letters into lyrics, and capitalizing on the death of his best friend to ... See full summary »

Writers:

(from the novel by), (dialogue continuity) | 1 more credit »
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Cast

Complete credited cast:
Charles Kaley ...
Roy
Ethelind Terry ...
Ardis
...
Nancy
...
Joe
...
Bessie
...
Phil
Drew Demorest ...
Edwards
Jack Byron ...
Mr. Millaire (as John Byron)
Rita Flynn ...
Red Head
Hazel Craven ...
Blondie
...
Riccardi
Pauline Paquette ...
Marie (as Pauline Paquet)
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Storyline

A tunesmith, a user and an out-and-out heel, puts the stories of his broken romances into song, turning old love letters into lyrics, and capitalizing on the death of his best friend to turn it into the subject of a tear-jerker that turns into a hit. Written by Stan Skiemwierczowski

Plot Summary | Add Synopsis

Genres:

Musical | Romance | Drama

Certificate:

Passed
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Details

Country:

Language:

Release Date:

28 February 1930 (USA)  »

Also Known As:

The Song Writer  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

| (Turner library print)

Sound Mix:

(Western Electric System)

Color:

| (2-strip Technicolor) (two sequences)

Aspect Ratio:

1.20 : 1
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Did You Know?

Trivia

Two musical sequences, totaling 878 feet, were filmed in 2-strip Technicolor, and occur in Reels #4 & #6, and survive in the TCM print. The first number, The Woman in the Shoe, was re-used in Nertsery Rhymes (1933) and the second number, Blue Daughter of Heaven, was re-used in Roast-Beef and Movies (1934). See more »

Connections

Edited into Roast-Beef and Movies (1934) See more »

Soundtracks

Only Love Is Real
(1930) (uncredited)
Music by Nacio Herb Brown
Lyrics Arthur Freed
Played on piano by Marion Shilling on radio and sung by Cliff Edwards
Reprised by Ethelind Terry on radio
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User Reviews

 
Much better than its reputation
31 January 2010 | by (United States) – See all my reviews

I watched this film expecting it to be quite bad, so I was pleasantly surprised at its quality. The film is about Roy Erskine (Charles Kaley), by night a singer and piano player at a café, and by day a songwriter. He uses women and then discards them, using the experience of breaking their hearts as material for songs. He gets a break after vaudeville singer Joe Lundeen (Cliff Edwards) sings one of his songs in his show and invites Roy to be part of the act. This is followed by some records, and pretty soon Roy has hit the big time. Through it all Roy is loved secretly by the girl who transcribed his first hit song, Nancy Clover, who is also part of the vaudeville act. However, Roy does eventually fall hard for a woman who turns out be more than his match in the user department.

There is some good music in this one including two attractive Technicolor numbers - "Blue Daughter of Heaven" and "The Old Woman in the Shoe". "Should I", featured in "Singin in the Rain" is performed a couple of times including once by Charles Kaley. "The Japanese Sandman" is not sung in its entirety, but it's a quite catchy jazz tune as performed by Cliff Edwards. There are several other good tunes, mainly written by songwriting team Herb Nacio Brown and Arthur Freed. With good direction, a compelling plot, good music, and competent acting what went wrong? Why did this film flop at the box office?

The main problem with this film, and probably the reason that it flopped, is that the biggest star in it is Cliff Edwards (Ukelele Ike), and he is just a supporting player. William Haines was originally slated as the lead, but he thought playing such a despicable character as Roy Erskine would hurt his film career, so he declined. So, instead, MGM cast a tuneful Haines look-alike, Charles Kaley. Unfortunately, the resemblance ends there. Haines' characters could behave obnoxiously in his films and still get the audience to root for him because you felt that, beneath the facade, there was a good man just waiting to get out, and by the end of the picture that good man never failed to appear. However, in Kaley's depiction of harmonious heel Roy Erskine you feel that what you see is what you get, and never expect him to redeem himself. This was Kaley's only film at MGM. He was only in three other films, all of those at poverty row studios, and as far as I know all three of those films are lost.

If you like the early talking films and musicals, I highly recommend this one. It's been well preserved and both the video and audio are clear on the copy I've seen.


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