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Rainbow Over Broadway (1933)

Passed  |   |  Drama, Music  |  1 December 1933 (USA)
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Ratings: 5.5/10 from 12 users  
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Ex-vaudeville performer Trixie makes a come-back, and threatens to thwart the ambitions of her song-writing step-children, Bob and Judy.



(story), (adaptation)
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Title: Rainbow Over Broadway (1933)

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Cast overview:
Don Hayes
Lucien Littlefield ...
Grace Hayes ...
Trixie Valleron
Gladys Blake ...
Nellie Valleron
Glen Boles ...
Dell Henderson ...
Nat Carr ...
Harry Myers ...
May Beatty ...
George Grandee ...
Aline Goodwin ...
Chorus Girl
Maxine Lewis ...
Chorus Girl


Producer Don Hayes wants to help song-writing brother and sister Bob and Judy to succeed, but he also wants to stage a come-back for their ex-vaudeville step-mother Trixie, who refuses to sing their sort of music. He moves them all to New York, and gets a booking for Trixie at a top night club. Bob and Judy write songs for her under pseudonyms, but when two impresarios want to hire the songwriters to write a show for them, Trixie discovers the truth, and threatens to walk out. Written by David Kelsey, Middlesbrough

Plot Summary | Add Synopsis


Drama | Music


Passed | See all certifications »




Release Date:

1 December 1933 (USA)  »

Company Credits

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Technical Specs


Sound Mix:


Aspect Ratio:

1.37 : 1
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Did You Know?


There Ain't No Substitute for Love
Music by Albert von Tilzer
Lyrics by Elizabeth Morgan
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User Reviews

A pot of old makes its way over the rainbow where skies are blood red.
28 May 2015 | by (New York City) – See all my reviews

Mame Dennis and Vera Charles have nothing over on Trixie Valleron (Grace Hayes) and her old friend Queenie (May Beatty), two former showgirls from the days of "Floradora" who encounter each other years later when Trixie returns to New York to take on the headliner position of one of the fanciest cabarets in Manhattan. All that is missing is the cat screeching sound which made a claw-fest in "Roxie Hart" one of the funniest bitch fights in film history. Trixie certainly isn't a performer you really root to succeed because she has it in for her step-children (Joan Marsh and Glen Boles) who long to make it as songwriters. Trixie seems a bit embarrassed to have married into this family, but it is obvious that in spite of her pretentiousness, husband Lucien Littlefield loves her very much. Thanks to song plugger Frank Albertson, Marsh and Boles are able to get the break they deserve, but the stipulation for both Hayes and her hated step-children is that she sings their songs and that they write for her even though she claims to hate their music. Ironically, when she thinks it comes from other songwriters, she loves it.

Truly catty dialog makes this an extremely funny and fast-moving comedy with a few songs (and one production number with Hayes attempting to emulate Mae West) to pad out its shell of a plot. The dialog from the very beginning gives you the sense that the screenwriter didn't use a pen, and like Waldo Lydecker from "Laura", they wrote with a goose quill dipped in venom. As attention demanding as Hayes is, she is no where quite as annoying as her on-screen daughter, a helium voiced Gladys Blake who thank goodness Hayes doesn't become a "Mama Rose" to in order to push her into show business. When the reunion between Hayes and Beatty starts off gracious, you know that the fur between these two cats is going to fly once the wisecracks start, with a rivalry between them really over Beatty's husband, an old flame of Ms. Hayes. The one big production number at the end is very funny because Ms. Hayes doesn't seem to realize that there are chorus girls behind her (with fans) who are obviously half her age, so obviously much of the attention is on them, not her. Some of the plot points are never totally wrapped up (such as what happens with Trixie's old flame), but that is a minor oversight. So put on your boxing gloves, sharpen your claws, and keep the acid handy. It's going to be a bumpy ride from Kansas to New York, and there will be no stopping over in the land of Oz on the way.

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