A vacationing Broadway producer, George White, stops off in a small Georgia town to send a telegram. He sees his name in lights on a local theater and is scandalized over the unauthorized ... See full summary »
A vacationing Broadway producer, George White, stops off in a small Georgia town to send a telegram. He sees his name in lights on a local theater and is scandalized over the unauthorized use. He goes to the theater to object and, while there, discovers some unusual and great song-and-dance talent buried in a tank-town. He takes them to New York City, puts them in a new version of his Scandals and they are big hits. Their sudden fame causes a pair of lovers to forget their vows made in less-palmy days. Written by
Les Adams <email@example.com>
Famed Broadway producer George White appeared in a second film version of his famous scandals the year after the first one. The original screen George White's Scandals introduced Alice Faye to the screen and Faye is once again featured. White appears as himself again and this time does a little hoofing in a dance contest.
The plot is again a backstage romance story on wish to display various numbers you would have seen on Broadway in the Scandals revue. It involves Alice Faye and James Dunn, a vaudeville team appearing in a small town show that's also in another White show, this one though involving small town producer Elmer White played by that merriest of screen actors, Ned Sparks.
White's passing through town and discovers that the show is really a gold mine of talent. He signs Dunn, Faye, Cliff Edwards, Lyda Roberti and even Sparks himself for his new George White's 1935 Scandals.
Of course both Dunn and Faye let stardom go to their heads a little, but you know it all works out in the end.
Eleanor Powell got her first big break after a couple of bit roles in two previous films. But this didn't lead to a Fox contract, Louis B. Mayer snapped her up right away.
Like the previous film, George White's 1935 Scandals is a nice historic record of a Broadway review. One only wishes Florenz Ziegfeld had lived long enough to create a film version of the Follies himself. But this pales in comparison with what Busby Berkeley was achieving over at Warner Brothers in this decade.
White might have considered hiring Berkeley, but then his personal imprimatur wouldn't have been on the picture. After all he wasn't producing the Busby Berkeley scandals.
Still it's a pleasant enough musical review and the plot doesn't get too much in the way.
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