Eddie sells his song to a Broadway producer and also lands a job dancing in the musical. He sends for his dance partner-fiancée Molly who brings her younger sister Pat. Upon seeing Molly ... See full summary »
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Eddie sells his song to a Broadway producer and also lands a job dancing in the musical. He sends for his dance partner-fiancée Molly who brings her younger sister Pat. Upon seeing Molly and Pat dance, the producer picks Pat for the show and gives Molly a job selling cigarettes. A wealthy friend of the Producer named Chad, also has is eye on Pat. Pat is teamed with Eddie in the specialty number as Kerns and Mahoney. Pat and Eddie soon realize that they are in love and must tell Molly. Pat balks at hurting Molly and goes out with Chad who already has five ex-wives. Written by
Tony Fontana <firstname.lastname@example.org>
The revelation here is Lana Turner's dancing ability. Though she was known privately to be an excellent nightclub and ballroom dancer, Miss Turner rarely got the opportunity to demonstrate this ability on film.
So, viewers take notice! Here, MGM were clearly still trying to determine in what direction they would develop the still young starlet, and were, therefore, consigning her to everything from Andy Hardy to Doctor Kildaire.
In "Two Girls on Broadway," however, she is given an excellent opportunity to display her native rhythm and ability to shift tempo in the lavish production number, "My Wonderful One, Let's Dance." This number, is conceived and filmed, as a sort of hybrid between a Busby Berkely style extravaganza and the sort of routines Hermes Pan was designing for Astaire and Rogers at RKO.
Thus, the number opens with George Murphy and Miss Turner depicted as bar patrons (with full chorus) before a curtain of black lame wherein Mr. Murphy croons the number to Miss Turner. Then the camera, (on a boom) pulls backward in a remarkable crane shot to reveal an enormous stage, and a rotating set equipped with steps, columns, enclosures and sliding walls.
From this point on, Murphy and Turner execute a fast stepping variety of moods and attitudes, including lifts, spins, soft shoe, and ending with an electrifying series of conjoined pirouettes that concludes with Murphy both lifting and rotating Turner with thrilling speed to a racing orchestra.
All told a dizzying feat that proves Miss Turner was fully capable of more than holding her own as a dancer, though I daresay most of her admirers would balk at relinquishing her from her throne as the queen of melodrama.
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