A reluctantly retired vaudevillian clashes with his producer son who thinks his father's entertainment is passe and audiences need something more sophisticated. Meanwhile the producer's father and sister secretly produce their own show.
Broadway producer Jonnie Demming courts big-name talent for his upcoming musical show, oblivious to the talent all around him, in his family and friends. When Jonnie finally lands Hollywood star Helen Hoyt for his cast, Helen herself tries opening Jonnie's eyes to the talents of his dad and sister. But Jonnie remains adamant. Will his family and friends launch their own show, in competition with Jonnie's? Written by
Dan Navarro <email@example.com>
This film was initially telecast in Los Angeles Tuesday 11 February 1958 on KTTV (Channel 11), followed by Philadelphia 10 March 1958 on WFIL (Channel 6); in San Francisco it was not aired until 12 June 1961 on KGO (Channel 7), and New York City televiewers did not get a look at it until 7 November 1962 on WCBS (Channel 2). At this time, color broadcasting was in its infancy, limited to only a small number of high rated programs, primarily on NBC and NBC affiliated stations, so these film showings were all still in B&W. Viewers were not offered the opportunity to see these films in their original Technicolor until several years later. See more »
Impressionist Dean Murphy, impersonating Joe E. Brown, is in a barnyard sketch with Nancy Walker. His armpit sweat varies from shot to shot - very wet, a couple smalls spots, dry and wet again. See more »
Dismal musical trifle with routine backstage story about putting on a show...
Whomever took a look at the final script for "Broadway Rhythm" must have realized that the only thing that might put this one over would be an abundance of talented performers, since the plot was a mere trifle.
As a result, the film is full of gifted performers unable to bring much life to this routine musical about a producer quarreling with his father over how to produce their next show and walking out on him. Of course, everything is straightened out by the final reel and the show is a smash hit.
MGM produced this in velvety Technicolor with all the trimmings but there's no disguising the fact that the witless script is full of flat lines and only occasionally does a song get that MGM treatment.
George Murphy and Ginny Simms get top billing with Gloria DeHaven, Charles Winninger, Nancy Walker and Ben Blue in good support. Guest star Lena Horne gives the film its most solid moments with two specialty numbers and Hazel Scott does magic with her finger work at the piano. Eddie "Rochester" Anderson provides some comic relief.
But Murphy gets only one dance routine at the finale and Ginny Simms only gets one memorable song ("All The Things You Are") to warble before the show is over. It all has a slap-dash kind of organization, the story flow stopping every few moments to accommodate another frenzied number.
The tiresome script is the problem, lacking wit and originality. Six years later, "Summer Stock" with Judy Garland and Gene Kelly (and Gloria DeHaven) did a much better job with similar material and better songs.
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