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Two Tickets to Broadway (1951)

Approved | | Musical, Romance | 20 November 1951 (USA)
Nancy Peterson and her friends want to get a spot on Bob Crosby's TV show, but their agent has linked them.

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Writers:

(screenplay), (screenplay) | 1 more credit »
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Nominated for 1 Oscar. See more awards »
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Cast

Complete credited cast:
...
...
...
Hannah Holbrook (as Gloria De Haven)
...
Lew Conway
...
Joyce Campbell
...
S.F. (Foxy) Rogers
Charles Dale ...
Leo, Palace Deli (as Joe Smith & Charles Dale)
Joe Smith ...
Harry, Palace Deli (as Joe Smith & Charles Dale)
...
Willard Glendon
...
Sailor on Bus
...
Orchestra Leader
The Charlivels ...
The Charlivels
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Storyline

Young and inexperienced Nancy Peterson leaves her hometown of Pelican Falls, Vermont, to try to make it big on Broadway. Along the way, she meets Hannah Holbrook, Joyce Campbell and S.F. "Foxy" Rogers, three struggling and starving chorines who are heading back to New York after a disastrous run on a showboat in Vermont. In New York, Nancy also meets baritone Dan Carter, who is thinking about heading back to his hometown of Denver after two years of getting nowhere on Broadway. Beyond meeting Nancy, what Hannah, Joyce, Foxy and Dan also have in common is that they are each represented by Lou Conway, a somewhat shyster of an agent who relies on the good-natured if somewhat reluctant funding of local deli owners Leo and Harry to advance Hannah, Joyce, Foxy and Dan's careers. Regardless, Hannah loves Lou, the two who are engaged. To appease most specifically Dan, Lou comes up with his latest scheme to make his name known to the public: move to a new medium - television - by getting him a... Written by Huggo

Plot Summary | Add Synopsis

Taglines:

Get set for a Racy Romp up and down the Big Street!

Genres:

Musical | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

|

Release Date:

20 November 1951 (USA)  »

Also Known As:

Luces de Broadway  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Color:

(Technicolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Opening credits: The characters and events depicted in this photoplay are fictional. Any similarity to actual persons, living or dead, is purely coincidental. See more »

Goofs

When Janet Leigh takes the newspaper clipping from her mirror (after seeing Bob Crosby), you can see that the back of the clipping is unprinted. See more »

Connections

Featured in Histoire(s) du cinéma: Toutes les histoires (1989) See more »

Soundtracks

Big Chief Hole-in-the-Ground
by Jule Styne and Leo Robin
Performed by Janet Leigh, Ann Miller, Tony Martin, Barbara Lawrence and Gloria DeHaven (uncredited)
See more »

Frequently Asked Questions

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User Reviews

 
Plot less Extravaganza with an Inherent Structural Contradiction
11 September 2016 | by (London) – See all my reviews

Howard Hughes's line up of acts is basically his way of responding to the other studios' efforts to do the same thing. There are echoes of the Garland/Rooney cycle of musicals from MGM, with a spice of Fox glitz and the good ol' feelin' of well-being from Warners' Doris Day vehicles of a similar period.

The only snag is that Hughes did really have any big stars on his payroll. What TWO TICKETS TO Broadway presents is a panoply of would-be leading lights, youngsters on their way to stardom, and imitations of more famous originals such as Bob Crosby who does a specialty number with a cardboard cutout of his more illustrious sibling Bing.

Having said that, some of the cast give winning turns. The triumvirate of Janet Leigh, Ann Miller and Gloria DeHaven adumbrate a similar conception in Fox's GENTLEMEN PREFER BLONDES (1953); and they acquit themselves thoroughly well in the song and dance sequences, with Miller getting the chance to show off her famed legs. Tony Martin croons his way through one or two numbers, to the delights of hordes of adoring bobbysoxers. Eddie Bracken camps it up in a largely extraneous comedy role.

Yet perhaps the most interesting aspect of James V. Kern's all-star line-up is its inherent structural contradiction that tells us a lot about the contradictions of movie capitalism at the time. The film begins in Garland/ Rooney fashion by suggesting that, given time and talent, anyone can make it big so long as they have the drive and energy to do so, even if they originate from small-town and America and have to travel to New York by Greyhound bus. This is precisely what Leigh, DeHaven and Miller try to do.

Yet once they get there, they find that they are very much at the agents' and radio program-makers' mercy. They have to alter their work to suit specific formats, and compromise at every opportunity in line with their employers' requirements. We wonder at this point whether Broadway - like Hollywood - actually values originality, or whether or not both institutions would be much happier with carbon copies of tried and tested formulas.

The film does not attempt to answer the question, of course (why should it, when it was planned as a joyful musical), but it reveals an undercurrent of cynicism about the potentially adverse effects of money-making and success.


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