Complete credited cast: | |||
James Melton | ... | Tod Weaver | |
Patricia Ellis | ... | Gale Starr | |
Marie Wilson | ... | Camille Casey | |
Fred Keating | ... | 'Remorse' Rumson | |
Dick Purcell | ... | Mel Lynch | |
Wini Shaw | ... | Lorna Wray (as Winifred Shaw) | |
Charley Foy | ... | 'Scoop' Trotter (as Charles Foy) | |
Craig Reynolds | ... | Bill Hallam | |
Bill Elliott | ... | Walter Wilson (as Gordon Elliott) | |
Eddie 'Rochester' Anderson | ... | Exodus Johnson (as Eddie Anderson) | |
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Eddie Kane | ... | Alex Montrose |
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Gordon Hart | ... | Mr. Woodruff |
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Harry Hayden | ... | Mr. Armstrong |
A professional triangle with some personal twists thrown in is presented. Bandleader Tod Weaver has a successful New York career with Gale Starr, his girl, his lead female vocalist - Tod being the lead male vocalist - performing urbane classy melodically driven songs, expertly arranged by Mel Lynch, in upscale uptown clubs. Tod and Mel have a falling out, partly because of Mel's interest in Gale professionally and personally, with neither backing down from their principled positions of Tod not wanting anything to do with Mel ever again, and Mel wanting to ruin Tod. Gale somewhat sides with Mel if only for the survival of her own career, which leads to Gale taking over Tod's band at their latest gig at the Sky Terrace, and Tod being blacklisted by uptown clubs and the bandleaders' association. But with Tod goes his faithful manager Remorse Rumson and publicist Scoop Trotter, whose professional lives are also at stake. The three have different perspectives of how to get Tod on his feet ... Written by Huggo
"Melody for Two" is a musical--one of those musicals common to its time, where the story takes place on a stage or in a nightclub as an excuse to present musical numbers that have little, if anything, to do with the plot. In this film, the primary characters all work in or around nightclubs. The big "drama" in the story comes from the "novel" idea of introducing swing music to the nightclub patrons. Is it a passing fad? Will audiences like it as much as they do in Harlem clubs? There is a minimum of romance, and who carries a torch for whom has little to do with the action.
What the viewer is left with is a collection of musical performances which, in this case, are an assortment of mediocre tunes and the occasional hummable melody.
The dialogue is meant to be the snappy banter that typifies the thirties and successfully punctuated the successes of Ginger Rogers, Jean Arthur, Cary Grant, and many others. But the banter is uninspired and it feels forced and wooden as delivered by this troupe. The worst is Charley Foy (yes, one of those Foys) who plays a hoofer named Scoop (natch). Foy is the comic whose job is to insert clever one-liners throughout his scenes, but his jokes are lame and they destroy the rhythm of the dialogue.
The fashions in this film are horrible and make one truly appreciate other films of the time that celebrated beauty, ingenuity and the female form.
It is interesting to hear the characters argue over the consequence of swing music as many in the 1950s argued about rock and roll and those at the turn of the century discussed hip hop. Swing enjoyed a heyday during the big band era and enjoys success today, if primarily as part of the swing dancing phenomenon. Swing always had what many now refer to as "swag".
All in all, "Melody for Two" is a shadow of what it could have been with better talent and, perhaps, a bigger budget.