- Published on
A fascinating movie that is at once brilliant and banal, technically spectacular, and completely overdone.
Date of Release: May 27, 1929
Studio: Universal
Director: Paul Fejos
Screenplay: Philip Dunning and George Abbott (original play), Edward T. Lowe Jr. (adaptation), Charles Furthman (dialogue)
Music: Con Conrad, Archie Gottler, Sidney Mitchell, Howard Jackson (orchestrations)
Choreographer: Maurice L. Kusell
Leading Actors: Glenn Tryon (Roy Lane), Evelyn Brent (Pearl), Merna Kennedy (Billie Moore), Thomas E. Jackson (Dan McCorn), Robert Ellis (Steve Crandall), Otis Harlan (‘Porky’ Thompson), Paul Porcasi (Nick Verdis), Marion Lord (Lil Rice), Fritz Feld (Mose Levett), Leslie Fenton (‘Scar’ Edwards), Arthur Housman (Dolph), George Davis (Joe), Betty Francisco (Mazie), Edyth Flynn (Ruby), Florence Dudley (Ann), Ruby McCoy (Grace), Gus Arnheim (Orchestra Leader)
Broadway has been made available to the general public as a special feature on Criterion’s DVD release of the 1928 silent film by the same director, Lonesome. Although more of a “drama with songs” than a musical, Broadway is a fascinating and surprisingly watchable film.
The original play of the same name, by Philip Dunning and George Abbott, opened in 1926 was a huge hit on Broadway and ran for 603 performances. Philip Dunning worked as an actor, writer, director, and producer for over twenty years, often in collaboration with George Abbott. He wrote predominantly for the stage, and several of his plays were adapted into film. The plays Broadway (1926) and 20th Century (1932) which Dunning wrote and produced respectively, were his most successful projects.
George Abbott is a name that will make many appearances in this blog (if I can ever get past 1929!). Masterworks Broadway describes Abbott as “One of the most important and admired men in the entire history of Broadway – indeed, some have said that he WAS the history of Broadway…” With over 100 Broadway credits to his name, including some of the most well-known and cherished shows of the 20th century (including Damn Yankees, Wonderful Town, The Pajama Game, Flora and the Red Menace, and A Funny Thing Happened on the Way to the Forum), and over forty film credits (including All Quiet on the Western Front, and film versions of his musicals), Abbott was a tour de force. Broadway was his first big hit after several years struggling as an actor in New York. He went on to earn many awards including 7 Tony Awards, the Pulitzer Prize for Drama, and an Oscar nomination. He died at the age of 107.
Like the play, the film Broadway is a gangster drama set in a New York cabaret club. The backstage setting provides a quirky backdrop for the shady bootlegging criminals, but does not add anything to the plot.
As reported by Variety, Universal paid $200,000 for the screen rights, and the film became a production of many firsts. It was the first million dollar talkie, the first to film with a crane, the first to use tungsten lamps in filming (tungsten lamps create a warm light which is most similar to natural daylight, and allows for colors to be accurately captured on film), and the first to use (poor) Spanish dubbing when it played in Spanish-speaking countries.
The critics were divided between those who had seen the stage show, and those who had not. Critics who had seen the stage show found the movie to be overdone. The film sets were too grandiose, the chorus girls too numerous, and the flashy camera angles too distracting for the plot and dialogue. The critics who had not seen the stage show were far more generous in their praise, calling the film “high quality,” “impressive,” and “nerve-gripping.”
Overall, critics resoundingly praised the technical brilliance of the film and Fejos’ direction.
In an attempt to make the movie even more exciting than the hit play, director Paul Fejos decided to up the scale, setting the story in an impossibly lavish club, and filming with a specially manufactured 50ft crane.
Studio: Universal
Director: Paul Fejos
Screenplay: Philip Dunning and George Abbott (original play), Edward T. Lowe Jr. (adaptation), Charles Furthman (dialogue)
Music: Con Conrad, Archie Gottler, Sidney Mitchell, Howard Jackson (orchestrations)
Choreographer: Maurice L. Kusell
Leading Actors: Glenn Tryon (Roy Lane), Evelyn Brent (Pearl), Merna Kennedy (Billie Moore), Thomas E. Jackson (Dan McCorn), Robert Ellis (Steve Crandall), Otis Harlan (‘Porky’ Thompson), Paul Porcasi (Nick Verdis), Marion Lord (Lil Rice), Fritz Feld (Mose Levett), Leslie Fenton (‘Scar’ Edwards), Arthur Housman (Dolph), George Davis (Joe), Betty Francisco (Mazie), Edyth Flynn (Ruby), Florence Dudley (Ann), Ruby McCoy (Grace), Gus Arnheim (Orchestra Leader)
Broadway has been made available to the general public as a special feature on Criterion’s DVD release of the 1928 silent film by the same director, Lonesome. Although more of a “drama with songs” than a musical, Broadway is a fascinating and surprisingly watchable film.
The original play of the same name, by Philip Dunning and George Abbott, opened in 1926 was a huge hit on Broadway and ran for 603 performances. Philip Dunning worked as an actor, writer, director, and producer for over twenty years, often in collaboration with George Abbott. He wrote predominantly for the stage, and several of his plays were adapted into film. The plays Broadway (1926) and 20th Century (1932) which Dunning wrote and produced respectively, were his most successful projects.
George Abbott is a name that will make many appearances in this blog (if I can ever get past 1929!). Masterworks Broadway describes Abbott as “One of the most important and admired men in the entire history of Broadway – indeed, some have said that he WAS the history of Broadway…” With over 100 Broadway credits to his name, including some of the most well-known and cherished shows of the 20th century (including Damn Yankees, Wonderful Town, The Pajama Game, Flora and the Red Menace, and A Funny Thing Happened on the Way to the Forum), and over forty film credits (including All Quiet on the Western Front, and film versions of his musicals), Abbott was a tour de force. Broadway was his first big hit after several years struggling as an actor in New York. He went on to earn many awards including 7 Tony Awards, the Pulitzer Prize for Drama, and an Oscar nomination. He died at the age of 107.
Like the play, the film Broadway is a gangster drama set in a New York cabaret club. The backstage setting provides a quirky backdrop for the shady bootlegging criminals, but does not add anything to the plot.
As reported by Variety, Universal paid $200,000 for the screen rights, and the film became a production of many firsts. It was the first million dollar talkie, the first to film with a crane, the first to use tungsten lamps in filming (tungsten lamps create a warm light which is most similar to natural daylight, and allows for colors to be accurately captured on film), and the first to use (poor) Spanish dubbing when it played in Spanish-speaking countries.
The critics were divided between those who had seen the stage show, and those who had not. Critics who had seen the stage show found the movie to be overdone. The film sets were too grandiose, the chorus girls too numerous, and the flashy camera angles too distracting for the plot and dialogue. The critics who had not seen the stage show were far more generous in their praise, calling the film “high quality,” “impressive,” and “nerve-gripping.”
Overall, critics resoundingly praised the technical brilliance of the film and Fejos’ direction.
In an attempt to make the movie even more exciting than the hit play, director Paul Fejos decided to up the scale, setting the story in an impossibly lavish club, and filming with a specially manufactured 50ft crane.
According to a wonderful interview with Hal Mohr (included as a special on the DVD), the crane was self-propelled and had its own generator. It could hold two cameras and up to six people, and was so large that a special studio had to be built to accommodate it. Film critic Dave Kehr states that crane remained in use for decades, and became known as the “Broadway crane”.
The crane is a fascinating element of Broadway. The fluid shots, and the incredible set built to capitalize on the specially-created technology, are no doubt well done, but they don’t add anything to the film. It’s all show and no substance.
Visually, Broadway is a far cry from other talkies of this period. With cinematography by Hal Mohr, who would later go on to win two Academy Awards (A Midsummer Night’s Dream (1935) and The Phantom of the Opera (1943)), the scenes are beautifully shot, and carefully composed — even those not filmed with the infamous crane. The camera angles are dynamic, with rapid shifts between perspectives, mid-shots and close-ups. The visual composition is aided by beautiful costumes, designed by Johanna Mathieson.
The visual feast is evident from the opening scene, where a giant muscle man seems to be standing right on top of Times Square, laughing and sloshing champagne. The image is surreal, and doesn’t appear again until the end of the film. The aerial shots of the lights of Broadway, imposed over images of bands playing, hoofers dancing, and festive parties, make for a dynamic and exciting opening sequence.
The first few scenes are distinct for their use of sound. When the club owner, Nick (played by Paul Porcasi, reprising his stage role), heads backstage and closes the door, the music becomes softer. No time is wasted setting up musical numbers or explaining why people are holding instruments. All the musical numbers take place in the club, and people sing and dance because they are performing. Although the sound is occasionally low quality, the dialogue and use of sound effects are surprisingly natural.
The script is strong, and a far cry from the other musicals of this period. It is refreshing to watch something with a bit of grit and genuine drama. The pace slows somewhat once the dialogue starts, yet the dialogue is witty and snappy.
Like the crane, the musical numbers are gorgeous but superfluous. The first song, “Hittin’ the Ceiling” is a fun uptempo jazz number. The set manages to overwhelm the thirty odd chorus girls, dressed as matching Manhattan buildings with fabulous black tutus and outrageous headpieces. The subsequent numbers, “Let’s Play Whoopee,” “Chicken or Egg,” have a similar feel, and almost identical choreography.
Maurice L. Kusell was a choreographer and teacher, and was reportedly “one of the first to use 100 to 300 dancers or more in intricate dance steps and stagings.” His other credits include Puttin’ On the Ritz and Be Yourself (1930). Kusell’s skill is evident in Broadway, and the tap dancing during “Chicken and Egg” is particularly well-done.
The technicolor finale, a reprise of “Hittin’ the Ceiling” is disappointing. The sound and visuals are muddy, and the choreography, costumes, and music are carbon copies of what we have seen before.
The crane is a fascinating element of Broadway. The fluid shots, and the incredible set built to capitalize on the specially-created technology, are no doubt well done, but they don’t add anything to the film. It’s all show and no substance.
Visually, Broadway is a far cry from other talkies of this period. With cinematography by Hal Mohr, who would later go on to win two Academy Awards (A Midsummer Night’s Dream (1935) and The Phantom of the Opera (1943)), the scenes are beautifully shot, and carefully composed — even those not filmed with the infamous crane. The camera angles are dynamic, with rapid shifts between perspectives, mid-shots and close-ups. The visual composition is aided by beautiful costumes, designed by Johanna Mathieson.
The visual feast is evident from the opening scene, where a giant muscle man seems to be standing right on top of Times Square, laughing and sloshing champagne. The image is surreal, and doesn’t appear again until the end of the film. The aerial shots of the lights of Broadway, imposed over images of bands playing, hoofers dancing, and festive parties, make for a dynamic and exciting opening sequence.
The first few scenes are distinct for their use of sound. When the club owner, Nick (played by Paul Porcasi, reprising his stage role), heads backstage and closes the door, the music becomes softer. No time is wasted setting up musical numbers or explaining why people are holding instruments. All the musical numbers take place in the club, and people sing and dance because they are performing. Although the sound is occasionally low quality, the dialogue and use of sound effects are surprisingly natural.
The script is strong, and a far cry from the other musicals of this period. It is refreshing to watch something with a bit of grit and genuine drama. The pace slows somewhat once the dialogue starts, yet the dialogue is witty and snappy.
Like the crane, the musical numbers are gorgeous but superfluous. The first song, “Hittin’ the Ceiling” is a fun uptempo jazz number. The set manages to overwhelm the thirty odd chorus girls, dressed as matching Manhattan buildings with fabulous black tutus and outrageous headpieces. The subsequent numbers, “Let’s Play Whoopee,” “Chicken or Egg,” have a similar feel, and almost identical choreography.
Maurice L. Kusell was a choreographer and teacher, and was reportedly “one of the first to use 100 to 300 dancers or more in intricate dance steps and stagings.” His other credits include Puttin’ On the Ritz and Be Yourself (1930). Kusell’s skill is evident in Broadway, and the tap dancing during “Chicken and Egg” is particularly well-done.
The technicolor finale, a reprise of “Hittin’ the Ceiling” is disappointing. The sound and visuals are muddy, and the choreography, costumes, and music are carbon copies of what we have seen before.
The production numbers are a mere distraction to the more dramatic events happening backstage and the camera often (frustratingly) leaves to find the action elsewhere mid-dance. The numbers do not add to the plot or provide insight into the characters’ motives, and, aside from their technical ingenuity, the film would be stronger if they were cut.
Broadway would also have benefited from a stronger male lead. Glen Tryon as the aspiring hoofer who has "got personality" is sadly without charisma. Tryon acted predominantly during the silent era for various studios including Hal Roach, and, later, Universal. His performance in director Paul Fejos’ more acclaimed Lonesome is described as the performance of his career. According to Tryon's biographer, Richard M Roberts, after the introduction of talkies, Tryon “had the sense to move behind the camera,” and found success as a comedy writer and producer.
Broadway would also have benefited from a stronger male lead. Glen Tryon as the aspiring hoofer who has "got personality" is sadly without charisma. Tryon acted predominantly during the silent era for various studios including Hal Roach, and, later, Universal. His performance in director Paul Fejos’ more acclaimed Lonesome is described as the performance of his career. According to Tryon's biographer, Richard M Roberts, after the introduction of talkies, Tryon “had the sense to move behind the camera,” and found success as a comedy writer and producer.
Aside from the spectacular visuals, the strength of the film lies in a few stand-out performances. Evelyn Brent is brilliant as the put-out chorus girl, Pearl. Her character is driven by real needs and wants, and her scowl (for which she was famous) is utterly killer. George Davis, as the silent ever-suffering butler Joe, possesses excellent comic timing, and steals all the scenes he is in.
One of my favorite elements of Broadway are the sassy chorus girls. They are rude, backstabbing and mean, and unafraid to say what they think. Women who drive the comedy and the plot are a refreshing break from the sappy women who need men to be happy.
Director Fejos only spent a few years in Hollywood, leaving the United States, and eventually commercial film-making altogether, as he felt creatively constricted by the Hollywood system. His brilliant and innovative vision is strongly evident in Broadway, and we are lucky that Criterion has made the film available.
One of my favorite elements of Broadway are the sassy chorus girls. They are rude, backstabbing and mean, and unafraid to say what they think. Women who drive the comedy and the plot are a refreshing break from the sappy women who need men to be happy.
Director Fejos only spent a few years in Hollywood, leaving the United States, and eventually commercial film-making altogether, as he felt creatively constricted by the Hollywood system. His brilliant and innovative vision is strongly evident in Broadway, and we are lucky that Criterion has made the film available.
0 Comments