Looking again to a movie that earned Hollywood’s top award but fails to shine against most flicks given that prestige, I bring you The Broadway Melody. Taking one of the early Oscars for Best Picture, the musical contended with a handful of movies that for the most part have failed to maintain their place in history. Had 1929 been a year with a better stock of movies to choose from, The Broadway Melody would not have stood a chance to win.
The movie tells a story that became too common a plot in the years that followed. We meet a performing team who come to New York hoping to make it big on Broadway. One of the set does make a splash but more so with wealthy members of the audience than with general stardom. Falling into the role of a showgirl mistress drives concern and conflict with the remaining member(s) of the troop.
So goes The Broadway Melody. Queenie (Anita Page) is the prettier, bustier and blonder of the sister duo, the remainder of which is occupied by the talented “Hank” (Bessie Love). The sisters have been travelling the country with their song-and-dance show and have landed in New York where Hank’s boyfriend Eddie (Charles King) is prepared to help them make it big with the use of a song he has written: “The Broadway Melody”.
Eddie is immediately spellbound with Queenie even though he is fairly devoted to Hank. He helps the girls get into a show produced by big shot Zanfield (Eddie Zane). As the show opens to audiences, Queenie garners the attention of one of Zanfield’s backers, Jacques Warraner (Kenneth Thomson), who takes her to fancy dinners and gives her expensive gifts. Queenie is moderately resistant to his advances but enjoys the lavish lifestyle. Meanwhile, Hank cannot stand to see the life her sister is leading.
Once Jacques sets Queenie up in her own apartment, the tensions get high among the players and both Hank and Eddie argue to keep the blonde from running off to such an unsavory lifestyle. During these arguments, Hank notices how Eddie feels about Queenie and casts him aside so that he feels free to run after the sister. The two wed, leaving Hank glad she has saved her sister but solemn for her own romantic prospects.
Bessie Love gives one hell of a performance, but nothing so kind can be said for the rest of the cast. Although Love gives appropriately dramatic and heartfelt displays, Anita Page leaves us wondering if she is acting at all, or just delivering lines. Charles King make a decent, friendly man to root for, but he offers nothing special. None can be commended for his or her singing talent.
The Broadway Melody really fails to produce a satisfactory conclusion. Love’s performance has us rooting for her to have a happy ending with her man, and her dramatic display upon giving him up makes us think that any other coupling would be cruel. Page equally fails to convince us Queenie deserves Eddie or that she has anything to offer besides her supposedly good looks. She has an upleasant personality and nearly no talent, so it is a wonder why Eddie want to be with her in the first place. Queenie is such a brat throughout the story that one almost wishes she would get what she deserves from her unsavory relationship with Jacques.
Although some of the costuming is splendid in terms of Hank and Queenie’s stage attire, the production crew really dropped the ball on Queenie’s other aesthetic appeal. She is meant to be shades more beautiful than her sister, but she is nothing special. Her hair often looks more like bed head than an attempt at a fashionable finger wave, and her whole character comes off as sloppy.
The future certainly held much better incarnations of the corrupted-then-redeemed Broadway star story, so there is no sense wasting time on The Broadway Melody even if it is a Best Picture winner.