User reviews

This is like the other "Broadway Melody" films in that it is fun, likable and lightweight with a story that mixes music, comedy and romance. Included in the comedy are two odd-ball characters who have single-scene routines, one of them (the man who analyzes sneezes) a repeat from the BM of 1936 film.

Everyone's character is nice in this movie except for Binnie Barnes' role of "Caroline Whipple." Eleanor Powell and George Murphy sing and dance and a young Judy Garland sings - just what we'd all except. I didn't find any of the songs in here that good but they weren't awful, either.

This may be a musical but the music wasn't the appeal for me: it was the nice characters in the film that made you feel good just watching them.

My suspicions are running high that the lavish budget and extravagance of "Broadway Melody of 1938" were practice made in order to disguise the age old Judy Garland and Mickey Rooney premise "Come on, let's put on a show!", away from the typical country town backyard setting, for Broadway itself in a dressed up version of a simplified recyclable plot.

It's hard to believe that Judy Garland, a dark brunette starry eyed fifteen year old as a supporting novelty prop, hence the almost non-explained entrance into the "Melody" movie, later became a threat to Eleanor Powell, the female equivalent of Fred Astaire. Despite her lack of purpose, as the daughter of a boarding house proprietress for struggling actors, Judy manages to sing up a storm with her first big hits, "Dear Mr Gable", originally sung to the King himself before its inclusion in the film, "Everybody Sing", so popular that one of her films the following year was renamed after the song, sing a bit of "Yours and Mine" in the opening credits, and a dance in a toilet roll crinoline white dress with Buddy Ebsen.

However, "Broadway Melody of 1938" was Judy Garland's earliest feature film foray at MGM, and not surprisingly for a dynamic triple threat performer of her talents, steals the show.

Horses, gambling bets, sneezing experts, owners of a frighteningly large number of dogs and simply a hell of a lot of people with budding talent all contribute to the movie's conflicting story and the famous show business line, "The show must go on" in order for Robert Taylor's Broadway producer character to finance his latest hit production, called ironically enough, "Broadway Melody".

As a dancing spectacular showcase for the brilliant talents of Eleanor Powell, the routines featured are no disappointment, notably "Follow in my footsteps", in the company of the champion racehorse on a traveling train, and the sensational George Murphy/Powell dance "I'm Feeling Like a Million". Finally, the charismatic cast is rounded up by Sophie Tucker, as Judy's mother, singing a great rendition of her special song "Some of these days".

In all, like all the movies in the "Melody" series, this isn't exactly "Singin' in the Rain", but it certainly did a lot for the audiences of the Depression era, hungry for the lavish, fun musicals, and is certainly quite a surprising pleasant musical piece for your own enjoyment.

Rating: 8/10

Okay, so the plot lines on these "Broadway Melody" movies are pretty thin. But the dancing and the music are great! This one has the inimitable Sophie Tucker running a boarding house for out-of-work performers, and Judy Garland as her pre-teen daughter. Judy sings some wonderful songs in this, including "You Made Me Love You," to a fan photo of Clark Gable. And Eleanor Powell -- what a hoofer!

What we have here is one of those none-too-inspired screenplays which the players are forced to pep up by shouting their lines at the top of their voices! Alas! Only Billy Gilbert can get away with this sort of stratagem. The others just seem ridiculous. However, never mind the silly story (this is one of the very few musicals with a horse-racing background), the movie's chief assets are its song and dance numbers, including a box-car dance with Eleanor Powell, George Murphy and Buddy Ebsen, two songs by Judy Garland (including the justly famous, "You Made Me Love You"), and. topping them all, a very lively and vastly amusing romp in the rain by Powell and Murphy. The movie was choreographed by the vastly under-rated Dave Gould and attractively photographed in black-and-white by William Daniels (although I understand Ray June worked on the film too).

Eleanor Powell, Robert Taylor, Buddy Ebsen and Robert Wildhack reunite for "Broadway Melody of 1938," not to be confused with "Broadway Melody of 1936" which is better. The 1938 film also stars Sophie Tucker, Judy Garland, Robert Benchley and Binnie Barnes. Taylor is now a producer named Steve instead of Robert, and Powell is newcomer to Broadway Sally Lee. Instead of knowing Steve from Albany, she now comes from a farm. Wildhack is doing scientific work on sneezing instead of snoring this time, and Buddy Ebsen still dances but has actually quit show business. The plot concerns the usual getting the money for a Broadway show, with horse racing thrown in for good measure.

The musical numbers are nowhere near as good as in the past, but we do have the young Judy singing her "You Made Me Love You" to Mr. Gable and "Some of These Days" belted out by Sophie Tucker. At 15, Garland had a very mature voice and was adorable. What a gift. It was also a rare treat to see Sophie Tucker. Here she plays Judy's mother and runs a rooming house for actors. Charles Igor Gorin plays an opera singing barber and sings the Toreador Song and Largo al factotum very well. As you'll see, the horse thinks so too.

Taylor looks fabulous and provides the eye candy and Powell's dancing is great. There are some cute bits in the movie as well. The finale is absolutely enormous. Good fun.

"Broadway Melody of 1938" (MGM, 1937), directed by Roy Del Ruth, the third installment to MGM's "Broadway Melody" yearly titled series, following 1929 and 1936, is an ultra lavish edition (minus Technicolor) with a galaxy of stars, and being most noted today mainly for young Judy Garland, in her MGM feature debut, singing to the portrait of movie actor, Clark Gable, than anything else in the entire production. It would had been more interesting in making Garland the central focus to the story as a teen-aged daughter of a legendary Broadway star (Sophie Tucker) of long ago wanting to keep the family tradition going after her mother retires, and the struggles and hardships that come with it. Instead, this edition of "Broadway Melody" includes enough subplots to make this a two hour plus special, and possibly was, but due to some noticeable sudden cuts and abridged scenes with quick blackouts, it finally made it to a 112 minute cut. Even Judy Garland's singing voice to the song, "Yours and Mine" is heard during the last half of the opening credits, and not seen as part of an audition as such, in the plot.

For the storyline, Caroline Whipple (Binnie Barnes), a former chorus girl now married to a middle-aged millionaire, Herman (Raymond Walburn), is fond of Steve Reilly (Robert Taylor), and she agrees to back a show for which he has written the score. Caroline maintains a large racing stable. Among her horses is Star Gazer, favored to win a big race at Baltimore. Sally Lee (Eleanor Powell), an ambitious dancer, loves Star Gazer because her father raised him. Hearing that Caroline intends to auction off the horse in New York, Sally stows away in a box car and hopes to go along with him. On the train she meets Steve Raleigh (Robert Taylor), who's traveling with the Whipples in their private car. After Sally helps him complete a score he is writing, he becomes impressed with her singing and dancing, and decides to star her in his upcoming show. While in New York, Steve arranges Sally to live in a boarding house for out-of-work actors run by Alice Clayton (Sophie Tucker), a former Broadway headliner hoping to get her daughter, Betty (Judy Garland) into show business. But before the grand finale featuring Star Gazer in a horse race, and then, the Broadway show, the subplot takes center stage on partners Sonny Ledford (George Murphy) and Peter Polt (Buddy Ebsen) who become trainer and jockey to Sally's horse, both dodging an Italian barber (Billy Gilbert) and his opera singing nephew (Charles Igor Gorin), because they owe him money they played on the horses, which won; plus character actor performers adding some comedy, including Robert Wildhack, who previously demonstrated the art of snoring in "Broadway Melody of 1936," now demonstrating his art of sneezing, which predates the comedy acts of future MGM comic, Red Skelton; Helen Troy as Emma Snipe, the "answer to everything" secretary, and a lot funnier than the sneezer; plus the legendary Robert Benchley in a supporting role as a critic.

The musical program includes: "The Toreador Song" from Bizet's CARMEN (sung by Charles Igor Gorin); "Follow in My Footsteps" (sung by George Murphy, Buddy Ebsen and Eleanor Powell); "Yours and Mine" (sung by Eleanor Powell); "Everybody Sing!" (sung by Judy Garland, with Sophie Tucker who sings a portion of "Happy Days Are Here Again", Barnett Parker, and others); "Some of These Days" (sung by Sophie Tucker); "I'm Feeling Like a Million" (sung and danced by George Murphy and Eleanor Powell); "Dear Mr. Gable (You Made Me Love You)" (sung by Judy Garland); "Your Broadway and My Broadway" (sung by Sophie Tucker/danced by Eleanor Powell), and "Broadway Melody" (closing with cast). A cut song, "Got a Pair of New Shoes," which Garland would sing in her latter film, "Thoroughbreds Don't Cry" (MGM, 1937), can be heard briefly sung by chorus during the finale.

"Broadway Melody of 1938" is pure New Yorkish, with the opening and closing credits focusing on the legendary Broadway theaters, Radio City Music Hall, the Metropolitan Opera House and the streets of Broadway in the after sundown hours. The talented dancing by Eleanor Powell highlight the story, although having her tap-dancing in a box-car and later along with George Murphy on the New York streets in front of the Plaza Hotel around the water pond where they are the only one's around, with the orchestral score playing on cue, may seem foolish by today's standards. These "fantasy" numbers set against realism, along with Garland's memorable "Dear Mr. Gable" number, which takes place in her bedroom after everyone is asleep, all might have worked better as production numbers within the Broadway show, but this has become the normal style of film entertainment, especially by MGM standards, looking more like a dance musical from the 1940s and '50s. Remember Gene Kelly on the streets dancing and singing in the rain in 1952? And speaking of dancers, Buddy Ebsen should not go unnoticed, especially during his brief dancing segment opposite pert Judy Garland in the Broadway finale.

In spite of some of its shortcomings, "Broadway Melody of 1938" will not disappoint any avid lover of movie musicals from the golden age of Hollywood, especially seeing some future film stars on the rise, particularly the young Judy Garland, one year before success found her with "The Wizard of Oz" (1939).

Aside from "Broadway Melody of 1938" being readily available for viewing on both video cassette and cable's Turner Classic Movies, there was also a motion picture soundtrack on record released in 1983, compliments of Motion Picture Tracks International, which not only includes the entire score in stereo, but an outtake song of "I'm Feeling Like a Million," sung by Judy Garland on piano. One can only hope that someday, musical and/or storyline outtakes from the film will resurface in parts on video or DVD. Next and final installment, "Broadway Melody of 1940" (1940). (***)

Likable musical with a recycled plot that combines musical and horse racing movie clichés. This film reunites the two leads from Broadway Melody of 1936, Taylor and Powell. Also returning from that film is Buddy Ebsen. Robert Benchley, Raymond Walburn, Billy Gilbert, and Charley Grapewin are all wasted. Stiff George Murphy and scenery-chewing Sophie Tucker add little to things. On the plus side we have the dancing of Eleanor Powell, the singing of Judy Garland, and Robert Taylor being...well, Robert Taylor. Includes famous scene where teenage Judy Garland sings "You Made Me Love You" to a picture of Clark Gable. Aside from this cute number, the songs are OK but nothing terribly memorable. In Broadway '36 there was a character who did various snoring sounds. Here the same actor returns doing sneezing sounds. Amusing but hardly a knee-slapping gag.

Powell's tap dancing is still the highlight, of course. Although there's precious little of that for a musical that's nearly two hours. Her number in the rain with Murphy and the finale are both nice but neither her best work. All of the Broadway Melody films are fun fluff but not quite on par with the Busby Berkeley '30s musicals for Warner Bros. for my taste. This one isn't as good as Broadway '36 or '40 but it is enjoyable.

Broadway Melody of 1938 is one of those pure escapist type films that folks in the Thirties paid their money to see. It's a nice film combining both a backstage and a racetrack story with one of the most eclectic casts ever assembled for a film.

What can you say when you've got dancing covered by Eleanor Powell, George Murphy and Buddy Ebsen, the varied singing styles of Judy Garland, Sophie Tucker, and Igor Gorin and such incredible character actors as Raymond Walburn, Charley Grapewin, Billy Gilbert, and Robert Benchley. All of them such great performers and such vivid personalities there's no way that the film could be bad.

Almost lost in the shuffle are Robert Taylor and Binnie Barnes who don't sing or dance and aren't colorful. But Binnie Barnes is one fine actress and she's the villain of the piece as Raymond Walburn's wife who was once part of the chorus, but wants not to be reminded of from where she came. She's jealous of Eleanor Powell and has a thing for Taylor.

As did half the young women in America in 1937. Though the part doesn't call for any kind of real acting, Robert Taylor shows every bit as to why he was such a screen heart throb that year. He's the nice guy producer/director who gets caught in a crunch between his financial backer Raymond Walburn and his wife and the girl of his dreams, Eleanor Powell. Walburn is in the role that Guy Kibbee had in 42nd Street and he does it well with his own avuncular touches.

Powell is not just an ambitious hoofer as are Ebsen and Murphy. She's also the owner of race horse upon whose performance everyone's future eventually rides. Just how the racetrack and backstage are woven into the same plot you have to see the film for.

Vocal highlights are provided by Judy Garland who sings her famous Dear Mr. Gable version of that old Al Jolson song, You Made Me Love You. She also sings Everybody Sing which is a number I personally like a whole lot better. Honest Indian.

Sophie Tucker is her mother who owns and operates a theatrical boarding house where half the cast lives. She's an old trooper herself and of course she gets to sing her famous theme, Some of These Days.

Other material that the MGM songwriting team of Arthur Freed and Nacio Herb Brown did not provide for this film are a couple operatic arias sung by the great concert singer Igor Gorin. He sings Largo Al Factotum from The Barber of Seville and the Toreador Song from Carmen. I'd venture a guess that Louis B. Mayer signed Gorin for this as an effort to keep his other two singers Nelson Eddy and Allan Jones in line. In fact Eddy and Mayer did not get along and Jones would be leaving MGM the following year. Gorin is in fine voice, but did not have much screen presence and has very few spoken lines. I don't think that was an accident.

Broadway Melody of 1938 is one of MGM's best musicals from the Thirties and how can you not like a film with as much talent as this one is loaded with, honest Indian.

This movie is definitely less than the sum of its parts, some of which are quite fine.

Granted, 1930s movie musicals were often short on plot, but the story line here is particularly broken up.

Still, there are good moments.

My favorite, I guess, is Judy Garland singing "Dear Mr. Gable." Every phrase is beautifully shaped. It's really a remarkable moment.

After that, perhaps my next favorite is Powell and Murphy dancing around a fountain. It makes you realize that Powell could have made more interesting movies if she had been paired with dancers, rather than with a string of leading men who couldn't accompany her in her dance numbers. Robert Taylor looks nice, but he can't hold the stage with Powell when she starts to dance. I also found it interesting that the music for that dance number was Mistingette's "Je cherche un millionnaire," but with completely different words.

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Watching it again tonight, three years after having written this review, I was left wondering why George Murphy wasn't just given co-star billing in this movie and Robert Taylor's part removed. Taylor may have looked handsome to some women, but for my money he was about as interesting as a wet noodle. There was nothing wrong with Murphy's looks, and he could certainly dance. Why was he assigned the second male fiddle role here - and in other musicals?

This is the problem I have with most of Eleanor Powell's movies. She was certainly a spectacular dancer, and a decent actress for light roles. But - and I hope this doesn't come across as sexist, which it probably will - I think her movies would have been more popular and long-lasting if she had been given male leads that could dance with her, as Astaire and Kelly got in their movies. The fact that she can't dance with her leading man is, for me, a problem.

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Igor Goren gets to do the Toreador Song from Carmen. His voice is very light for it, but he does a nice job nevertheless.

Buddy Ebsen gets a few good dance numbers, but he's always presented as a novelty act, rather than a serious dancer. I think that sells him - and us - short.

Most of the rest of the movie is just fluff. Pleasant but forgettable. Sophie Tucker doesn't make an impression singing her numbers. She was well past her prime - she had been a hit on Broadway in the 1910s and 20s - and she comes across as a real disappointment. Not just because she's older - 52- but because she couldn't do the sort of racy material on screen that she was known for in New York. (She was evidently somewhat like Mae West in her prime, but with a better voice.)

While there are echoes of great songs past, most of the full musical numbers here are musically forgettable. Powell's finale has lots of energy, but it's not interesting, either musically or choreographically.

As I said, this movie is less than the sum of its better parts. Everyone in it did better things elsewhere. We get to watch Powell dance, which is always a pleasure, but in between those scenes there's a lot of filler.

The story of Broadway MELODY OF 1938 is not so much zany as just simply bizarre. Raised on a horse farm where she also somehow learned to sing and dance, Eleanor Powell goes to New York in search of fame and fortune on the Great White Way, where she meets (a) George Murphy and Buddy Ebsen, two horse trainers who are also dancers; (b) Robert Taylor, a producer determined to star her in his new show; and (c) one of the horses from her farm. When the horse comes up lame, Eleanor rescues him--and before too long it becomes necessary for the horse to win the big race in order to finance the show!

Eleanor Powell was MGM's great dancing star of the era, George Murphy was one of the screen's most reliable hoofers, and Buddy Ebsen was renowned as a character actor with an eccentric dance style--all three have tremendous star quality and they generate several charming moments. But today the film is chiefly recalled for two supporting players: Sophie Tucker and Judy Garland.

Sophie Tucker had been a great stage star for more than 20 years when this film was made, and MELODY offers one of her rare screen appearances: with her no-nonsense, no-holds-barred style, she leaves little doubt about why she was so celebrated--especially when she launches into her signature song "Some of These Days." Garland, on the other hand, was just really beginning her film career, a slightly chunky teenager with a great big voice--and after putting it through the bullseye with a knockout performance of "Everybody Sing" she nailed the audiences of the day with her famous version of "You Made Me Love You," sung to a photograph of Clark Gable. It was the stuff dreams are made of, and from that moment on her film career was straight up all the way.

The stars knock themselves out to make it fun, and very often it is. But as a whole, it never really seems work in a consistent sort of way. When all is said and done, Broadway MELODY OF 1938 is the sort of show that you watch for certain scenes rather than for the show itself, which is considerably less than the sum of its parts. Recommended for 1930s musical fans, but even they will likely find very thin stuff indeed.

Gary F. Taylor, aka GFT, Amazon Reviewer

Broadway Melody of 1940 is outstanding and one of the best musicals of its decade, while Broadway Melody of 1936 is very good as well. The Broadway Melody that won Best Picture was not a great film really but had some decent merits and is of good historical value. Broadway Melody of 1938 is also a very good film, if not as good as 1940 and 1936. The story is rather tiresome and sometimes strange and while mostly witty and charming the script does have some shoddiness too. The film is beautifully shot and has lavish costumes and sets. The songs are lovely and catchy too, Judy Garland's sweetly poignant You Made Me Love You is the standout, while the choreography is energetic and charismatic. Especially the huge final number, a touch over-produced perhaps but an absolute knockout in all areas. Broadway Melody of 1938 is slickly paced and smartly directed, with some great performances to carry it out. Eleanor Powell demonstrates how amazing a dancer it was, and Robert Taylor is a handsome and dashing leading man(but he was better in 1936). Buddy Ebsen is a lively presence and George Murphy's graceful dancing doesn't disappoint either. Sophie Tucker and Judy Garland are the performers that came off best. Tucker is a hoot and oozes with comic timing and charisma, singing the heck out of her numbers. Garland is very charming and natural, showing her distinctive big voice even at just 15, You Made Me Love You is very touching and is justifiably famous. Overall, very entertaining but not the best of the Broadway Melody series. 8/10 Bethany Cox

Eleanor Powell dances in a tuxedo to "Broadway Rhythm," Judy Garland sings "You Made Me Love You" to a photograph of Clark Gable, and Sophie Tucker sings her signature song, "Some of These Days." Then Tucker joins Garland for "Everybody Sing," and we hear that "Happy Days Are Here Again." This is another history lesson in the famous tunes of the times and the unforgettable performers who gave them to us in song and dance. --Musicals on the Silver Screen, American Library Association, 2013

The story of this film is mainly about a racehorse that's dependent on the fortunes of a Broadway Show, and the protagonists competing for the ownership of the horse and it's entry into the big race. A "bumpkins make good in the city" tale. The music is good, and several tunes became, for a time anyway, standards. MGM's repuation for great musicals notwithstanding, this is cinematically dull, and even repititous. The number with Powell and Murphy dancing in the park in the rain would seem to be directly "inspired" from the similar number by Astaire and Rogers in TOP HAT. The finale is more or less what one would have been waiting for, but it is perhaps too highbrow for we who are used to a lot more spectacle and sex appeal in the Warner Brothers and RKO musicals.

Here, (and in the previous entry in this series) the chorus girls are noticably slow moving in ball gowns. The set is a huge white staircase with stylized buildings and the names of Broadway greats, living and dead, in neon lights, perhaps to make you think of heaven. Sophie Tucker does her standard song-story about how great Broadway was when she started in the long gone past.(at the time, about twenty years ago) . Eleanor does another long number here, with chorus boys AND her dressed in matching tuxedoes, adding an extra note of sterility to this overly wholesome movie.

Us that were born post-war tend to forget that some of our 50's heroes had prior talents, and that is just the case with Buddy Ebsen. He was so much a part of my childhood and since, yet hear he is hoofing it with Judy Garland back in 1938 - wow! This film is one of the all-time greats, so if you like a foot-tappin' memorable sequence - just watch Buddy and Judy. You will never forget it!

Another entry in the venerable Broadway Melody series from 1937. As w/the other installments, this is the typical 'let's put on a big show' polemic where a big producer is about to do so & is using a wealthy couple as his backing. Meanwhile the wife of the power couple has a horse which just hurt its leg in a recent race & its up to her new hire, played by George Murphy, & his partner, played by Buddy Ebsen, to nurse the stallion back to health while a nosy woman, played by Eleanor Powell, hangs around the stables giving the duo advice on how best to do that nursing. After she stowaways on a train w/the minders, she reveals the horse was raised on her farm growing up so she feels an obvious kinship to the horse so the minders decide to keep her on but after a lengthy song & dance number in the train car (a highlight to be sure), the producer, played by Robert Taylor, catches a glimpse of Powell in action & sees her as the star (even though she's not a name) of his show. The horse plays a large part in getting the show on (him winning a race to raise funds for the production is a plot point) but when it does go on, it is wondrous w/Powell a standout in an extended hoof-fest which should be held as the top of the tops. Also starring some ingenue named Judy Garland (who belts out a couple of numbers) & Robert Benchley (Peter's dad) as one of Taylor's friends.

With the advent of sound in motion pictures, MGM made musical productions one of its trademarks. Starting with "The Broadway Melody" of 1929, it produced a succession of films set in or around Broadway over the next decade. These would not rival the major musical play productions of that time or later, such as those of Rodgers and Hammerstein. But they were very good musical revue films that showcased the talents of singers, dancers, musicians, comedians and actors.

And, they may have helped America weather the Great Depression of the 1930s, and the Dust Bowl years of mid-America. This and similar films no doubt provided a respite in the daily difficulties and suffering of millions of people.

At first thought, one might think as I did that "Broadway Melody of 1938" couldn't be very good with Robert Taylor as the male lead. He wasn't a song and dance man. But he could play comedy very well, as well as dramatic and romantic roles. And, his usually affable and happy persona fit well here. His role as Steve Raleigh is not unlike that of William Powell in "Ziegfeld Follies" of 1945, or of Walter Pidgeon in "Funny Girl" of 1968. Their Florenz Ziegfeld was a producer of musicals, not himself an entertainer.

So, Taylor works well here as the writer and director of a Broadway musical and for the romantic element with female lead, Eleanor Powell. But the best of this film, as all others of the series, is in the performances of the very talented cast. Eleanor Powell's Sally Lee shows why she was known as the queen of tap dancing. She has a superb, long dance scenario toward the end of the film. And, she and George Murphy have a wonderful, very exciting and entertaining dance routine together in the park, through the rain and ending in a pond.

Murphy is Sonny Ledford and he and Buddy Ebsen's Peter Trot are sidekicks who follow the horses. Ebsen is the source of most of the comedy in the film, but he also shows his substantial dancing talent. The horse-racing sub-plot of the movie doesn't fit very comfortably with the main plot. It's used to bring Murphy, Ebsen and Powell into the film, and as backing for the romance.

Binnie Barnes plays Caroline Whipple and Raymond Walburn plays her wealthy husband, Herman. They and most of the cast give good performances, although Powell is just a little stiff at times. It's an aspect that shows on the acting end of her roles in most films. But her smiling persona and tremendous dancing talent and performances soon crowd out notice of that.

Judy Garland was just 15 when this movie was made, and the two numbers she sings show the talent of this future singing super-star. She had a very mature voice with a limited, but perfect range for singing popular tunes.

Most of the humor is of the vaudevillian type. But it fits with the period of this musical comedy and romance film. Here are some of the best of those lines.

Emma Snipe, "How do you eat?" Peter Trot, "Like a horse." Snipe, "Well, frankly, you'll have to cut that out. From now on you'll sit up at the table just like anyone else."

Emma Snipe, "How much do you want to lose?" Peter Trot, "About 70 pounds." Snipe, "70 pounds? Frankly, you take that much off and you'll be nothing but a blood vessel to keep your clothes warm."

Peter Trot, "Well, I'll still do it. How much do you charge?" Emma Snipe, "Well, we charge by the pound. 50 cents a pound. You pay that much for good rump steak."

Emma Snipe, "Uh, what's your name now?" Peter Trot, "Same as it always was, Peter Trot."

The third installment of the Broadway Melody series has a great advantage in the performance of 15 year old Judy Garland,here making her first mark in the movies.My wife commented she had never seen a 15 year old act so full of confidence. The movie is mediocre,but very enjoyable light fluff.Robert Taylor and Eleanor Powell have a nice chemistry as the young lovers.Great support from hoofers George Murphy and Buddy Ebsen.Especially Ebsen is a joy to watch. There's also an early appearance of Robert Benchley,and his wit is as dry as ever.It's fun to watch the MGM style musical at an early stage.The next two decades no other studio could touch MGM's musicals for sheer brilliance.

I watched it because I want to watch all movies with Judy Garland and I just discovered Eleanor Powell. She's amazing! She's so beautiful and talented. There is a really good story. This film mixes romance and musicals. There are so many good scenes. Without doubt, I recommend it to all people who are fans of old movie !

In the 1930s, there were many, many musicals that followed pretty much the same pattern. In fact, Hollywood did little to disguise this and followed the same formula again and again. In the case of Broadway MELODY OF 1938 (oddly, made in 1937) and a dozen other films it was as follows: A nice but poor girl (Eleanor Powell) wants to be discovered as a new singing/dancing sensation. Through grit and the power of niceness, she is able to ultimately be discovered by a big-name producer (Robert Taylor) who promises to build an entire multi-million dollar show for a no-name (I'm sure this happens all the time). But, in a case of "not-niceness", the evil diva or rich lady puts a stop to this dream and it looks like our little sweetheart will have to give up her dreams. However, in the end, as if out of nowhere, the show MUST have this little trooper and she pulls off the performance of a lifetime and she instantly rises to international stardom! Unfortunately, because of this formula, Broadway MELODY OF 1938 suffers greatly. After all, if you've already seen several similar films, you know exactly what you're in for with the film. Heck, I think most writers could have written this film even after a severe head injury--it was that "by the numbers" so to speak.

So at the outset the film has a poor and recycled plot. However, when it comes to singing and dancing the film does a lot better--though it is NOT a particular standout either.

Eleanor Powell, as always, was an absolutely amazing tap dancer--possibly the best there ever was (and definitely the best female tapper on film). While her singing voice was only adequate, her dancing was tops. George Murphy (sort of like a poor man's Fred Astaire) was also fine in the role as the male singing/dancing lead. However, for comic relief, Buddy Edsen was included as well and while he could dance, his ungraceful and gangly style was very odd when they had him dancing with Powell and Murphy.

They also had some interesting support from Sophie Tucker and Judy Garland. Ms. Tucker, sadly, was well past her prime when she made this and only a few other Hollywood films. She had been a huge star on stage, but unfortunately, here she is given a rather obnoxious role and you can't tell just how great she was in her heyday. However, in great contrast, Judy Garland is only 15 here and on top of her game. Of all the performers in the film, her singing talent easily outshines the others. Unfortunately, while given some good songs in the film, her most famous song from the film was the rather saccharine and annoying ode to Clark Gable. It made me cringe and just seemed like a cheap ploy by MGM to plug one of its stars (Gable).

So, what you've got overall is a very formulaic film with some decent but not particularly memorable songs. Fortunately, Robert Taylor does NOT sing or dance, so at least this is a plus. While the total package is adequate, unless you are a huge musicals fan, I'd just recommend you see a better example of the genre.

By the way, now that I think about it, wouldn't have been neat to have seen Buddy Ebsen dancing in a film with Jimmy Cagney? Both could definitely tap, but both had little grace and made up for it by intensity. Seeing these two completely non-subtle dancers on the same stage might have been interesting.

Much as I admire ELEANOR POWELL and find ROBERT TAYLOR a pleasure to watch and listen to, Broadway MELODY OF 1938 is my least favorite of the three "Broadway Melody" titles produced by MGM.

Naturally, the plot is merely an excuse to get some talented performers to do what they do best--so Eleanor Powell does a good share of overproduced dance routines, SOPHIE TUCKER sings "Some of These Days" (as Judy's mom), JUDY GARLAND sings her big heart out over a photo of Clark Gable for "Dear Mr. Gable--You Made Me Love You", and GEORGE MURPHY and BUDDY EBSEN demonstrate what good dancers they were.

But the songs are a highly forgettable bunch, and that elephantine climax with ELEANOR POWELL dancing up a storm in an overelaborate production number (typical of MGM film endings), is too much. Worse still, the story involving race horses is a bore.

Summing up: Despite the talent, a tiresome story about a horse trainer and a Broadway producer hardly provides the right kind of setting for a "show must go on" musical.