Opening the 65th annual Tony Awards, host Neil Patrick Harris sang a showstopping number about the status of Broadway: “It’s Not Just for Gays Anymore!”
His tongue-in-cheek song signifies how the tune of Broadway has changed from its golden era of “The Broadway Melody” (1929) to its current clientele: “the gays and the Jews; and cousins-in-from-out-of-town that you have to amuse.”
The changing lifestyles and viewpoints might explain why the familiar, melodramatic storyline of “The Broadway Melody” sounds sour. Although the film won the second annual Academy Award for best picture in 1930, the overplayed storyline (written by playwright Edmund Goulding, Sarah Y. Mason, Norman Houston and James Gleason) is trite and oversimplified.
Directed by Harry Beaumont, “The Broadway Melody” stars Anita Page and Bessie Love as sisters, Hank and Queenie Mahoney. Like Katharine McPhee’s character in NBC’s cancelled television series “Smash,” Hank and Queenie have dreams of stardom: to sing and dance on Broadway, playing back-up dancer to Hank’s fiancé Eddie Kearns (Charles King).
Like “Smash,” this tale stars drama, jealousy and ego; however, this “Broadway” isn’t synonymous with a “broad’s way.” Men make the rules and Hank and Queenie have to fight for one spot: to be the leading lady in Eddie Kearn’s life. After all, his leading lady gets to star behind him — both on and off stage.
If anything, “The Broadway Melody” got its award for its production value at the time. The film was MGM’s first musical and its among the world’s first talkies. This one was complete with “bigger” song-and-dance numbers than anything before 1929.
There’s even long tap dancing sequences.
But life isn’t a musical and we’re not charmed by neither the film’s formulaic script nor its dated production. Instead, we’re wishing for “better” rather than “bigger.”
“The Broadway Melody” was directed by Harry Beaumont and written by Edmund Goulding, Sarah Y. Mason, Norman Houston and James Gleason. The film won Best Picture in the second annual Academy Awards.