PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Clarissa Mora The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Jerrie It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

SimonJack What's not to like about this film of the early musical genre? Although it lacks any very big star names for the time, it's a fun and entertaining variety show put on film. I'll give something more on that genre later. There are a lot of acts with a lot of talent – all very good. As most musicals of its genre to that time, it doesn't have much of a plot. And, it apparently underwent considerable changes in the original plans and casting. The hit songs are repeats from 1943 or earlier. But, I decided to chance it for two reasons. First, all the usual musicals of the early genre were of the stage revue type. They usually were very entertaining, and they often had performers that one may not have seen before. Second, the film has Tommy Dorsey and his orchestra. I will always try a movie that has any of the big name swing bands in it. I grew up with that music in the 1940s and 50s, before rock 'n roll; and the swing era had so many super talented musicians and bands that it showcased. Since it made the vocalists so popular, we've not had another time (other than classical or pops concerts) in which the music makers have been in the spotlight. And yet, swing era music lives on more than any other genre as background and theme music in movies. So, the cast in this one is quite good and all the technical aspects of the show are fine. Tommy Dorsey has a decent role with some good lines beside his playing and leading his band. I think he's one of the better of the band leaders at acting too. Lena Horne has two dazzling numbers in "Brazilian Boogie Woogie," and "Somebody Loves Me." Ginny Simms sings three romantic songs: "Amour, Amour," "Irresistible You," and "All the Things You Are." Gloria DeHaven has a couple of nice songs and dances. Walter B. Long is one of those unknowns who only appeared in two films – but here he does some dazzling dancing. Another person I might not have heard play was Hazel Scott, an outstanding classical and jazz pianist, born in Trinidad. She really makes the piano sing and dance in this movie. A number of other people sing and dance their way through this film with lots of fun. Of course, that includes George Murphy in the lead as Broadway producer Johnny Demming, and his pop, Sam, played by old-hand actor and terrific performer Charles Winninger. One other act in this film was very interesting and entertaining – again something one would only see in a stage revue or show like this. The Ross sisters – Aggie, Elmira and Maggie, do a nice song and dance number – I think it's called "Potato Salad" that include some fantastic acrobatics on their part. They all three must have been triple-joined. The popularity of this type of entertainment didn't wane for decades. But it took to new venues. In the 1950s, singing stars left the big bands that 'discovered' them, and began performing on their own. Some would develop their own bands. They toured the country giving concerts. They would usually include other performers and acts – to the give stars a break, if for no other reason. There were crooners like Bing Crosby and Dean Martin, jazz and blues singers like Louis Prima and Lena Horne, pop singers from the swing bands such as Frank Sinatra and Kay Francis, and rock and roll singers such as Elvis Presley and Jerry Lee Lewis. Early television began to sponsor variety shows, and helped discover more talents – or propel them into the spotlight and fame, as it did Elvis Presley. Ed Sullivan was the king of the variety and review type show on TV for many years. The Ed Sullivan Show (aka, The Toast of the Town) ran for 23 years from 1948 to 1971. It was the longest running variety show broadcast in history. That was a new venue for the revue type of shows. I enjoy all types of musicals, and think that the type of entertainment we see in films such as "Broadway Rhythm" just doesn't have a public venue in the 21st century. To see something like this film today, one would have to go to a concert and buy tickets that would cost in the range of $50 to $100 or more. But, here we have it on film, and can watch it in the uncrowded comfort of our homes. I highly recommend "Broadway Rhythm" just for the music and dancing entertainment alone.

weezeralfalfa Treasure this multitalented Technicolor musical-variety extravaganza, featuring Gloria De Haven at her teeny bopper prime, and the lovely Ginny Simms, an equal singing talent, minimally featured by Hollywood, whose singing voice reminds me of Dina Shore's. Gloria was featured in two other musicals that year, but those were in B&W. Here we get to see her and so many others in splashy Technicolor.My title is a quote from personable George Murphy, as he argues with stage singer Helen Hoyt(Ginny Simms) about which production she should be starring in. Murphy's character(Johnny), as a stage producer, provides most of the interpersonal friction in this film. Besides his sometimes stormy relation with Ginny, he wants to tell sister Patsy(Gloria) she must finish high school and college before she can think about a career, and argues with his semi-retired father show producer(Charles Winninger) about what shows to produce, and where. Ginny and Gloria are the female costars, with underutilized Nancy Walker an occasional presence in comic relief. George Murphy is the male star, with Gloria's boyfriend Ray(Kenny Bowers), Charles Winninger("State Fair"), friend Ben Blue, servant "Rochester" Anderson(Jack Benny's foil) and band leader Tommy Dorsey the other main male characters.Ben and Rochester are present mostly for occasional comic relief. Winninger, Bowers(who looks and acts rather like Joe E. Brown) and Murphy also have comedic, as well as musical skills. Ben and Nancy also do a comical skit and dance involving milk bottles, accompanied by Dorsey's band.Impersonator Dean Murphy adds further to the comedic element with his impersonations of a variety of film and political figures of the time. I didn't catch who he was impersonating in about half the cases, but I clearly detected Joe E. Brown, Edgar Bergen's Charlie McCarthy and Mortimer Snerd puppets(his best and longest act), Jimmy Stewart, FDR and wife Eleanor. Ginny was 10 years older than Gloria and taller. Thus, she plays the grande dame actress/singer to Gloria's teeny bopper character, who is just trying to get started in show business. The wardrobe department gave Ginny a variety a solid one color outfits. While Dorsey's band and singing group are doing "Irresistible You", she makes her grand entry into a nightspot in a striking all white outfit, including a large ermine stole, which contrasted nicely with her dark hair. In her "Amor" number, she was in an all black traditional Spanish garb, including a large headpiece. She wore a blond wig, again, to contrast with her dress. The accompanying Matadors had capes black on one side and pink on the other, to match her dress and the pink flowers in her hair. She sports a simple blue evening dress while crooning "All the Things You Are" to Murphy in his studio. In her final appearance, she is in a flaming orange gown, reclining in a see-through love seat set on a large float-like circular platform that initially is distantly centered in a dark backdrop, behind a veil curtain. Her float descends and comes forward as she croons "Irresistible You", then "All the Things You Are". She is accompanied by a female chorus in bright contrasting blue and pink outfits. This is a variation on the 'Goddess descending to earth' theme, which was given to a number of singers in the '40s. De Haven did it in "Step Lively"; Rita Hayworth in "Cover Girl", Judy Garland in " 'Till the Clouds Roll By" and Arlene Dahl, in "Three Little Words". This performance differs from the others in that Ginny does not descend on foot and she has a female, rather than a male, chorus awaiting her(because the chorus had just finished a number backing up Winninger and Murphy).In Gloria's best number, she does a song and dance to "Pretty Baby", first with Kenny, later with Winninger. The latter is a daydream sequence in which Winninger imagines he is dancing with Gloria in a gay '90s setting, when he was a young man in vaudeville. Before this, Winninger does a comical trombone duet with Dorsey to "I Love Corny Music". Murphy also gets to do a couple of dances here and there, being an ex-vaudevillian himself.He starts with a beautiful romantic dance with an unnamed partner in a gorgeous yellow gown. African Americans have a good presence, with gravely- voiced 'Rochester' as comedian and Hazel Scott playing a classical jazz number on the piano, accompanied by an AA band. Lena Horne is featured in two numbers: the colorful sensual "Brazilian Boogie", which includes quite a few AA extras,some in Carmen-Miranda-like outfits, and the more conventional "Somebody Loves Me", both among her most memorable performances.I can't leave out the show stopper: the unique song and contortionist dance/performance by the young Ross Sisters. This has to be seen to be believed! One sister would be sensational enough, but 3 sisters equally talented makes it 3X as amazing. You can also see this on the "That's Entertainment" compendium DVD.Although Nancy Walker hardly had the looks and personality of a leading lady, she had tremendous talent as a comedienne, as well as musical and dancing talent. She had several smash hit roles on Broadway in the early '40s, as well as later success on TV. Unfortunately, she only had a couple of roles in Hollywood films, with the best in "Best Foot Forward". We could have used another good skit featuring her in the present film.

bkoganbing I can hardly believe that Broadway Rhythm started out as Very Warm For May on Broadway, one of Jerome Kern and Oscar Hammerstein, II's flop musicals. A look at the biography of Jerome Kern by Gerald Bordman tells me that other than it being a backstage story, the plot of Very Warm For May and Broadway Rhythm is completely different. The character names have been changed and almost an entire new score was written for the film.The one song retained from Kern's score is one of the best he ever wrote, All The Things You Are. It happens that way sometimes, a flop musical can yield a gem of a hit. Ginny Simms sings it beautifully.Don Raye and Gene DePaul wrote the original songs, nothing terribly memorable. Some other material was interpolated among them my favorite George Gershwin song, Somebody Loves Me which guest star Lena Horne sings to perfection. Oddly enough the song Broadway Rhythm isn't heard here or may have wound up on the cutting room floor.George Murphy plays a Broadway producer and son of an old time vaudeville performer Charles Winninger. Winninger thinks Murphy has gone too high hat and feels that sentimentality and schmaltz will always sell on Broadway. To prove it he and movie star Ginny Simms who Murphy is trying to get to star in a new show he's producing go out and invest their money and produce an old show that Murphy had discarded years ago.Broadway Rhythm has a lot of good talent in the cast like Nancy Walker, Ben Blue, Hazel Scott, and the Tommy Dorsey Orchestra. Sad that it was all wasted on a very trite backstage story.

fdr-2 Ginny Simms was at her best in acting and at the height of her beauty. The movie is worth watching just to see Ginny. Tommy Dorsey was great as usual, wish he had played more tunes. George Murphy, Ben Blue, Rochester, Lena Horne, Nancy Walker all helped make the movie very enjoyable.