Big Broadcast of 1938, The (1938)
Director: Mitchell Leisen
Honors:
Forth in a line of modest successful variety pictures The Big Broadcast of 1938 brings the
comedy of W.C. Fields and newcomer Bob Hope and mixes in a cornucopia of
musical and comedy acts in a ninety minute package dressed up with a silly
plot. It’s a rather different style of film a common movie goer might think of
when going to the theater, but in a picture like this the audience was paying
to watch a large bill of talents instead of getting a strong plot driven movie.
Lined with good production quality, a poor script, a song that would become a classic,
and a plethora of performances Paramount provides the fourth and final
installment in the line of Big Broadcast
films.
The Big Broadcast of
1938 is a comedy variety film about a race between large ocean liners
across the Atlantic, filled with comedy routines and musical acts as the talent
that entertains the guests aboard these racing ships. Staged as the greatest
race ever are two massive cruise ships, the sleek and streamlined S.S. Gigantic
and the slightly smaller and more traditional S.S. Colossal. The klutzy S.B.
Bellows (W.C. Fields), brother to the owner of the Gigantic (also played by Fields),
is sent to cruise with the Colossal, but mistakenly boards the Gigantic, where
he causes issues that could lead to the loss in the race. Meanwhile radio emcee
aboard the ship, Buzz Fielding (Bob Hope), is bothered by his three ex-wives humorously
looking for their alimony and keeping watch that he does not marry a forth
suitor, girlfriend Dorothy (Dorothy Lamour). In a mish-mash of events and
musical acts the wives help the Gigantic to win the race by allowing the use of
the ship’s state of the art “radio powered” propellers, Buzz rekindles his
romance with one of his ex-wives, and Dorothy is free to turn her fling with
the ship’s first officer into a full blown romance. It’s a mess, but it’s a
happy ending.
Like the film’s predecessors , The Big Broadcast (1932), and its sequels …of 1936, and …of 1937,
this picture is really about bringing a variety of talents to the screen all
loosely tied together by the rather weak plot of a massive ship race structured
around the talents of Fields and Hope’s characters. Fields is the center of the
story, while the charm of the movie follows Hope. Lining the feature is ten
entertaining routines presented as acts in a variety of ways, including stage
musical numbers, comedy acts, routines gone wrong, and candid songs sung by characters
in moments of affection. Each are unique and entertaining in their own way.
Veteran comedy director Mitchell Leisen would be brought
back to direct his second in the series after the previous film The Big Broadcast of 1937. His style of
filming and assembling the picture is rather beautiful and would compete with
the level of many musicals of the time from Busby Berkley or films with Astaire
and Rogers, but this picture lacks any punch due to its outright silliness from
W.C. Fields’ character, S.B., and his equally cursed sister Martha (Martha
Raye). The most outstanding work of the picture is that of Bob Hope’s love
story and iconic song, as well as the large musical number “The Waltz Lives On”
which is shot beautifully.
Fields is a much more of a bumbling foolish character
instead of his usual down trodden everyman that made him so popular. Whatever
the case it is still W.C. Fields with his usual murmuring and quick remarks
that he is known for. He provides the star attraction to the picture with much
of the comedy, but can be seen as overshadowed by Bob Hope in a more minor
role. Hope’s character, Buzz, provides a true story arch, albeit of a thrice
divorced man rekindling love with an ex.
Bob Hope was at that time still new to the screen, with work
in radio and poor short pictures with the small Educational Pictures studio,
this opportunity with Paramount allowed him to better manifest his comedic
skill. Also, Hope would first perform what would become his theme song “Thanks
for the Memory,” which he would work into his future acts as a sentimental
ballad that meant so much to him and his adoring fans through his many decades
of performing as an American icon.
Also featured in the film are the talents of Martha Raye,
Dorothy Lamour, Ben Blue, Leif Erickson, and Shirley Ross. Martha Raye
showcases her comedic skill and booming vocals as Fields’ sister, returning to
theseries albeit in a different role in the previous film …of 1937. Raye was a singer for big bands and becoming known for her
peculiar large mouth. Dorothy Lamour, an actress actually on the rise, is in a
minor role as Buzz’s girlfriend that ends with the ship’s first officer played
by Leif Erickson. Although Erickson is rather flat as an actor here. Lamour
shows much more promise, both in acting and musically, especially compared to
her films leading up to 1938. She would become common in Bing Crosby and Bob
Hope’s future Road to… series. Ben
Blue would provide the comedic sidekick to Hope in a very bumbling, minor role.
Shirley Ross performed the very memorable “Thanks for the Memory” with Bob
Hope, marking peaks for both actor and actress up to that time, but for the
vocally talented Ross, she would hit her ceiling and quickly fall never to rise
as far as this small role’s fame in cinema again.
The legacy of The Big
Broadcast of 1938 would prove to be Bob Hope’s rise and the debut of his
iconic song “Thank for the Memory” which would go on to win the Academy Award
for Best Original Song. As mentioned before, the tune would go on to be used
over and over again by Hope as a sentimental send off to his many radio
broadcasts, television specials, and live performances. The film would conclude
the series Big Broadcast films put
out by Paramount in the 1930s as this picture seemed to not garner near as much
interest as the original, based on the play, or even its Bing Crosby sequels.
It lives on as a look back at variety performances that entertained audiences
of the period.
The BEST sequence in the film is KirstenFlagstad performing Brunnhilde ‘s battle cry from Die Walkure
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