Broadway Rhythm Reviews

It takes nearly two hours to tell this story: Broadway producer is mounting his next vehicle, wants movie star to be in it. Movie star doesn’t like his script, but the earlier one that the producer’s father (and former vaudeville star) wants to stage. Will the producer realize that his family and friends are some of the greatest talent in his proximity? It’s utterly forgettable and the definition of enervated monotony.

Broadway Rhythm is a prime example of how casting with star leads could make or break an otherwise uneven affair. Originally intended to star Eleanor Powell and Gene Kelly but winding up with George Murphy and Ginny Simms, the only decent acting performance from any of the main characters is from sardonic scene-stealer Nancy Walker. Her aggressive reactions to Dean Murphy’s impressions is a nice nod to what the audience was probably thinking and feeling about the impressionist, and the film by that point. The only redeeming feature of Rhythm is the series of specialty acts that pop up and liven up the film for sporadic and all too brief moments. Lena Horne gives “Brazilian Boogie” her typically sensual and sophisticated strength. She looks positively lovely, revealing her gorgeous legs in a high-slit dress, and gives most drag queens a lesson in how to perform with your face and hand gestures. Then there is the Russ Sisters who sing a song about potato salad before performing a dance routine that turns into contortionist feats. It’s borderline David Lynch weirdness in a lavish MGM musical. It’s memorable for both the amazing feats and acrobatics on display, and the sheer weirdness of the whole enterprise as they come rushing into a barn to sing their song and then twist around like pretzels. If Broadway had a few more moments like that, maybe I wouldn’t have started to fall asleep towards the end of it. It commits the cardinal sin of entertainment: it bores you.