THE GREAT AMERICAN BROADCAST (2oth Century-Fox 1941) Fox Home Video

It has always baffled me that 2oth Century-Fox’s late thirties to mid-forties tenure in picture-making was most widely regarded by audiences for its glossy and garish Technicolor musicals. Indeed, while the loftier pursuits of the studio’s mogul, Darryl F. Zanuck contributed to a stellar slate of Grade ‘A’ melodramas, thematically driven by Zanuck’s own moralizing and social conscience, it was actually the overwhelming profitability of Fox’s featherweight musicals that afforded Zanuck the opportunity to pursue these more ‘important’ and as lavishly appointed passion projects, alas – and on the whole – to make far less of a splash at the box office and occasionally receive mixed reviews from the critics. The irony today, Zanuck’s personally supervised and intensely felt dramas have aged much more gracefully than his musical fluff that was Fox’s ‘bread and butter’ then. And while Fox’s musicals frequently rivaled – and occasionally out-grossed the better-made entertainments in that same genre made at MGM – viewed today, much of the Fox product positively creaks with creative rigor mortis, long ago to have set in. The Fox musical really came into its own later on – with a lot of wonderful movies made in the mid-fifties to late sixties.

Rewinding the clock, Archie Mayo’s The Great American Broadcast (1941) escapes my base assessment of Fox musicals from this vintage, to remain a loving tribute to radio technology and the impact it had on shaping America’s popular entertainment at the turn-of-the-century. The flimsy screenplay by Edwin Blum, Robert Ellis, Don Etlinger and Helen Logan begins in earnest with a predictable lover’s triangle but becomes bogged down by a litany of specialty acts that come and go with lightening speed. Basically, this is yet another attempt at the 'all-star' extravaganza, the central plot merely to serve as background and connective tissue to string the novelties along. The unusual main titles make deft use of a montage of radio greats – including Rudy Vallee, Kate Smith, Eddie Cantor and Jack Benny – reminding the audience of careers literally made in the medium of live radio. From this rather auspicious beginning, we move to a private landing strip owned by square-jawed fly boy and entrepreneur, Rix Martin (John Payne) who is in chapter 11 bankruptcy and eager to pick a fight with telephone company workmen, stringing wire across his air field. After portly short-wave enthusiast, Chuck Hadley (Jack Oakie) helps Rix get out of a jam the two become best friends.

Chuck shows Rix his concept for radio with a homemade receiver built inside his apartment. He also introduces Rix to his favorite girl, Vicki Adams (Alice Faye). Big mistake! For in short order, a rather tempestuous relationship blossoms between Vicki and Rix, certain to culminate in romance. We’ve seen it all before. Boy meets girl. Girl hates boy at the outset. Girl changes her mind. Girl desperately wants boy. Boy decides he can’t live without her. The end. In the meantime, Rix needs some quick cash to take radio technology to the next level. He turns to recovering alcoholic and moneyed swell, Bruce Chadwick (Cesar Romero). Sober, Bruce would not think twice about investing in such a risky venture. Drunk, he is all too eager to cut Rix a check for any amount he desires. From a purely narrative perspective, only the first 25-minutes or so of the story prove engaging, right up until Chuck suddenly realizes he has lost Vicki to Rix. What the rest of the story utterly lacks is trajectory. In its stead, comes a mind-boggling cavalcade of top-flight performers giving it their all. These include the melodic sweet tones of The Ink Spots, some electric high-stepping from The Nicholas Brothers and a thoroughly engrossing myriad of spectacular routines from The Wiere Brothers; a European dancer/juggler trio that are spellbinding entertainment unto themselves.

Another of studio chief, Darryl F. Zanuck’s personally-supervised productions, The Great American Broadcast was a big hit for 20th Century-Fox. Today, it seems more dated than other Fox musicals – if only, as we currently live in an age overwhelmed and arguably spoiled by technology – radio, by comparison seemingly quaint and antiquated. Nevertheless, the picture greatly benefits from solid performances by Faye, Payne and Oakie. The word, 'troopers' comes to mind. What is so impressive about talent from Hollywood's golden age (as opposed to our current crop of celebrities) is how frequently and willingly they were able to sell absurd notions as high art with, not only with a straight face but also, complete conviction. Name me one celebrity living today who can do screwball comedy and not come across looking absolutely ridiculous. In The Great American Broadcast we have stars of the highest magnitude giving it their absolute all. If the plot has its failings (and it does) then Faye, Payne and Oakie never do. They are professionals through and through and know how to market themselves to the public with great wit, a modicum of sass, and oodles of charm. In the final analysis, The Great American Broadcast is total fluff - but sold with sincerity. And sincerity goes an awfully long way.

Fox Home Video’s B&W DVD is fairly impressive with strong contrast and tonality throughout. The image is very sharp with fine detail evident throughout. Occasionally, edge enhancement and shimmering of fine details momentarily distract. Otherwise, this is a fine visual presentation that will surely not disappoint. The Dolby Digital 1.0 mono has been cleaned up and is presented at an adequate listening level. Extras include a featurette on the history of radio, a restoration comparison, advertising and stills gallery and original theatrical trailer.

FILM RATING (out of 5 - 5 being the best)

3

VIDEO/AUDIO

3

EXTRAS

2.5