Steve Downs So many of the reviews imply that Fred's most famous partner, Ginger Rogers, was overrated when compared to Eleanor Powell. I strongly disagree with this contention, at least in regard to this movie. There is no doubt Powell could tap dance circles around Rogers, and as this movie shows, she could certainly do the splits (in the one fairly ridiculous number with the sailors), but I found her character development herein sadly lacking when compared to most of Rogers' characters in her movies with Fred. Much of the movie revolved around Fred's interactions with George Murphy, with only occasional glimpses of the Powell character. With the Astaire/Rogers movies there is much more banter/interaction between the two leads. The one exception is the scene quite late in the movie where, unbeknown to Fred, Powell watches him carry out a whimsical solo dance while toting around a picture of her, this followed by a scene where there's finally some substantial interaction during a luncheon date. The highly touted Begin the Beguine dance number may have been spectacular, but I actually found this solo dance by Fred more enjoyable because of the feeling/emotion involved. This all being said, Powell is certainly a spectacular dancer, and I agree that it would have been nice to see what results further collaboration with Astaire produced. I also agree that she had an amazing smile--she may have exerted as much energy in maintaining that as she did the hoofing.And I would be remiss if I didn't ask why the film-makers found it necessary from time-to-time to put an imbecile in Astaire movies (think Edward Everett Horton, who was often an annoying distraction in the Rogers movies). Frank Morgan's antics may have been mildly amusing initially, but after awhile it became embarrassingly obnoxious, including the lame running gag with the fur cape.

TheLittleSongbird With that quote Sinatra summed Broadway Melody of 1940 up perfectly. The 30s, 40s and 50s were especially timeless for musicals, and in the past twenty years or so(though this may seem unfair) we haven't seen stars in the same ilke as the likes of Fred and Ginger, Eleanor Powell, Cyd Charise, Judy Garland and Gene Kelly to name a few. The story for Broadway Melody of 1940 is familiar and very predictable but everything else dazzles to the extent that it doesn't matter so much, even with the story Broadway Melody of 1940 is from a personal point of view one of the best film musicals of the 40s. The sets and costumes are polished and glossy in a beautiful way. The Begin the Beguine set is particularly striking, while the photography captures everything lovingly and with care. The songs are like really juicy bon-bons with catchy melodies and clever lyrics, I Concentrate On You is one of Cole Porter's best ever songs and sung with such a wonderful richness by Douglas McPhail. They are helped too by the outstanding quality of the choreography, the clear standout is Begin the Beguine, which is one of the greatest dance routines of any Fred Astaire film. But let's not dispute how seamlessly sophisticated Please Don't Monkey with Broadway is or how wittily choreographed I Concentrate on You is. The dialogue is funny and warm-hearted and it is directed with a lightly assured touch. The three lead performances carry Broadway Melody of 1940 wonderfully. Fred Astaire is still his usual likable and sweet-natured self and dances with his typical as well as unique athleticism and elegance. Eleanor Powell is charming enough and dances a dream, some of the best tap dancing on film is courtesy of her and apparently Astaire was intimidated by her for that. George Murphy is terrific as well, not the finest of actors but his terrific singing and especially dancing more than make up for it. The supporting cast do well too, with an amusingly bumbling Frank Morgan. In conclusion, once you get past the story you'll find an absolute treat in Broadway Melody of 1940. 10/10 Bethany Cox

brunodutch Leaving aside the fact that the leads can hardly act they sure can dance. When the awful designs allow. Eleanor Powell wears some of the worst and most garish clothes I remember from a movie of this period. Even poor Fred Astaire is dressed in spangles for the start of the dreadful Begin the Beguine. That is the supposed highlight of the movie but is so overproduced and designed that the viewer gets worn out before the leads appear in simpler clothes and actually manage to dance with each other. Much more interesting is the opening Don't Monkey with Broadway, wittily danced by Astaire and George Murphy, the juke box number for Astaire and Powell, Astaire's charming solo, and the brief but amusing trio for the three leads right at the end. Oh, and lets not forget the dreadful Harlequin number which makes Powell look extraordinarily clumsy and which seems to exist to show off some fancy lighting cues.The plot is not worth bothering about beyond noting that it's even more preposterous than usual for this kind of movie. The whole endeavor has a witless, leaden feel. I'm not surprised that Astaire didn't make another movie with Powell. She can't act a lick and has no sex-appeal. When they do get a chance to dance together they are both magic, but she challenges him as an equal, athletic and dynamic, an equal, not a decorative partner there to set off his easy elegance.

Roger1935 partner Astair ever had who could out-dance him - and, that's saying a lot! He was great and she was greater. They didn't call her style machine gun for nothing. The Begin The Beguine sequence was the absolute ultimate dance scene ever filmed. Supposedy, they became great friends during the filming of this movie even though he admitted to being intimidated by Powell due to her dancing prowess. While Ginger Rogers was Astair's most famous dance partner she could not compare to Powell's skills - in fact, she was not even in the same league. Powell was a true dancer and even Ann Miller sited her as being the greatest dancer of all time.