Radio Parade of 1935

1934
1h 36m

IMDb RATING

5.9/10

164

YOUR RATING

Comedy Musical

The Director General of the NBG is struggling with his staff as the complaints pile up on his programming.The staff put on a show that could turn the tide, if the DG can thwart a villainous ... Read allThe Director General of the NBG is struggling with his staff as the complaints pile up on his programming.The staff put on a show that could turn the tide, if the DG can thwart a villainous agent and deal with his troublesome daughter.The Director General of the NBG is struggling with his staff as the complaints pile up on his programming.The staff put on a show that could turn the tide, if the DG can thwart a villainous agent and deal with his troublesome daughter.

See production info at IMDbPro

IMDb RATING

5.9/10

164

YOUR RATING

See production info at IMDbPro

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Storyline

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Did you know

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Trivia
The first time Dufaycolor, a primitive additive color process - was used in a British picture (for two sequences). Its only other cinematic exposure in a feature film was Sons of the Sea (1939).

Goofs
There seems to be some confusion as to the names of the characters played by Will Hay and Helen Chandler. The name on the door is "Garlon", but they are both frequently addressed as "Garland".

Connections
Featured in Elstree Story (1952)

Soundtracks
Good Morning
Music by Arthur Young
Lyrics by James Bunting
Sung by Cast

User reviews7

Review

Featured review

7/10

Often strained, but with genuine high points

The story line is simple: A new program director of the NBG radio network (clearly a parody of the staid BBC) wants to update the programs with new talent. The stuffy powers-that-be are determined to keep dignity and tradition.

Musicals are always hard to rate. In this case, the silly Three Stooges type story line and humor is really glue to hold the production numbers together. The movie is, in fact, a genuine variety show - and some of the acts are quite good. Several routines mimic Busby Berkeley. Others are pure vaudeville.

I'd have to say the high point is the color segment with Alberta Hunter (an African-American who made recordings with Fats Waller). In addition to Alberta's stirring singing, the backup dancers stand on over-sized African drums, to give a surrealistic, dream-like effect. Unfortunately, this was evidently Alberta's only movie.

Another high point for me is the novelty act by Stanelli, a brief segment in which the maestro plays tuned auto horns. But then, I'm a fan of Spike Jones.

As for the comedy bits, I think the funniest moment is the "exercise" program, in which an overweight "coach" leans back in his overstuffed chair, counting out "1-2-1-2..." into the microphone, and pumping a billows in rhythm to simulate his vigorous breathing.

Surely this film is more nostalgic to British audiences than to us Yanks. I'm led to believe the performers were all theater and music hall favorites in their day.