earlytalkie This is the film that supposedly sank fledgling Grand National Films after an only three-year existence. Supposedly costing $900,000, the failure of this film sealed the studio's fate. While this is an enjoyable film with pleasant songs and attractive players, I find it hard to believe that cost assessment. The settings are attractive, but not lavish, and aside from James Cagney, there are really no box-office champs here that would require a hefty salary. Evelyn Daw was charming and a very good singer in this, and she supposedly made just one other film before yawing into oblivion. She deserved a better chance at success. There are some familiar faces among the supporting cast such as William Frawley and Gene Lockhart. Phillip Ahn has a surprisingly non-stereotypical role as Cagney's man-Friday, and Mona Barrie is good as a temperamental co-star for Cagney. The print on my DVD is clear and in pretty good shape. A good example of cinema from the mid-to-late '30s.

MartinHafer The main plot of this film is fairly entertaining and it hooked me--even though the material seemed awfully familiar. Band leader Jimmy Cagney goes to Hollywood to do a screen test and he becomes a star. The film is filled with interesting behind the scenes intrigue and studio business and is in some ways reminiscent of a light-weight version of A STAR IS BORN and other "behind the scenes" movies. In addition, how the studio head (Gene Lockhart) and publicity agent (William Frawley) schemed is pretty funny and diverting. These two men plus Cagney did a lovely job despite having rather limp support from the rest of the cast.Unfortunately, despite the nice but familiar plot, the film was also chock full of tedious songs. While Cagney's dance numbers weren't bad (what he lacked in grace he made up for in energy), his co-star (Evelyn Daw) sang in a style that was like an amalgam of opera and big band music--something that I disliked intensely. Had she only sang one or two numbers, this might not have been so bad, but she seemed to sing and sing and sing--when all the audience really wanted was more of Cagney and his nice, easy-going personality.Worth seeing for Cagney fans, but definitely one of his lesser films.

Terrell-4 James Cagney wanted to do more than play gangsters, and he loved dancing. Warner Brothers was having none of it so Cagney successfully got out of his contract and signed to do two films with Grand National Pictures. Something to Sing About was the first. The movie's a great look at a singing, dancing Jimmy Cagney. That it's only a so-so film is almost beside the point. The story is amusing most of the time. It gives us several musical numbers, including two full-blown productions with Cagney. It's also takes a lot of gentle pokes at the movie business. Terry Rooney (Cagney) is a Broadway nightclub song and dance man. He's happy and ambitious. He's got his band and he has his cute, adoring fiancée, Rita (Evelyn Daws). When he's offered a chance to star in a movie, he grabs it and heads west. But the studio boss realizes Terry is a potential big star, so instructs everyone not to praise him. He doesn't want Terry to get a big head. Terry, finally fed up, finishes the movie and heads back to Rita. They marry and take a long cruise on a freighter for a honeymoon. But wait. Terry's movie is a smash. The public want more of Terry Rooney. When he and Rita return, the studio boss, Bennett O. "B.O." Regan (Gene Lockhart), and the studio's press head, Hank Meyers (William Frawley), convince Terry to sign a seven-year contract. All Terry has to do is keep secret his marriage. Rita, loving Terry, agrees and becomes his secretary. He starts a second movie as a star, but there are misunderstandings, more Hollywood press shenanigans, a co-star who wants more attention, more Hollywood columnists who want scoops about phony romances. Finally, Rita has had enough and returns to New York and the band. Terry, seeing how all the Hollywood razzmatazz is separating himself from Rita, follows her...and they reunite in a production number on the stage of the nightclub before a sell-out crowd. The best things about this movie are Cagney, his song and dance numbers and the fairly gentle but pointed pokes at Hollywood movie making. Cagney gets two big numbers and they're a lot of fun. One opens the movie with his nightclub act, singing, dancing up and down stairs and obviously enjoying himself immensely. The second is on the freighter. He joins crew members for an evening's entertainment of tap dancing, tumbling and cross- dressing. How do you describe Cagney's dancing? It's unique. He goes at it with great energy, stiff- legged, straight backed and with his rear out. He combines tap, some ballet moves and old- fashioned hoofing. And he's fast. Gene Lockhart does a great job as "B.O.," the studio boss, pompous and petulant, a man who sees yes-men as essential to success. Evelyn Daws plays Rita. Daws was a young singer with a trained soprano; she was a discovery of the director, Victor Schertzinger. She sounds like Jeanette MacDonald's little sister and can hit high notes that'll cause nose bleeds. Daws made one movie after this and was never heard from again. After Cagney, Philip Ahn is one of the most interesting characters in the movie. He plays Ito, Cagney's gentleman's gentleman, with ludicrous pidgin-English...until we learn he speaks better than most everyone else in the movie. For fans of Cagney, the movie is probably a must.

rsoonsa Weary of railing against Warner Brothers for the studio's mishandling of him, James Cagney moves to small Grand National, which produces for the star this sprightly musical compote. Cagney brings along all of his vigor and verve, and the little-known studio supplies a substantial budget for this tale of a Manhattan hoofer and bandleader, Terry Rooney (Cagney), and his sweetheart/wife (Evelyn Daw), who journey to Hollywood when Rooney is offered a film contract. Down-to-earth Rooney is resistant to receiving the prescribed "star treatment" and the head of the studio, Mr. Regan, (Gene Lockhart) construes his attitude as hauteur; when the initial film made with Rooney unexpectedly becomes wildly successful, the studio boss tries to keep the compass of his triumph from the budding star to prevent the latter from becoming more arrogant. Meantime, Rooney places his film experiences behind him by taking his bride on a lengthy cruise in a tramp steamer to the South Seas, and when they return and discover his exploding fame, comedic complications ensue. Cagney displays his customary class in his every scene with the musical production numbers being particularly effective, his dancing skill being a prominent element. True soprano Evelyn Daw performs beautifully throughout, and the classically trained singer makes for a comely female lead as well, while William Frawley as a press agent, Mona Barrie as the studio diva, and Philip Ahn, who plays Rooney's houseboy, all provide enjoyable turns. Director Victor Schertzinger utilizes his own Academy Award nominated score to a liberal extent throughout and the product becomes a tuneful and rather undervalued musical comedy.