bkoganbing George M. Cohan who in the first decade of the last century was as the title of one of his songs and biography The Man Who Owned Broadway was considered old fashioned by 1932. Still as a performer he had considerable box office and he responded to the pleas of Jesse L. Lasky to come over to Paramount to make his sound motion picture debut. But the songs were to be written by a pair of relative newcomers Rodgers&Hart.It's come down in show business legend how Cohan barely dealt with them while The Phantom President was in production. He thought they were second rate songwriters and truth be told Cohan thought just everyone else was second rate next to him. He had that kind of ego. But he had the talent to back it up and truth be told the songs that Dick and Larry wrote for this film were truly second rate. The musical format of this film was song patter, no individual numbers that could have been hits were written for The Phantom President. The patter format worked well in Love Me Tonight and Hallelujah I'm A Bum, but many song hits came from Love Me Tonight and Hallelujah I'm A Bum boasted You Are Too Beautiful from that score. Nothing like that comes from The Phantom President. Maybe Cohan could have written a better score, in fact he was given one number to be interpolated.But The Phantom President is first rate political satire with Cohan playing a double role, a cold fish millionaire who is running for President of the USA and a carnival medicine show man that his political handlers recruit to go out and do the campaign as he's got a personality the voting public will warm up to.The political end works well, but carnival Cohan starts cutting in on millionaire Cohan's time with Claudette Colbert a former president's daughter and someone who the millionaire thinks would be a great first lady. He takes some drastic action.The four handlers are well cast also, George Barbier, Louise Mackintosh, Sidney Toler, Julius McVickers are all familiar enough in roles that are suited to all of them. And of course we have Jimmy Durante who is gloriously himself with some interpolated material for him as well in the song Schnozzola.There are so many performers whose salad days were well before talking motion pictures were invented that we should be grateful that at least we can see something of what Broadway saw with George M. Cohan. And his dancing style; well you can see why James Cagney was cast in the autobiographical Yankee Doodle Dandy.

jbsaunders-1 This film is only of historical interest but it does contain one valuable element. In one scene, GEORGE M COHAN, portraying a medicine-show huckster, actually does a soft shoe dance which is brief, but delightful. Cohan was a renowned dancer on stage and in vaudeville. He learned his dancing on the road, from the best vaudeville performers, and he developed a very distinctive dancing style. This film is possibly the only film image we have of Cohan dancing. (There are plenty of records of his singing, which was only passable.) What's interesting about the dance routine is, once you've seen it, you realize what a great job Jimmy Cagney did in YANKEE DOODLE DANDY. Cagney imitates the George M Cohan style perfectly. See this film and YANKEE DOODLE DANDY and compare!

John Esche Light weight but winning political satire even in its day, the big news in this well reviewed Rodgers and Hart not-quite-musical (there are just four main musical sequences - the best known song is "Give Her A Kiss") was George M. Cohan's first appearance in a talkie - he would make but one more in 1934 (GAMBLING), three years before Cohan returned to Broadway with Rodgers & Hart in their 1937 hit I'D RATHER BE RIGHT, playing a real president - FDR.Playing the dual role here of a candidate and his more likable double, Cohan more than justified the hype, and ably assisted by the always wonderful Claudette Colbert as the candidate's girlfriend (shades of THE PRISONER OF ZENDA) and Jimmy Durante who almost steals the film as the nice Cohan's manager (catch Durante in MGM's 1934 STUDENT TOUR playing a crew coach named Merman in an in joke!), Cohan makes this a must-see in any year. In an election year like this one, we can only wish the finale were reality rather than a gentle satire of pandering to public perceptions.The pleasant surprises don't stop with the leads however. Watch the singing portraits of past presidents in the opening for Alan Mowbray as George Washington and later, Sidney (Charlie Chan) Toler's appearance as a political boss - all smiles but as rooted in what "works" as any current campaign manager - is a joy to behold.If you've seen Jimmy Cagney dancing to an Oscar as Cohan in the World War II YANKEE DOODLE DANDY (a decade after this effort), take a look at Cohan doing the original steps (in black-face, yet in an "on stage" number) and you'll wonder if Cagney didn't study this film specifically. In the great legacy of film musicals, THE PHANTOM PRESIDENT is probably little more than a footnote, but it's a very enjoyable, important one.

psteier A populist political satire in the Frank Capra mold.George M. Cohan's dance is blackface during a medicine show is interesting and the scenes where his two characters appear together are well done.Jimmy Durante puts in a good performance. Sidney Toler is very good as a political consultant, but doesn't get much screen time, not does the Hawaiian band at the convention.