The Big Broadcast
| The Big Broadcast | |
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Lobby card
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| Directed by | Frank Tuttle |
| Produced by | Benjamin Glazer (uncredited) |
| Screenplay by | George Marion Jr. |
| Based on |
Wild Waves (play) by William Ford Manley |
| Starring | |
| Cinematography | George J. Folsey |
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Production
company |
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| Distributed by | Paramount Pictures |
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Release date
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Running time
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80 minutes |
| Country | United States |
| Language | English |
The Big Broadcast is a 1932 American Pre-Code musical comedy film directed by Frank Tuttle and starring Bing Crosby, Stuart Erwin, and Leila Hyams. Based on the play Wild Waves by William Ford Manley, the film is about a radio-singer who becomes a popular hit with audiences, but takes a casual approach to his career. A casual affair leads to his dismissal, but his career is saved by the station manager who buys the station and gives him his job back. The film co-stars George Burns and Gracie Allen in supporting roles. The Big Broadcast was produced by Paramount Pictures and was the first picture in a series of four Big Broadcast movies.
Radio-singer Bing Crosby is not very serious about his career. His chronic tardiness and his affair with the notorious Mona Lowe (Sharon Lynn) has become an issue at station WADX. After Mona cheats on him, the despondent singer meets Texas oil man Leslie McWhinney (Stuart Erwin), who has also been wronged by a woman.
Soon after, Anita Rogers (Leila Hyams), the former fiancée of McWhinney, falls in love with Crosby. Meanwhile, station manager George Burns is plagued by the addled conversation of his stenographer, Gracie Allen and eventually loses the radio station. McWhinney buys the station in order to help out Crosby and Anita, whom he still loves. McWhinney comes up with the idea of putting on a "big broadcast" of stars to pull the station out of debt.
Mona returns on the scene and threatens the budding romance between Crosby and Anita, as well as the station's upcoming big broadcast. McWhinney tries to find a phonograph record to replace the absent Crosby, and ends up impersonating Crosby on the air. The singer returns and takes the microphone in mid-song. Crosby, who actually has been feigning irresponsibility to bring McWhinney and Anita together, succeeds both in reuniting the former lovers and in taming Mona.
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