Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Hadrina The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Lachlan Coulson This is a gorgeous movie made by a gorgeous spirit.

MartinHafer Successful businessman Warner Baxter quits his job to return to the life of horse racing. Broadway Bill is a horse that Baxter thinks can take him to the big time. The problem is that he is practically broke and must scrimp and scheme to somehow get the money needed to get Bill in 'the big race'.This is an amazing film because it was nothing like I would have expected. Even though it appeared right after director Capra's masterpiece IT HAPPENED ONE NIGHT, it must have been in the planning stages long before hand. That's because IT HAPPENED ONE NIGHT cleaned up at the Oscars and was a huge hit. You'd expect, therefore, that Capra's next film would have been a top-notch film--not some crappy old B-movie. Yet, aside from having a good cast, Broadway BILL is, at heart, just a clichéd B-movie--and certainly far from the director's best.Part of the problem is that it's hard to have a horse racing film that is fresh and exciting. In the 1930s, Hollywood made quite a few racing films--and they all seem very similar. In fact, as I watched Broadway BILL, I kept thinking "wow, this reminds me of another racing film I saw"--and this happened again and again. While I cannot remember every title, it's clearly a lot like SERGEANT MURPHY and especially LONG SHOT. In fact, you could say that LONG SHOT was a re-working of Broadway BILL--not exactly a remake, but using major chunks of the original story. It's a case of 'been there, done that'.In some ways, this sort of clichéd bilge is a surprise--not just because Capra was at the helm. You'd think it would be a better film with Warner Baxter, as he was a big name in 1934 as he'd already won an Oscar for IN OLD ARIZONA and had a starring performance the year before in 42ND STREET. Additionally, Myrna Loy had starred in the hugely successful THIN MAN earlier that year--and it catapulted her to stardom. You'd have thought she could have merited something better than this! Perhaps someone was holding family members of Capra, Baxter and Loy hostage--otherwise, there's no explaining this film! In addition to a clichéd B-movie plot, the picture also betrayed a cheapness you just wouldn't have expected from a Capra picture. In the very beginning of the movie, there is one of the very, very worst examples of rotten rear-projected camera work. It's obvious that Warner Baxter is clearly riding in a car that is stationary and the 'horse' running along side of his very, very clearly is being projected on a screen.The most amazing thing about this silly film is that in 1950, Capra would remake this movie as RIDING HIGH!! Remakes are a decent idea if the original story is flawed or the acting particularly bad and you somehow correct these flaws---but when the story idea is a clichéd and dusty old plot, a remake can't help but fail as well.My advice is to skip this one or DON'T expect it to be an A-picture. If you just pretend it's a cheap B-movie, then it's very pleasant experience, as it's reasonably entertaining...in a very modest way.

blanche-2 Frank Capra, who gave us so many well known films, such as "It Happened One Night," "Mr. Deeds Goes to Town," and "It's a Wonderful Life," also gave us the lesser known "Broadway Bill" in 1934. The movie was remade later as "Riding High" with Bing Crosby, though it is not a favorite of Frank Capra.The story concerns Dan Brooks (Warner Baxter), married to a wealthy woman and working for her father (Walter Connelly). Dan is miserable. He walks away from the job and his wife, who refuses to accompany him, to pursue his dream of working in the racing industry. He gets behind a horse named "Broadway Bill." Bill is super-fast, but even with everything stacked against the horse, Dan knows he can win.Myrna Loy costars as Dan's sister-in-law, who believes in what he's doing and is secretly in love with him."Broadway Bill" is a sentimental film, with some satisfying moments. However, I have to admit I'm not crazy about the racing footage - I believe wire was used to trip the horses, which is disturbing.Not Capra's best, but not bad either if you can stomach accidents with horses.

Keith Orr With the buzz out on "Seabiscuit " being an Oscar shoe-in for best picture of 2003 and the Sport of Kings once again grabbing the spotlight and the invaluable boost the film is giving the sport of horse-racing, most of us may have forgotten what makes this particular formula the odds on favorite at the boxoffice. That a horse, blinded in one eye and too small to compete with other thoroughbreds, is not enough to sustain any film on the subject alone but rather the grit and determination of those who believe enough, have faith enough, to turn a 'dark horse' into a champion. For if you take on consensus that the horse, with the possible exception of man's best friend-(and there have been enough films on that subject as well), is one of the noblest creatures God ever placed on this green earth than the formula worked equally as well for the 'Pi' in "National Velvet" (1945) and a dozen more films on that order such as "Saratoga" (1937), e.g., to name only a few. "Broadway Bill" is a classic of this tried oft-tested formula with a decidedly down beat ending. It was meant to be for after all it is a tear-jerker. But "Bill" like "Seabiscuit" have much in common. Both horses are regarded as past their prime and ready for stud. Both films have a people who believe enough in the 'underdog' (Bill or Seabiscuit in this case) to commit one final act of atonement on the animals behalf, "one for the Gipper" so to speak. Where the two films diverge is in the finale. Bill gives his all on the racetrack to prove his mettle where his heart bursts literally a winner in a dead heat to the finish. We're touched by Bill's determination in justifying his trainer's faith in him that it's almost impossible not to grab a handy box of Kleenex to daub away all those unbridled tears. "Broadway Bill" was actually made a total of three times, the formula was that successful. Once with Bing Crosby in the Warner Baxter role and, naturally, it is der Bingle after all, with a few musical numbers added. 'Bill" has been inducted into the classics. "Seabiscuit" as yet to stand the test of time but somehow I've an instinct that it will, for, you see, both films and their striking similarities have become a wake-up call to Hollywood. In an age of CGI generated Neo's and the dark demented young minds who try to emulate his violently aggressive behavior, "Broadway Bill' and this new film on the life and times of "Seabiscuit" is like a day at the races where you can be sure both will emerge a champion because, as you may have already guessed, it's the kind of movie they just don't make anymore.

boblipton This movie is a pleasure, from start to finish. The supporting cast is a pleasure, Warner Baxter gives a fine performance and Myrna Loy made this movie just before she played Nora Charles in THE THIN MAN -- Capra figured out how to direct her and MGM reaped the benefit.