The best Jack Oakie’s music movies

Shortly before the curtain goes up the first time at the latest performance of Earl Carroll's Vanities, someone is attempting to injure the leading lady Ann Ware, who wants to marry leading man Eric Lander. Stage manager Jack Ellery calls in his friend, policeman Bill Murdock, to help him investigate. Bill thinks Jack is offering to let him see the show from an unusual viewpoint after he forgot to get him tickets for the performance, but then they find the corpse of a murdered woman and Bill immediately suspects Eric of the crime.

On a layover in Hawaii two conniving Navy seamen borrow money to lay down bets that their ship will win the upcoming gunnery practice trophy, having found out that the current gunnery champ has just transferred aboard their ship. What they haven't learned, however, is that the marksman's enlistment is up before the contest is supposed to take place.

Songwriters Calhoun and Harrigan get Katie and Lily Blane to introduce a new one. Lily goes to England, and Katy joins her after the boys give a new song to Nora Bayes. All are reunited when the boys, now in the army, show up in England.

After WWI two men go into radio. Failure leads the wife of one to borrow money from another; she goes on, after separation, to stardom. A coast-to-coast radio program is set up to bring everyone back together.

The wisp of a storyline involves two-bit radio station owner Spud Miller, who doubles as the station's sole announcer while his comic partner Smiley serves as the house crooner. On the verge of bankruptcy, Spud is receptive to the wacky notions of George and Gracie, who've just invented a television device which can pick up and transmit any signal, any time, anywhere.

A Paris singer's (Lily Pons) press agent (Jack Oakie) arranges her Manhattan debut by way of Africa.

Nora and her uncle get railroaded into spending the night at a broken-down hotel in Canada. After Nora falls for the handsome owner, she convinces her uncle to invest in the inn and modernize it. After the hotel opens, Nora's uncle faces financial ruin and her romance hit a snag in the form of pretty reporter.

In turn-of-the-century San Francisco, an ambitious vaudevillian takes his quartet from a honky tonk to the big time, while spurning the love of his troupe's star singer for a selfish heiress.

Nikki Martin (Lily Pons), a beautiful French opera star, stows away on an ocean liner in hopes of escaping her jealous fiancee. Once aboard, she joins an American swing band and falls in love with its leader, who, after hearing her sing, eventually comes to reciprocate her feelings.

This 1930 film, a collection of songs and sketches showcasing Paramount Studios' contract stars, credits 11 directors (including Dorothy Arzner, Ernst Lubitsch, Victor Schertzinger and Edmund Goulding). The cast features Clara Bow, Gary Cooper, Fredric March, Jean Arthur, William Powell, Maurice Chevalier, Kay Francis, Buddy Rogers, Jack Oakie, Stuart Erwin and Nancy Carroll.

A press agent, a composer and a landlord of a theatrical boardinghouse revive vaudeville on Broadway.

Radio's miracle show is on the screen.

A singer is involved with two women in his life, one a "good" girl and one a "bad" one."

Jack Oakie and Jack Haley are songwriters are enroute from New York to Hollywood to make their fame and fortune; Ginger Rogers, a lunchwagon proprieter, joins them.

A college professor and the school's star football player are both rivals for the same beautiful coed.

Ellen Saunders is an heiress on a cruise to Europe being pursued by a day laborer mistaken for a prominent mining engineer. During the cruise, he foils two crooks try to get rid of her.

Dress designer Joan Wood, who's heavily in debt, has created costumes for a Broadway show that is exported to Argentina. With the money she wants to pay her debts, but there was a mistake: she is receiving the money in Buenos Aires, not in New York. Her friend Wally Wendell, whose grandfather does not approve of his relationship with her, wants him to marry a girl he hasn't seen for some years named Constance Cook, whose grandfather is the owner of a ship traveling to Buenos Aires and Constance

After their annual free concert at Chicago's Dearborn Settlement, Benny Goodman and his band are packing up to go to their next engagement when a kid steals Goodman's clarinet. Goodman and Popsie pursue him to a tenement flat where he has led them to hear his brother play the trombone. Shenanigans ensue following Goodman's offering the brother a job with the band.

Warner Baxter plays the ambitious producer of a burlesque show who rises to the big time on Broadway. Alice Faye is the loyal burleycue singer who helps make Baxter a success. His head turned by sudden fame, Baxter falls under the spell of a society woman (Mona Barrie) who has theatrical aspirations of her own. She marries Baxter, then convinces him to produce a string of "artistic" plays rather than his extravagant musical revues. The plays are flops, and the woman haughtily divorces Baxter. Faithful Alice Faye, who'd gone to London when her ex-beau was married, returns to the penniless Baxter. She and her burlesque buddies team up to pull Baxter out of his rut and put him on top again.

The Merry Monahans is one of the higher-budgeted Universal musicals of the 1940s, even though the storyline is strictly grade-B material. During the first two decades of the 20th century the film concerns a family vaudeville troupe headed by patriarch Pete Monahan (Jack Oakie). Because of his love affair with the bottle, Pete manages to get himself and his family blacklisted from every major vaude house in the country. Though Pete's kids Jimmy (Donald O'Connor) and Patsy (Peggy Ryan) love their dad, they're forced to break away from the act and go off on their own to survive. Eventually, the whole gang is reunited in a shamelessly lachrymose musical finale. Producer-scripters Michael Fessier and Ernest Pagano, whose other works include such offbeat comedies as San Diego I Love You, Frontier Gal and That's the Spirit, manage to keep the proceedings relatively cliché-free, though it's an uphill climb.