Year: 1938
Runtime: 94 mins
Language: English
Director: Mitchell Leisen
The finest array of entertainment ever offered! The Bellows family causes comic confusion on an ocean liner, with time out for radio-style musical acts.
Warning: spoilers below!
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Read the complete plot breakdown of The Big Broadcast of 1938 (1938), including all key story events, major twists, and the ending explained in detail. Discover what really happened, and what it all means.
In a splashy setup billed as “The Race of the Ages,” two giants of the sea collide in a two-and-a-half-day Atlantic dash: the forty-million-dollar, radio-powered S.S. Gigantic faces off against its traditional rival, the S.S. Colossal. The Gigantic’s owner, T. Frothingill Bellows W.C. Fields, hopes to clinch victory through mischief, planning to send his nearly identical younger brother S.B. Bellows W.C. Fields aboard the Colossal to sow trouble and tilt the race in his Bellows Line’s favor.
But the plan is upended when S.B., delayed by a golf game, ascends into the high-stakes spectacle and somehow lands on the Gigantic’s deck, upsetting Captain Stafford Russell Hicks and throwing the crew into quick-thinking chaos. The ship also welcomes Martha Bellows Martha Raye, the notoriously unlucky daughter who arrives after surviving the yacht Hesperus V’s wreck, her presence adding a wild card to an already tense voyage.
Meanwhile, Buzz Fielding Bob Hope, the beloved OBC radio emcee just out of “alimony jail,” is broadcasting live from the Gigantic and juggling a growing tangle of relationships. He tries to keep the show running while navigating his three ex-wives—Cleo Fielding Shirley Ross, Grace Fielding Grace Bradley, and Joan Fielding Virginia Vale—as well as his on-again, off-again romance with Dorothy Wyndham Dorothy Lamour and his haplessly loyal microphone assistant Mike Ben Blue. The interplay among these powers on board—humor, envy, and romance—gives the voyage a lively, kinetic rhythm.
Dorothy Wyndham becomes the focal point of a budding romance with First Officer Robert Hayes, the inventor of the Gigantic’s enormous radio power plant, a role brought to life by Leif Erickson Leif Erickson. Hayes’s presence adds a layer of earnest charm to the onboard capers, offering a steadier counterweight to the shipboard comedy. The ship’s musical heartbeat arrives through dazzling performances staged for the passengers and the radio audience, featuring specialty appearances by Kirsten Flagstad Kirsten Flagstad and Wilfrid Pelletier Wilfrid Pelletier of the Metropolitan Opera Company, whose presence elevates the atmosphere above mere farce.
As the voyage unfolds, the film threads together the racing plot with a tangle of family dynamics, old flames, and new affections, all against a backdrop of daring maritime engineering and on-deck entertainment. The result is a breezy, star-studded comedy that mixes slapstick with warmth, keeping the narrative buoyant even as rival schemes collide with genuine human moments. The story moves with a buoyant energy, never losing sight of its core promise: a public spectacle of speed, spectacle, and the stubborn, comedic resilience of the people aboard the Gigantic.
Last updated: February 24, 2026 at 09:25
Explore frequently asked questions about The Big Broadcast of 1938 (1938) with spoiler-rich answers covering the full plot summary, major story beats, character motivations, hidden details, and ending meaning. This movie summary FAQ helps explain confusing scenes, plot twists, and narrative decisions in clear, searchable detail.
S.B. Bellows was supposed to board the Colossal to execute his brother T. Frothingill Bellows' sabotage plan, but he was delayed by a golf game and missed his transfer. In the confusion, he accidentally boarded the Gigantic instead, which immediately complicated the entire sabotage scheme since he was now on the wrong ship.
T. Frothingill Bellows, owner of the Gigantic, devised a scheme to send his nearly identical younger brother S.B. aboard the rival ship Colossal to sow trouble and ensure the Gigantic would win the transatlantic race. The plan involved sabotage from within the competitor's crew.
Martha Bellows, S.B.'s daughter known for being notoriously unlucky, survived the wreck of the yacht Hesperus V at sea. She was rescued and brought aboard the Gigantic, adding another unpredictable element to the already chaotic voyage.
Buzz Fielding, the OBC radio emcee hosting the broadcast from the Gigantic, had recently been released from what the film humorously calls alimony jail, indicating he had legal or financial troubles related to paying alimony to his ex-wives, which sets up the comedy around his complicated romantic history.
The S.S. Gigantic was billed as being powered by radio technology, featuring an enormous radio power plant invented by First Officer Robert Hayes. This technological innovation was a key part of the ship's appeal and part of what made the race against the Colossal a spectacle worth broadcasting.
Dorothy Wyndham, who has an on-again off-again relationship with Buzz Fielding, begins a budding romance with First Officer Robert Hayes during the voyage. Hayes is the inventor of the Gigantic's radio power plant, and their relationship develops as the ship races toward Cherbourg.
The Race of the Ages was a high-profile two-and-a-half-day transatlantic dash from New York to Cherbourg between two luxury liners: the forty-million-dollar Gigantic and its traditional rival the Colossal. The race was a major public spectacle and the central event around which much of the film's action revolves.
The Gigantic's voyage features numerous musical performances for passengers and radio audiences, including specialty appearances by opera stars Kirsten Flagstad and Wilfrid Pelletier from the Metropolitan Opera Company. These performances are broadcast as part of the ship's entertainment and Buzz Fielding's radio show.
Buzz Fielding juggles relationships with three ex-wives who are all aboard the Gigantic: Cleo Fielding, Grace Fielding, and Joan Fielding. This creates ongoing comic tension as he tries to manage their competing presence while also maintaining his on-again off-again romance with Dorothy Wyndham.
S.B. landing on the Gigantic instead of the Colossal immediately threw T. Frothingill Bellows' sabotage plan into chaos. Since S.B. was now aboard the wrong vessel, the scheme to sow trouble on the rival ship was derailed before it could begin, leaving the race outcome uncertain.
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Chaotic romantic mix-ups and madcap antics aboard an ocean liner.If you enjoyed the lighthearted chaos and romantic entanglements of The Big Broadcast of 1938, you'll love these other comedies set on ocean liners. These movies capture the same frothy mix of music, mistaken identity, and high-society antics at sea.
Stories in this thread typically center on a group of characters traveling by ship, where confined quarters and social conventions lead to a cascade of romantic mix-ups, secret identities, and humorous deceptions, all resolved with a light touch before the final docking.
Movies are grouped here for their shared setting of a luxury liner, their farcical pacing, and their focus on romantic and comedic misunderstandings. They offer a specific blend of glamour, travel, and harmless chaos.
Movies that feel like a stage revue, weaving comedy sketches and musical acts into a thin plot.Fans of The Big Broadcast of 1938 will enjoy these other movies that replicate the energy of a radio or stage revue. If you liked the parade of musical acts and comedic sketches, these films offer similar joyful, performance-driven experiences.
The narrative serves primarily as a loose framework to connect a sequence of musical numbers and comedic acts. Character arcs are simple, and the plot exists to introduce the next performance, emphasizing spectacle and star power over deep storytelling.
This thread groups movies that share a revue-like structure, where the enjoyment comes from the succession of performances rather than a complex plot. They are united by a light tone, steady pacing between acts, and a focus on musical comedy.
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