Gold Diggers Of 1933 is Busby Berkeley‘s masterwork, assisted in no small way by the astute direction of Mervyn LeRoy, who had previously directed a number of stark, socially conscious films, such as Little Caesar (1931) and I Am A Fugitive From A Chain Gang (1932). Like Berkeley, Leroy’s best work was at Warner Bothers and, like Berkeley, MGM would buy his contract and essentially neuter him.
This is the second of the Warners/Berkeley backstage 1933 musicals, beginning with 42nd Street and concluding with Footlight Parade. Gold Diggers is a mix of harsh realism and opulent fantasy, more so than any other musical from the Great Depression. It jump starts in high gear fantasy mode with Ginger Rogers, dressed only in a skimpy outfit made of silver dollars (with one coin strategically placed over her crotch), singing “We’re in the money.” Rogers’ handling of the lyrics morphs into a glossolalia-styled Pig Latin aria that seems like it would be more at home in a Buñuel movie than a Hollywood musical. Behind her, a chorus of babes holding up undulating coins sings “let’s spend it, send it rolling along.” This is Berkeley’s phantasmagoric “F_ you!” to the Depression. And how would you climax such an opening? With a crash, as debt collectors break up the number, taking with them every prop, every stitch of clothing and everything, leaving only a crumb, a crumb even too small for a mouse.
Next we meet up with a foursome of Depression-era women. And these are determined women, bonding together to make it through a man’s world in hard times. Ruby Keeler is at her innocent best. Joan Blondell is the wide awake, street-smart wisecracker. Aline MacMahon is the shrewd, conniving skeptic, and Rogers (who is a supporting character here) personifies the word “gold digger.” Although Rogers part is brief, she commands attention, especially in the opening scene, so much so that it is abundantly clear how and why she rose above her co-stars. Rogers could do Continue reading GOLD DIGGERS OF 1933
Footlight Parade (1933) benefits greatly from the presence of actors James Cagney and Joan Blondell. Wisely, the film omits the coy indulgences of Busby Berkeley regulars Dick Powell and Ruby Keeler, relegating them to the sidelines and musical numbers. Directed by Lloyd Bacon and choreographed by Berkeley, the film echoes Cagney’s rapid-fire delivery. It is often ranked as Berkeley’s best overall film.
The early 1930s were an era in which musicals and westerns pretty much ruled the roost, as far as quantity goes. As far as quality, with so many being produced, the bulk of Hollywood’s musicals, like their westerns, were wretched. MGM had a bigger reputation for musicals, but their Thirties’ output was predominantly tame fluff, and few have withstood the test of time. The grittier Warner Brothers productions, somewhat predictably, did it better, in no small part due to Busby Berkeley.
This is another “puttin’ on the show” extravaganza. The advent of sound has put an end to silent films in the midst of the Depression. Producer Cagney feels compelled to keep his crew fed and working, so he racks his brain for ideas. He arrives at the concept of “musical prologues” to introduce talkies. Cagney is a Berkeley-like character who has to contend with a scheming ex-wife, a back-stabbing fellow producer (Guy Kibbee), and a planted temptress mole (the quite good Claire Dodd). This cast of characters serve as much needed antagonists for the hyper-intense Cagney to bounce off of.
Joan Blondell perfectly parallels Cagney. She is his snappy secretary of substance who secretly loves him. She is no push-over, and, displaying as much energy as her boss, she exposes his crooked partner, saves him from the gold-digging Dodd, and serves as his sounding board. Blondell damn near steals the whole film from Cagney, and that’s no easy feat. Her tough, no-nonsense humor gets the better of Dodd, and she sends her rival packing with a swift kick to the daily duties: “as long as there is a sidewalk, you’ll have a job!” We’re almost as miffed as she is with Cagney for not Continue reading FOOTLIGHT PARADE (1933)