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)
Of far more interest, plot-wise, is the nuanced filler material. Virginal Keeler and her leading fellar, golly-gee-wiz swell guy Dick Powell have limited charm and register as flat and clunky next to the wisecracking chorus girl 
Note that “but not by much,” because Duck Soup (1933) was the Marx Brothers most revolutionary film, a surrealist-politico masterpiece, and it totally bombed at the box office. This resulted in the Brothers being released from their Paramount contract. MGM and Irving Thalberg were quick to snap them up, but Thalberg, a self-confessed fan, knew he had to polish their act in order to increase their accessibility.
