42nd Street (B or 3/4 stars)
In 1997, I was Andy the Dance Captain in my high school production of '42nd Street'. We 14-18 yr. olds knew nothing about the play going-in -- seemed old-fashioned to us. But boy, did we fall in love with the story, the characters, the songs, the dancing, and just the overall cheer this play brought out for us and for the public. We watched the 1933 film version then (directed by Lloyd Bacon) & I've watched it again now -- still a joyful, energetic showbiz musical that takes us backstage to witness the cattiness, difficulties, & ultimate triumphs of those in the Broadway acting business.
So, the story. Producer Abner Dillon (Guy Kibbee) is funding a new Broadway musical titled "Pretty Lady". The snide star is Dorothy Brock (Bebe Daniels, film star since 1910), who also happens to be the sugar to sugar daddy Abner. Dorothy's true love is handsome bachelor Pat (George Brent), as she tries to hold-off the lecherous Abner & keep Pat interested in HER. Vet Broadway notable Julian Marsh (a dictatorial Warner Baxter) is recruited to direct, despite chronic health issues, as well as a reputation for being an obsessive tyrant. Backbiting showgirls Lorraine (Una Merkel) & Annie (Ginger Rogers) are cast for the show, as well as stage-struck ingenue Peggy Sawyer (gangly Ruby Keeler) as a lowly chorus girl. The leading man is Billy Lawlor (boyish Dick Powell), known for playing youths.
The plot has the temperamental Dorothy twist her ankle the night before the out-of-town-opening, which forces Julian Marsh to plug-in understudy Peggy. Marsh gives the overly anxious girl a pep talk to succeed: "You're going out there a youngster, but you've GOT to come back a starrrr!" And so, Peggy takes advantage of this chance for stardom by frantically rehearsing. Along the way, there are - of course - some romantic entanglements, as Pat (who Dorothy pines for) seeks out Peggy when he's really more suited for Dorothy Brock & the interested Billy Lawlor would be more suited for her. However, if you think these entanglements won't unfurl by the end of the movie, then you haven't seen many movies {haha}. These melodramatics get in the way of the amazing musical numbers/fun backstage happenings. But when the iconic music is blasting away & the dances entertain, nearly all of said melodramatics is forgiven.
What Busby Berkeley did for the 'movie musical' is just astounding; with brilliantly choreographed numbers featuring synchronized dance steps, extravagant sets, surrealistic imagery of dancing girls forming abstract designs, & the use of overhead camerawork to follow the variety of action. The songs are fantastic! "Shuffle off to Buffalo" - "You're Getting to Be a Habit with Me" - "It Must be June" - "Dames" - Young & Healthy" ... they're all exceptional, with great lyrics that pertain to the story at hand. You watch this film to enjoy the fun music, the witty dialogue, & the dancing. The plot? Eh, kinda ordinary. The performances? Well, they vary. My favorite is Warner Baxter's of Julian Marsh. His chain-smoking/on the verge of a nervous breakdown director portrayal is the heart of the show. Watching him listen-in to the reactions of the people as they exit the theater after opening night is a lovely, poignant moment. Una Merkel & Ginger Rogers are fun. But I wasn't wild about Ruby Keeler's "style" of dance - it might have been the rage back then, but I think it looked awkward, at times.
One of the other fun aspects of '42nd Street' is its racy humor. This film was released riiiiiiight before the enforcement of Hayes Code took grip, so there was an allowance for certain dialogues, sexual innuendos, & situations. 'Sex' is the motivation for Abner to sponsor the play in the 1st place. Dorothy gives up her body for fame. The female dancers are ready to flirt to get roles in the play. Some of the men are more than ready to take advantage of that {the director even tells all the dancers to raise their skirts so as to look at their shapely legs}. Plenty of the lyrics in the songs are eyebrow-raising. And in one memorable moment, a female dancer sits on a male's lap. "What are you sitting on?" is asked. The answer: "A flag pole, I think". I love how this movie also covers the 'putting on' of a Broadway show (from casting to arduous rehearsing to opening night glory). '42nd Street' is the 1st quintessential Broadway Musical to reach the silver screen -- check it out!
So, the story. Producer Abner Dillon (Guy Kibbee) is funding a new Broadway musical titled "Pretty Lady". The snide star is Dorothy Brock (Bebe Daniels, film star since 1910), who also happens to be the sugar to sugar daddy Abner. Dorothy's true love is handsome bachelor Pat (George Brent), as she tries to hold-off the lecherous Abner & keep Pat interested in HER. Vet Broadway notable Julian Marsh (a dictatorial Warner Baxter) is recruited to direct, despite chronic health issues, as well as a reputation for being an obsessive tyrant. Backbiting showgirls Lorraine (Una Merkel) & Annie (Ginger Rogers) are cast for the show, as well as stage-struck ingenue Peggy Sawyer (gangly Ruby Keeler) as a lowly chorus girl. The leading man is Billy Lawlor (boyish Dick Powell), known for playing youths.
The plot has the temperamental Dorothy twist her ankle the night before the out-of-town-opening, which forces Julian Marsh to plug-in understudy Peggy. Marsh gives the overly anxious girl a pep talk to succeed: "You're going out there a youngster, but you've GOT to come back a starrrr!" And so, Peggy takes advantage of this chance for stardom by frantically rehearsing. Along the way, there are - of course - some romantic entanglements, as Pat (who Dorothy pines for) seeks out Peggy when he's really more suited for Dorothy Brock & the interested Billy Lawlor would be more suited for her. However, if you think these entanglements won't unfurl by the end of the movie, then you haven't seen many movies {haha}. These melodramatics get in the way of the amazing musical numbers/fun backstage happenings. But when the iconic music is blasting away & the dances entertain, nearly all of said melodramatics is forgiven.
What Busby Berkeley did for the 'movie musical' is just astounding; with brilliantly choreographed numbers featuring synchronized dance steps, extravagant sets, surrealistic imagery of dancing girls forming abstract designs, & the use of overhead camerawork to follow the variety of action. The songs are fantastic! "Shuffle off to Buffalo" - "You're Getting to Be a Habit with Me" - "It Must be June" - "Dames" - Young & Healthy" ... they're all exceptional, with great lyrics that pertain to the story at hand. You watch this film to enjoy the fun music, the witty dialogue, & the dancing. The plot? Eh, kinda ordinary. The performances? Well, they vary. My favorite is Warner Baxter's of Julian Marsh. His chain-smoking/on the verge of a nervous breakdown director portrayal is the heart of the show. Watching him listen-in to the reactions of the people as they exit the theater after opening night is a lovely, poignant moment. Una Merkel & Ginger Rogers are fun. But I wasn't wild about Ruby Keeler's "style" of dance - it might have been the rage back then, but I think it looked awkward, at times.
One of the other fun aspects of '42nd Street' is its racy humor. This film was released riiiiiiight before the enforcement of Hayes Code took grip, so there was an allowance for certain dialogues, sexual innuendos, & situations. 'Sex' is the motivation for Abner to sponsor the play in the 1st place. Dorothy gives up her body for fame. The female dancers are ready to flirt to get roles in the play. Some of the men are more than ready to take advantage of that {the director even tells all the dancers to raise their skirts so as to look at their shapely legs}. Plenty of the lyrics in the songs are eyebrow-raising. And in one memorable moment, a female dancer sits on a male's lap. "What are you sitting on?" is asked. The answer: "A flag pole, I think". I love how this movie also covers the 'putting on' of a Broadway show (from casting to arduous rehearsing to opening night glory). '42nd Street' is the 1st quintessential Broadway Musical to reach the silver screen -- check it out!