73. Gold Diggers of 1933 (1933)

Directed By Mervyn LeRoy

Synopsis

Rich kid makes music for musicals, his brother tries to stop him from marrying chorus girl. Brother gets taken for a ride by other chorus girl, it all ends in everyone getting married.

Review

This is a much better film than either 42nd Street or Footlight Parade, it is still a Busby Berkeley musical but it also has some plot and a got story to it unlike the two previous ones. The reason for this is surely Mervyn LeRoy who is a much better director than Lloyd Bacon.

This is an interesting film in several respects, firstly it is has a quite interesting plot and dialogue, secondly the acting is quite good, with the exception of Ruby Keeler who gets another big part in this film despite being shitty in the last 2 films reviewed here. Thirdly and maybe most importantly this is a very socially aware musical comedy. The film starts with the famous We're In The Money, but ends with a musical act about the forgotten veterans of World War I in a poingnant political message as well as a musical spectacular. The film is very aware of the problems facing people during the depression, and despote being a comedy does not tone down the horrors of depression America.

The only problem with this film is that the Berkeley musical numbers are not as spectacular as in Footlight Parade for example. They are still quite good but not nearly as flabbergasting as in that film. That doesn't matter as much here anyway because the film isn't carried by the musical numbers, but by the fact that it is a good film in itself. Buy it at Amazon UK or US.

Final Grade

8/10

Trivia

Shadow Waltz:



From Wikipedia:

The film contains four song and dance sequences choregraphed by Busby Berkeley.

"We're in the Money" is sung by Ginger Rogers accompanied by showgirls dancing with giant coins. Rogers sings one verse in Pig Latin.

"Petting in the Park" is sung by Ruby Keeler and Dick Powell. It includes a tap dance from Keeler and a surreal sequence featuring dwarf actor Billy Barty as a baby who escapes from his perambulator.

"Shadow Waltz" is sung by Powell and features a dance of female violinists with neon violins that glow in the dark.

"Remember My Forgotten Man" features sets influenced by German Expressionism and a gritty evocation of Depression-era poverty.