![]() The advent of sound has put an end to silent films in the midst of the Depression. ![]() This is another “puttin’ on the show” extravaganza. The grittier Warner Brothers productions, somewhat predictably, did it better, in no small part due to Busby Berkeley. MGM had a bigger reputation for musicals, but their Thirties’ output was predominantly tame fluff, and few have withstood the test of time. As far as quality, with so many being produced, the bulk of Hollywood’s musicals, like their westerns, were wretched. The early 1930s were an era in which musicals and westerns pretty much ruled the roost, as far as quantity goes. It is often ranked as Berkeley’s best overall film. Directed by Lloyd Bacon and choreographed by Berkeley, the film echoes Cagney’s rapid-fire delivery. Wisely, the film omits the coy indulgences of Busby Berkeley regulars Dick Powell and Ruby Keeler, relegating them to the sidelines and musical numbers. Great film.Footlight Parade (1933) benefits greatly from the presence of actors James Cagney and Joan Blondell. Overall - very entertaining and an absolute blast in some places, with Cagney and Berkeley turning in outstanding work. "Frankenstein"), and later, after seeing a bunch of African-American kids playing in the water from a fire hydrant, he'll quip "That's what need - a modern waterfall splashing on beautiful white bodies." You have to forgive the film for those transgressions, which are relatively small for the time period. Earlier in the film, Cagney will brainstorm for themes in his musicals and hit upon one with "African slaves" (after other wacky ideas, e.g. There are some cringe-inducing moments, including Keeler as an Asian woman during 'Shanghai Lil, singing some broken English lyrics which may make you think of the cliché 'me love you long time' (one of the actual lines: "I miss you very much, a long time, I think that you no love me still"). Related to that and as a small side note, I thought it was funny to see Claire Dodd, wide-eyed, reading a book called "Naughty Stories" with a vamp on the cover.Īs for the other leads, Dick Powell is not my favorite but he's passable, and Ruby Keeler is a joy, playing a cute secretary who transforms into a performer. There's also lots of 1933 eye candy here, with dancer's legs, skimpy outfits, and bathing suits abounding, helped along by the movie being pre-Code. The banter and comedy throughout the movie keeps it entertaining, with the exception of Hugh Herbert, who's in a whiny, annoying role. He's marvelously light on his feet, both when he shows performers how it's done early in the movie, and then later when he 'fills in' for a guy who has had too much to drink to perform 'Shanghai Lil', which is set in a Chinese den of iniquity. The sets are spectacular, as are the visual effects Berkeley creates with overhead camera shots - just have a look on youtube.Ĭagney is a delight to watch in his film, which has him in a role different from his usual gangster typecasting. It ends with a couple of absolutely STUNNING musical numbers choreographed by Busby Berkeley - 'By a Waterfall' and 'Shanghai Lil'. It starts off as a good Cagney-Blondell pairing, with him playing a theater producer whose job is in trouble with the advent of "talkies", and her playing his hardworking, intelligent secretary. ![]() This is a fantastic film that saves its best for last.
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