42nd Street is the film that really made choreographer Busby Berkeley a star; and that, in itself, is telling. Although directed by Lloyd Bacon (a 1930’s version of a Ron Howard-type assembly line director), it was Berkeley who rightfully grabbed the honors.
The musical, it seemed, had already run its course when Warner Brothers released 42nd Street. Al Jolson’s The Jazz Singer (1927) had been the ground-breaker, ushering in the advent of sound. But, in the six short years between The Jazz Singer and 42nd Street, the genre had already grown stale. Warner, on the verge of bankruptcy, took a huge gamble (studios used to do that) and brought in the innovative Berkeley, teamed him with the competent helmsman Bacon, an unknown (fresh) cast, and the expert songwriting team of Al Dubin and Harry Warren (who make a cameo in the film).
Continue reading 42ND STREET (1933): THE CHOREOGRAPHER AS STAR IS BORN ON 42ND STREET
Busby Berkeley co-directed Dames (1934) with ho-hum stock director Ray Enright, and that may be one reason why it is among the most uneven of Berkeley’s films. The plot is threadbare. Oddball moral majority-type millionaire Hugh Herbert is planning on bequeathing ten million dollars to his cousin Zazu Pitts (of 1924’s infamous Greed) and her husband Guy Kibbee. That is, on one condition–that he finds them to be “morally acceptable” (i.e., no smoking, drinking, or mixing up with show-biz types, especially those that do shows with those immoral dames!)
Of course, there has to be a fly in the ointment, and here it is Dick Powell. Powell’s tenor persona wears thin quickly. He is such an all-smiles poster boy that one wonders what in the world that constipated Herbert might have found objectionable in him. A little background info here on Powell: the actor realized the limits of the screen persona that he had been thrust into. He waited out his youth and when he was too old to be prancing on-screen he shrewdly reinvented himself as a hard-boiled forty something private eye in film noir. Here, he is the fellar of Ruby Keeler, daughter of Zazu and Guy. Dick wants to put on a show and gets help from the eternally underrated Joan Blondell (who became Mrs. Powell two years later).
Continue reading A THOUSAND RUBY KEELERS
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.
Continue reading BERKELEY AND LEROY’S SOCIALLY RELEVANT OPERA