Fashions of 1934

Bette Davis looks so beautiful in this confection of a film that celebrates the glorious fashions of the early 1930's. This film will start a love affair for life with the clothes here. If only we could look as lovely every day.

William Powell and Bette Davis are mere side lines in this film that was made in the height of the Great Depression. The story of a conman in the fashion world of the 1930's is an usual storyline but it gives opportunity for an insiders look at this world that we really know and understand very little especially at this time. There are some unusual scenes that include

a walking stick that is a camera. The main musical scene has girls as harps. It is absolutely enchanting.

The plot of this film wanders all over the place, from various schemes of a con man in the fashion world (William Powell) to a few melodramatic romantic interests. The highlight worth waiting for is the ostrich feather musical number choreographed by Busby Berkeley, as well as a smaller number showing fashion designs inspired from historical figures. Until then, Powell is reasonably engaging in pursuing a young woman he's hired to sketch fashions (Bette Davis) as well as an old lover masquerading as an aristocrat in Paris (Verree Teasdale). To the latter, he says he never forgets her "personality" after swatting her behind, which reminded me of the playful euphemism in the 1946 song of the same name by Johnny Mercer. Davis is pretty and very chic, though she's unfortunately underused. It's great to see the fashion elements which appear throughout the film, but the rest of the cast and their various subplots don't add much. Frank McHugh plays a guy who laughs in a silly way in response to anything, including seeing the "filthy" postcards a bookseller is trying to push, and Hugh Herbert is sedate as an ostrich feather supplier who drinks too much. Of course, right? The film was released early enough in 1934 to beat the enforcement of the Production Code, and as a result there are lots of revealing outfits on display, including ostrich feather bikinis which predate the modern bikini by over a decade. Worth watching for the stars, fashion designs, and the musical numbers, but don't expect much more.

FASHIONS OF 1934 (Warner Brothers, 1934), directed by William Dieterle, is a light comedy that pairs debonair William Powell for the one and only time opposite the very young but unrecognizable Bette Davis. Although an unlikely pair, there isn't much chemistry between them. It is also surprising for a first time viewer to find Bette in platinum blonde shoulder length hair supported with heavy eye lashes and lipstick. One can only imagine Davis detesting such an assignment having her look more like a department store mannequin than herself, but it was one of many such "nothing" film roles before the studio would know what to do with her. In spite of it being labeled a musical, Davis does not sing a note nor dance, but the movie itself does consist of one lavish production number, choreographed by Busby Berkeley, which needs to be seen to be believed, but otherwise, worth the price of admission. On and all, FASHIONS OF 1934 (TV and video title: FASHIONS), solely relies on comedy and its presentation of the latest fashions, which were probably never seen again after this movie finished its theatrical run.

The story opens with Sherwood Nash (Powell), a smooth operator who can talk his way in and out of anything, being evicted from his Golden Harvest Investment Corporation for back payment of rent. While his furniture is being moved out, Nash encounters Lynn Mason (Bette Davis), a fashion designer seeking employment. Looking over her drawn sketches, Nash, finding Lynn to be very talented, decides to pursue another kind of racket, that as a fashion swindler. He uses theatrical methods to steal dress designs from famous designers and presenting them to potential buyers at cut-rate prices. After getting caught, Lynn, Nash and Snap (Frank McHugh), Nash's girl-chasing partner, shipboard their way to Paris to get the latest designs. Trying to come up with new and original ideas, Nash meets and befriends Joe Ward (Hugh Herbert), a California feather merchant hoping to interest designers into using more ostrich feathers on their creations. With the help of his former girlfriend, Mabel Maguire (Verree Teasdale), posing as the Grand Duchess Alix, a Russian noblewoman, presently engaged to designer Oscar Baroque (Reginald Owen), Nash arranges to get revue and fashion show together featuring the Grand Duchess Alix. Nash meets further complications when there is a possibility that Lynn might walk out on him, and of he being exposed by Baroque, who wants to ruin him.

FASHIONS OF 1934 very much belongs to Powell, quite amusing and self-confident man. His performance itself never disappoints. The fashion show is preceded by a Busby Berkeley number, "Spin a Little Web of Dreams" (music and lyrics by Irving Kahal and Sammy Fain), as sung by Verree Teasdale. It highlights several chorus girls as human harps and others in pre-production code bikinis, exposing more skin of the female body than any other Berkeley number has up to that time. However, the heavy blonde wigs the semi-nude girls wear make them appear older than their actual youthful ages. And of course, in true Berkeley tradition, the girls in ostrich feather gowns form themselves into one large blooming rose.

In the supporting cast are Philip Reed as Jimmy Blake, a struggling songwriter in love with Lynn; Gordon Westcott and Dorothy Burgess as a couple of swindlers working for Nash in the early portion of the story; Henry O'Neill, Etienne Girardot and George Humbert as famous fashion designers who have their designs stolen by Nash; Hobart Cavanaugh as a man with a box of dancing worms; and Jane Darwell in a small role as a patron during the fashion show sequence. And then there is that Frank McHugh laugh, especially while either looking at some "naughty girlie photographs" or encountering them in the flesh.

FASHIONS OF 1934 is enjoyable fluff from the Golden Age of Hollywood, and would be recommended to those who enjoy watching pre-code production movies. Formerly presented on commercial television's WPHL, Channel 17, in Philadelphia prior to 1974, and available on video cassette in the mid 1980s from Matinée Classics, it can be seen occasionally on late night Turner Classic Movies.(***)

It's a caper in the fashion industry. The awesome, charming William Powell, as the forger and faker who moves from one scheme to another, and one country to another. Bette Davis is Lynn, his sidekick. Davis was just getting going in show biz, and would quickly move into some bigger roles. The hilarious Frank McHugh and Hugh Herbert are both along for comedic laughs. and of course... Busby Berkeley directing some huge, gigantic song and dance routine involving TONS of dancers ( as usual). there's a love (triangle) story in amonst the goings on in the fashion world. Which gir will end up with which guy? and which guy will end up with which business? shenanigans that wouldn't be allowed for much longer, under that dreaded stronger film code that would be installed pretty soon after this. it's pretty good. Director Dieterle has an interesting story on wikipedia.

A user before called it dated, a user after that said of course it's dated it's from 1933. I am always amused by those comments.

I think some people don't understand what 'dated' means. Dated means it's tired, old, boring and has no teeth. Which is exactly the OPPOSITE from this kind of film!

It's PRE CODE : the dancing is provocative, the gals are prostitutes and guys are gangsters + the music numbers are fresh young loud and simply alive! So what on earth are you talking about people??

This movie is glamour and sleaze and that's what you want from a 30s!

You want to watch something dated? Try a Von Sternberg/Dietrich film.

This a great one.