Chercheuses d'or de 1933

with 42nd Street and Footlight Parade... Snappy, risqué, funny, great cast, great music. What more could you ask for? Joan Blondell, Aline McMahon, and Ruby Keeler are the gold diggers. Warren William, Dick Powell, and Guy Kibbee are their targets. Ginger Rogers is swell singing "We're in the Money" in Pig Latin. Ned Sparks, Sterling Holloway, Charles Lane, and Billy Barty are good. Great musical numbers including the opening "We're in the Money," the terrific finale "Forgotten Man" with Blondell and Etta Moten (singing in the window); "Petting in the Park" and "In a Shadow"---Powell and Keeler.... all classics. Fun all the way......

Look for Hobart Cavanaugh, Grace Hayle, Busby Berkley, Clarence Nordstrom, and one of the roller skating cops sure looks like Jack Carson.

Aline McMahon steals the show, and what a show it is!

"Golddiggers of 1933" is a fun movie to watch because all the right elements that went into the making of this motion picture. Mervyn Leroy was truly inspired, and his direction clearly shows he was in total command. The contribution made by the incomparable Busby Berkeley is one of the best things in the film. His choreography for the big production numbers is one of the most impressive thing he did for the movies.

The film is a sweet story about young hopefuls in New York trying to make it in the musical theater. Thus, we find the impoverished room mates, Carol, Trixie and Polly, who are so poor they have to steal their neighbor's milk! These young women are at the end of their rope when Barney, the Broadway impresario comes by to tell them about the new show he is working on. The only trouble, he has no money for it.

How naive and wonderful those movies that came during the great depression were! Everything was possible, in spite of what was happening in the country at the time. In fact, this film, as well as others of that era, served as an excuse for people that were facing a hard time making ends meet for escaping it all when watching a movie like this one.

The cast is excellent. Warren William, Joan Blondell, Aline McMahon, Dick Powell, Ruby Keeler, Ned Sparks, Ginger Rogers, and Guy Kibbee giving performances that endeared them to the American public of the time.

The production number of "Shadow Waltz" has to be one of the best ones in this musical genre ever produced. The number is an amazing one and a tribute to the man who staged it, Busby Berkley. It also help the chorus girls were dressed by Orry-Kelly and the music was by Harry Warren and Al Dubin.

"Golddiggers of 1933" is one of the best movies to come out of the Hollywood of those years.

This masterpiece from 1933 is one of the best examples I've seen of early Hollywood exploitation, although by today's standards if you didn't already know it was controversial at the time you probably wouldn't notice. With the introduction of the talkies in the late 1920's, Hollywood seemed unable to control various movies using subtle innuendos, and actresses displaying a bit more skin than they should until the Hays Code came into full force in 1934, which enforced the boundaries as to what was deemed acceptable on screen. Gangsters profited from crime, women displayed their legs, and in the case of Gold Diggers Of 1933, women used their sexuality to conquer men and gain what they wanted.

Set during the Depression, it follows a quartet of stage dancers after their show is stopped due to the creative director failing to pay the bills. Things look on the up when the girls are asked to return for a brand new show, which would tackle the effects of the Depression on the common man and the state of the country. The enthusiastic director Barney (Ned Sparks) overhears the girls' neighbour Brad (Dick Powell) crooning a tune playing his piano, and invites him to play more tunes and eventually write the score for the upcoming musical. Barney also needs a lot of money to fund, something that Brad is happy to pay in case, much to the girls' suspicion.

It comes across as a film with two halves - the first focusing on the development of the musical, the relationship between Brad and dancer Polly (Ruby Keeler), and the confusion surrounding the shady Brad's situation. The second seeing fellow dancers Carol (Joan Blondell) and Trixie's (Aline MacMahon) attempts to squeeze as much cash as possible out of Barney's upper-class brother Lawrence (a brilliant Warren William) and bumbling Peabody (Guy Kibbee). The first is a masterclass of beautiful stage numbers, fantastic songs, and good old-fashioned escapism. The second is where the film hits full stride, providing laugh out loud situations and some verbal comedy that wouldn't look out place today, as the girls flirt with and tease the old men as we cheer them on. It's the kind of thing that Sex And The City wishes it could pull off when it isn't being so materialistic and soulless.

When you think it's over it pulls off one last masterstroke in the highly effective 'Remember My Forgotten Man' musical number, as Joan Blondell sings about how her man fought for her country and now begs for food and resorts to picking up discarded cigarette butts, as bloody soldiers march through the street. It's a beautiful moment and really sums up the era. It offers an insight into the whole Pre-Code Hollywood movement, where people would go to the cinema to escape their everyday struggles to see an actress like Blondell revealing a bit more leg than she should, or a Pre-Code veteran such as Warren William sneer his way through some juicy lines and villainous roles. It gave the general public that little something extra to get excited about.

This is a film that has everything, and if you can track it down I would urge you to see it. It's a fascinating time capsule, and even has a very early role for Ginger Rogers as the flirty Fay. It has also been entered into the National Film Registry for preservation by the Library of Congress. A must-see.

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I've heard of this movie for years, but didn't actually see it until last week when Turner Classic Movies ran it. And it is positively stunning!! On the surface, it moves almost like a carbon copy of 42ND STREET- right up to the last-minute switch in players before the curtain goes up (although in this film, it's Dick Powell instead of Ruby Keeler). But its astringent look at trying to play Tin Pan Alley smack in the middle of the Depression gives it a very adult and tragic significance. It still has the Berkley dazzle- from the "Shadow Waltz" chorus girls (and electric violins) to the now-legendary "We're In The Money" dress rehearsal fronted by a pre-Astaire Ginger Rogers. (I was a teenager when my mother mentioned that one verse of this song was actually sung in Pig Latin- and I swore for twenty-five years that she was pulling my chain. It is one of the cleverest vocal interludes I've ever seen and heard.) But the three girls implied in the film's title- Ruby Keeler, Aline McMahon, and especially the sharp, smart, and gorgeous Joan Blondell- are the best things in the movie. And Blondell fronts the sublime finale number "Forgotten Man-" which pays tribute to the men (and women) of WWI and the ironies which followed. The staging of it- the marching which goes from triumphant to tragic, the torchy, gospel-like vocal of Etta Moten (the black woman sitting in the window), and the pullback shot of everyone coming downstage at the fadeout- is truly spectacular.

There is a pattern to 1930's Hollywood musicals; struggle to put on show proceeds alongside struggle for love to conquer all. And in the end both struggles are successfully concluded. It is a pattern that is broken by "Gold Diggers Of 1933". Sure, all of the usual elements are in place, including the Hungry, Penniless Showgirl Depression setting. But where this movie differs is in the fact that after the various plot strands are neatly tied up, it doesn't end. Instead, we are treated to the last big production number,"My Forgotten Man", as downbeat as it was possible to get in 30's Hollywood. All the Busby Berkeley musicals paid lip service to the Great Depression, but this one goes much further, as "My Forgotten Man" was the last, most enduring image of the film, and the one that audiences left the theatre with. It's placement was a brave decision on the part of whoever made it, and it would be interesting to learn of the public reaction at the time. Because while it is undoubtedly true that in an era of deprivation, you can't blithely make movies that are totally divorced from reality, it's equally true that people want to be reassured there is a better life, and they won't be scratching around in the dirt forever. Personally, I love the number, and it's placement. It's something that has fascinated me since my very first viewing 7 years ago, but it seems to be a point that not a lot of critics have picked up on. Perhaps it wasn't so unusual after all!