Dance, Fools, Dance

OK, this is far-fetched fiction but it's still frightening to think that this reflected the way things actually were. It's a crazily convoluted story but you can't help but thinking that such choices wouldn't be put into fiction if they weren't even slightly possible. When The Crash came destroying lives, what did people with no training and no work experience do? Organised crime was one easy option: it paid the bills, it kept you from starving, it kept you alive....for a while anyway.

The other option for employment seemingly was to become a journalist - perhaps not such an easy option but unlike her brother's unwise career plan, that's what Joan Crawford's Bonnie does when they become broke. Incidentally, women journalists and women writers, especially in Hollywood, although the exception were not that uncommon. Indeed the writer of this film, Aurania Rouverol, was a noted female playwright.

As a work of fiction, this is perhaps Miss Rouverl's greatest achievement. The plot is quite nonsensical but in the magical hands of Irving Thalberg's team at MGM, you're swept along with this stupid story, accepting it all as perfectly normal.

MGM was the last of the studios to make the switch from silents to sound and as such talking pictures were still a novelty to the studio when this was made. This is very much evident with this. The most sophisticated and classiest silent films were often from MGM and they couldn't abandon that style they'd built up over all those years so easily. Like in the 20s, in this film, faces and expressions are used to tell the story and nobody was better at that than Joan Crawford. The story allows her to really develop her character and her experience one of the leading silent stars ensures first rate acting.

Clark Gable, in one of his very first roles is only swaggering around for about twenty minutes but he makes quite an impact. Although he is a one-dimensional nasty piece of work, he has an electrifying presence. His on-screen (and subsequent off-screen) romance with Miss Crawford also gives this film an authentic undercurrent of sexual tension. This and the overall high standard of acting (much better than in some other offerings from 1931) again helps to keep this crazy plot seem real. Even so, as a motion picture, it doesn't quite hit the mark but is nevertheless still entertaining.

A very good film by MGM back in 1930--this one is non-stop viewing. It was nice to see Clark Gable in a non-hero role and once again, great acting by Gable and Joan Crawford. One scene that stands out for me, is where Clark Gable slaps William Bakewell in the face. Now, I don't know if Bakewell actually got hit in the kisser, but his facial expression sure looked like he did!! This film is not dated at all--it is that good of a film. Very good movie all around.

This is the third Crawford film that I have seen, the others were "Whatever happened to Baby Jane" and "Mildred Pierce". What a beauty she was back then and what a personality too. Much different than the one she would show later in her film career. This movie was a joy to watch.

This is a story about a girl who's wealthy father dies leaving her and brother penniless. She finds a job as a reporter and her brother a job as a bootlegger with the mob. Newcomer Clark Gable plays the head of the mob. Trouble happens and kid brother talks then sister comes running to help, though she has to deal with Gable first. This is the movie that put Gable on the map. It would be the first of nine films they would star together at M-G-M.

The storyline is typical but Crawford and Gable made it good. The supporting cast is good as well. This was Lester Vail's first film(though he only made four more). William Bakewell, playing the brother, was funny when he was telling Bonnie to become a runway model and did that strike a pose! Hello!!

I would recommend this film to anyone who wants a glimpse into Crawford's early work.

This is not a great precode, but it's good enough to keep your interest, particularly if you are fans of Joan Crawford, Clark Gable, or even Cliff Edwards. As others have already mentioned, it is historical for being the initial teaming of Joan Crawford and Clark Gable, although Gable is sixth or seventh billed at this point. Don't expect Gable the gallant cad in this one - here he is pure cad.

The film is largely an unremarkable morality tale about the follies of the very wealthy spoiling their children even into adulthood to the point where they complain about having to "get up in the middle of the night (9 AM) to eat breakfast.", which are the sentiments of the two Jordan children. When Wall Street crashes, dad dies from the shock and Bonnie Jordan (Joan Crawford) and her brother are left penniless. Bonnie chooses to break into newspaper reporting, but her brother chooses a less honest option which brings him into contact with Gable the gangster. After her close friend, reporter Bert Scranton (Cliff Edwards), is shot to death, Bonnie decides to go undercover as a dancer at Gable's nightclub to try to get to the bottom of the murder. She solves the crime, but at great personal cost.

The best parts of this film are watching Joan Crawford in a dance number and watching the great chemistry Crawford and Gable have together. You get bigger doses of Crawford and Gable together in "Possessed", which was made later this same year - 1931. Joan Crawford was already a big star at this point. As for Clark Gable, he has to wait until he manhandles Norma Shearer in "A Free Soul" before he catapults to true stardom.

I disagree strongly with anyone who might dismiss this film as "just" entertainment. Set right after the carefree, roaring 20s, during the early days of the Great Depression, Dance, Fools, Dance is at its heart an earnest cautionary tale, with a clear message about how best to endure these hard times. Yet this fast-paced and tightly-plotted film is far from being a dreary morality tale.

In the 30s, Hollywood had a knack for churning out one entertaining *and* enlightening audience-pleaser after another, all without wasting a frame of film. Dance, Fools, Dance -- one of *four* films that Harry Beaumont directed in 1931 -- is barely 80 minutes long, yet its characters are well developed, its story never seems rushed, and despite its many twists in plot, the audience is never left behind.

With the lone exception of Lester Vail as flaccid love interest Bob Townsend, the supporting cast is uniformly strong. Worthy of note are William Bakewell as Crawford's brother, Cliff Edwards (best known as the voice of Jiminy Cricket) as reporter Bert Scranton, and Clark Gable in an early supporting role as gangster Jake Luva.

But this is Joan Crawford's film, and she absolutely shines in it. Made when she was just 27, this lesser-known version of Crawford will probably be unrecognizable to those more familiar with her later work. However, here is proof that long before she took home an Oscar for Mildred Pierce, Crawford was a star in the true sense of the word, a terrific actress with the charisma to carry a picture all by herself.

Score: EIGHT out of TEN