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Joan Crawford got to display some of her dancing talents which brought her to films in the first place in Dance Fools Dance. She also was paired for the first time with Clark Gable. Although Gable was sixth down on the billing the impression he made assured that he and Crawford would work together again.

In fact when Dance Fools Dance came out Crawford was already shooting another film, Laughing Sinners with Neil Hamilton and Johnny Mack Brown as her leads. The reviews Gable got made Louis B. Mayer scrap all the footage that had been shot with Brown and Gable was immediately recast in that picture.

Crawford and William Bakewell play a couple of rich kids whose father William Holden loses everything in the Crash of 29 and dies from the shock of it. And I mean he lost everything as the mansion and its furnishings are auctioned off to pay all the debts the estate owes. Both of them have to go to work, Bakewell not all pleased with that prospect.

Joan goes to work for a newspaper, writing sob sister stuff and she proves she has a knack for it. Bakewell on the other hand gets a job with your friendly bootlegger and his boss who is Clark Gable.

At this point the film makes use of the real life incidents of the St. Valentine's Day Massacre and the murder of reporter Jake Lingle in Chicago who covered the gangland beat. Cliff Edwards who plays the reporter does an excellent job, possibly the best acted part next to Gable.

Playing opposite Crawford as her ever faithful boyfriend from the good old rich days is Broadway actor Lester Vail. I looked Vail up on the Broadway Database and he had considerable stage career. He did not do too many films and truth be told he did not register well as a screen presence. No wonder all the talk was about the few scenes Gable and Crawford had together when she went undercover to investigate the murder of her friend and colleague Edwards.

Though it goes over the top in the melodrama toward the end Dance Fools Dance was a significant milestone in the careers of two screen legends.

Don't listen to fuddy-duddy critics on this one, this is a gem! Young rich Joan and her brother find themselves penniless after their father dies - and now they have to work for a living! She, naturally, becomes a reporter, and he, just as naturally, a driver for the mob! By wild co-incidences their careers meet head on, thanks to gangster Clark Gable. In the meantime there is the chance for a moonlight underwear swim for a bunch of pretty young things and for Joan to do a couple of risque dance numbers (with all the grace of a steam-shovel).

But none of this is supposed to be taken seriously - it's all good fun from those wonderful pre-code days, when Hollywood was really naughty. Joan looks great, and displays much of the emotional range that would give her career such longevity (thank God she stopped the dancing!). Gable is remarkable as a slimy gangster - he wasn't a star yet and so didn't have to be the hero. Great to see him playing something different. And William Bakewell is excellent as the poor confused brother. And there are some great montages and tracking shots courtesy of director Harry Beaumont, who moves the piece on with a cracking pace - and an occasional wink to the audience! Great fun!

The story is simple, but Joan Crawford is one of those empowering roles that are such a feature of the pre-Code era, and you get Clark Gable in just his 3rd film as well. The setup is that a rich family living it up in the roaring 20's go bust with the stock market crash. Not only do they lose everything but the father dies on the exchange floor, leaving behind two kids (Joan Crawford and William Bakewell) who have never held jobs or gotten an education. While the son can't fathom working and would prefer to sit around getting drunk (a nice little critique of the spoiled rich), he eventually gets involved with bootleggers. The daughter, on the other hand, is a plucky young woman who turns down a marriage proposal that would have made her rich, and goes out and becomes a newspaper reporter instead.

You can probably guess what I love about Crawford's character. She's a modern woman who looks great out on the dance floor, believes in "trying love out on approval" (a scene which clearly signals pre-marital sex), and would rather work and be independent than settle for the traditional role of wife. Her brother is incredulous, leading to this exchange:

Bonnie (Crawford): "I'm not going to do any of those stupid, silly, conventional things. You'd be surprised what a girl can earn when she sets her mind to it. I'm no dud." Rodney (Bakewell): "You've got the looks, kid. Trade on 'em. Open up a beauty parlor. ..." Bonnie: "That's your idea of me, huh? Beautiful but dumb. All right, I'll show you. I'm going out to get a man-sized job."

That second dance she does when she's working undercover in the gangster's nightclub to get a story is delightful and evokes the flapper era, but to me the feminism in the film is what makes it a solid film, despite its basic plot. Crawford is not known for her on-screen charm, but she summons it here, and does well in the various aspects of her role - society woman, flapper, newspaper reporter, and love interest (hey, the complete woman). Gable is suitably tough as the gang leader, and he and Crawford have great chemistry together. I didn't care for the contrived confrontation which occurs and how the film ends though, which was really unfortunate, and kept it from a higher rating.

Another quote, from Gable to Crawford after her dance: "You got me going, sister." "Can I depend on it?" "In a big way."

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 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.