Quando o Mundo Dança

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.

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.

Bonnie and Rodney Jordan (Joan Crawford, William Bakewell) lose everything in the stock market crash. First their father dies of a heart attack and then they discover why: he lost his entire fortune in the crash. Now broke for the first time, Bonnie and Rodney must go to work. Bonnie gets a job as a reporter. Rodney goes to work for bootlegger Jake Luva (Clark Gable). The two being on opposite sides of the law leads to inevitable conflict.

Middle-of-the-road crime drama will appeal most to fans of Crawford and Gable. It's hardly the best work of either, though. It's a pre-Code film, which sometimes is all you have to say to get some classic film fans interested in a movie. Personally I didn't see anything all that risqué in this one. An early scene of a bunch of people in their underwear going for a swim seems to get the most talk but it's pretty tame despite the description. The story is something that was done many times and better over the years, in one variation or another. The insipid romance between Joan and Lester Vail leaves a lot to be desired.

The opening scenes of Dance, Fools, Dance paint a picture of spoiled rich kids Joan Crawford and her brother William Bakewell. Neither has apparently completed school or ever done anything worthwhile. Their father—who worked his own way up to wealth from the bottom—is worried. Joan smokes before breakfast; her brother buys liquor by the suitcase. The height of adventure and success for Joan is a yacht party where she boldly talks everyone into skinny dipping (well, stripping down to their underwear) out on the ocean.

The father dies and it turns out he's broke; the picture turns to chapter two, or, How will the spoiled kids survive? –Well, the brother finds work with a bootlegging mob, and Joan gets a job as a cub reporter. (Influential friend of the family helps her out, apparently...no, she's not remotely qualified, but shows a knack for the work right away!) Rather quickly, the brother finds himself over his head in the sordid business of bootlegging...and Joan, eager for a real story instead of the tea parties she's initially assigned to, takes on....you guessed it, the mob.

There's more to it than that, including Joan's sometime boyfriend (Lester Vail), who half-heartedly offers to marry her when her fortune goes kaput and hangs around when she sets off to make her own success; and Cliff Edwards as the veteran reporter who mentors Joan at the paper but hears too much for his own good at a speakeasy.

Clark Gable is riveting as boss gangster Jake Luva; pre-mustache, the swagger is already there. His first scene features a cigarette-lighting routine with girlfriend Natalie Moorhead (excellent in a tiny role as the soon-to-be discarded moll): he blows smoke in her face, she blows out his lighter, and they hold a stare for a lingering shot that speaks more about their characters' relationship than any of their dialog even attempts.

Midway through the story you have a pretty clear idea of where the plot is going to go….but the second half of the picture is still livelier than the first: at least the characters have some purpose in the second half. Crawford is especially good: she is always at the center as the picture revolves through her relationships with the various men in her life—lover, brother, mentor, gangster.

Joan also gets in one good dance—undercover as a chorus girl, she sees her former rich kid friends in the audience and really puts on a number.

No classic as far as plot goes, or dialog…but worth seeing for Crawford's performance.

Research question: How would a 1931 movie audience have been impressed by spoiled rich girl Crawford flashing an electric hair dryer?

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.