Amor de Dançarina

1933 was a watershed year for the movie musical. It was the year Busby Berkeley helped make it exciting again with his numbers for 42nd Street and Gold Diggers of 1933. Ginger Rogers was a factor in that excitement when she performed the "We're in the Money" number in the latter. And if that had been it for her career, she'd at least be an important footnote in the movie musical's history. But bigger things were coming her way later in the year. And it wouldn't be at Warner Bros. where she was at the time but at RKO. Her future legendary partner was already there but had yet to make his film debut. But since the studio had no assignments for him yet, he was allowed to go to M-G-M for a specialty spot there as himself. And so it was at Leo the Lion's place that Fred Astaire-previously a Broadway sensation with sis Adele-got his first stint in front of the cameras. His partner there was Joan Crawford, who had displayed much of her dancing ability in many of her previous films so she wasn't a bad first film dancer for Fred to start with. So on that note, this movie is worth a good look for that reason alone. But there's still some good acting by leading man Clark Gable, second lead Franchot Tone (whom Ms. Crawford would briefly marry) and Ted Healy as Gable's assistant who was still the leader of his stooges: Moe, Curly, and Larry, all represented at their slapstick best here. Other notable supporting turns came from Robert Benchley who keeps looking for a pencil, Winnie Lightner as Crawford's friend, May Robson as Tone's grandmother, and Eve Arden-years before playing her Oscar-nominated role opposite Oscar-winner Crawford in Mildred Pierce-in a small part as a rejected potential chorus girl. Oh, and this was one of Nelson Eddy's earliest singing spots. In summary, Dancing Lady is enjoyable enough to watch as entertainment with a historical first as an extra treat.

Like the other studios, MGM wasted no time cashing in on the success of 42nd Street with its own backstage musical, complete with ersatz Busby Berkeley choreography.

This one is "Dancing Lady," and she's young Joan Crawford costarring with Franchot Tone and Clark Gable. A dancer named Fred Astaire makes his official film debut, and Nelson Eddy pops in for a song.

Crawford is an ambitious dancer being pursued by a rich boyfriend (Tone), but she's blinded by the footlights of Broadway. He helps her out by getting her into a show directed by tough guy Gable, and when he sees her talent and perseverance, he gives her the "top spot" in the show. Of course, he's attracted to her, too, and she to him.

It's easy for all of them to be attracted to one another because they're all gorgeous. 30 years after this film, Franchot Tone would play a dying President in "Advise and Consent"...and look it. Here he's a smooth dazzler in his top hat, tails, brilliant smile and dimples.

Gable is muscular, sexy, and rough around the edges. Crawford sparkles with her athletic figure, beautiful legs, and surely a pair of the most spellbinding eyes ever in film. She is perfection in her Adrian outfits.

Though she does well in her big number with Astaire, Crawford really was from the Ruby Keeler School of Hoofing - lots of arms, big steps, and a ton of noise.

The musical itself - uh, "Dancing Lady" - is tuneful and pleasant, and its spectacular finale gives one the impression that Louis B screamed for the kitchen sink - Berkeley-type choreography, a Nelson Eddy solo, and Astaire.

It's wonderful to see these stars so young and energetic, and they are all great to watch. Look for an uncredited appearance by a blond Eve Arden and Lynn Bari somewhere in the chorus. Lots of fun from MGM.

In New York, the playboy Tod Newton (Franchot Tone) goes with his friend to the International Burlesque to have fun with the striptease of the dancers. During the performance, there is a police raid and the girls are arrested and brought to court. Tod feels attracted by the dancer Janie Barlow (Joan Crawford) that is sentenced to thirty days in jail or the payment of a thirty-dollar bail. Tod bails her out and Janie tells that she is an aspirant dancer that prioritizes her career and she does not accept to be his lover.

Janie Barlow decides to seek a position uptown in Broadway musical but the director Patch Gallagher (Clark Gable) refuses to talk and give a chance to her. However Tod Newton uses his influence and secretly sponsors the show and Janie is hired. Patch believes that Janie is using Tod to reach her objectives but sooner he finds that she is a talented dancer indeed. Tod proposes to marry Janie but she wants to become a Broadway star. However, she accepts Tod's proposal: if the show is a success, she will follow the artistic career; however, if the musical fails, she will marry him. But Tod is a millionaire and wants to marry Janie and the bet is not fair.

"Dancing Lady" is a delightful film about a dilemma, where Joan Crawford is amazing, dancing inclusive with Fred Astaire in one of his first works. Her chemistry with Clark Gable is something very special, and the funny moments are in charge of the Three Stooges in the role of stagehands. There is also a cameo of Nelson Eddy in his first credited work. The "villain" Franchot Tone is also very pleasant and has a good performance in the role of a coxcomb. My vote is eight.

Title (Brazil): "Amor de Dançarina" ("Love of Dancer")

While the love triangle between Clark Gable and Franchot Tone for Joan Crawford is very routine, this film offers several pleasures. It is the first film of Fred Astaire, playing himself (or at least, a dancer called Fred Astaire). He dances with Joan Crawford and is as light as a feather and as smooth as silk, compared to Crawford's clunky style of dancing. He also sings in his inimitable style. It's also Eve Arden's first film, playing a would-be actress faking a southern accent in a very short scene. And, to top it off, it is the first film where the three stooges were actually billed as "stooges," and they come complete with their finger-poking and face-slapping antics. If these are not enough, it's also the second film of Nelson Eddy, who sings a Rogers and Hart tune, so there is lots of movie history connected with this film. Despite the talented song composers contributing to this musical, the only song that stuck with me was the lovely "Everything I Have is Yours" by Burton Lane and Harold Adamson. This is not a great film, but is certainly one to see.

For those interested in credits, about 82:30 minutes into the film, Franchot Tone opens his program guide to see what's next in the show he's watching, and the complete list of all the chorus girls used in the film is shown and is readable. It includes Lynn Bari (spelled Barri) in her first role, but I could not spot her. If you do, please let me know which scene she's in.

'Dancing Lady' (1933) is about a woman (Joan Crawford) who lives to dance. After being arrested for dancing at a burlesque house, she meets a rich playboy (Franchot Tone), who, behind the scenes, paves the way for her to get her big break. Clark Gable is the director of the musical and makes you fall in love with him! Joan Crawford is a reasonable dancer - no Fred Astaire or Eleanor Powell - but she is quite good.

This lavish glossy Busby Berkley-ish musical dazzles you from start to finish! A combination witty, quick lines, the appeal of the stunning Joan Crawford and dashing Clark Gable plus some great songs and dances makes this 1933 movie a mega hit! This movie went surprisingly fast and was a pleasure to watch. Definitely recommend it.