Chercheuses d'or de 1935

While I love the songs mentioned above, my favorite part of the entire show happens at the top when all the managers of the different departments of the hotel are explaining to their employees why they won't be receiving a salary or a wage -- because of the massive tips they'll be receiving from the clients -- oh, and that each manager gets a cut of the vails, of course, as they aren't going to be in contact with the guests.

The editing is really nice, as it moves from department to department in the hotel. The monologue begins with the hotel manager talking to the bell boys, then the editing takes us to housekeeping, the restaurant, the bar, etc. and each manager picks up the monologue, ending with the hotel manager summing up his expectations.

I think that sequence opens an interesting window on what hotel workers might have dealt with back then.

... this is not Gold Diggers of 1933, Dames, or Footlight Parade. The story is downright disappointing. I realize that the story is not the main point of a musical, but still, the narrative and its execution here are inane. The reason is not that Warner Brothers or Berkeley or Warren and Dubin have lost their touch, but the Production Code put a dreary blanket of censorship over American films made after 1934 that was impossible to evade. Gloria Stuart, as the poor little rich girl being pushed into a loveless marriage with a middle aged millionaire with a goofy hobby, is lovely, but she just doesn't have the precode bite of the stunning Joan Blondell or the fascinating Ginger Rogers, nor is she the good girl shrouded in an air of mystery like Ruby Keeler.

There are only two decent Busby Berkeley numbers here. The first is "The Words are In My Heart", which has those interesting white pianos. To say that "Lullaby of Broadway", the second of two really interesting numbers here, is great, is an understatement. It combines eroticism, surrealism, and flat out psychedelicism to be one of the high points of the Hollywood musical. And like all of Berkeley's numbers, this is supposed to be a staged number but could only be done in film. How else do you transform the face of Winny Shaw into the island of Manhattan and back again? Not in the rest of his career, IMHO, will Busby Berkeley top this number. Without it this film would probably only be a 5/10. With "Lullaby of Broadway" it rises to a 7/10.

Seventy-three years have elapsed since this Gold Diggers movie was released, and it is well worth remembering that for many Americans The Great Depression was still fairly well depressing. Two years into the first administration of Franklin D. Roosevelt, the overall level of unemployment was dropping, but entirely too many people were what we would now call "underemployed." They were working -- like the hotel staff in the fictional resort where all of the events in this movie occur -- "for tips." Not only that, they were required to pay their managers 'a tithe' of whatever they collected. All of that is laid out in the first sequences of this incredible film.

In a very real way, this movie was an employment bonanza all its own.

The extraordinary dancing sequences in "Lullaby Of Broadway" clearly required about a hundred dancers and the musicians: this means that there were also dozens of supporting personnel required for the task of doing rehearsals ( including musicians ). Perhaps it wasn't the best pay-day for most of these people but it was a pay-day in Hollywood.

Busby Berkeley has received many accolades for his work in 42nd Street, which is quite possibly one of the greatest American films ever made. But the energy and style and the enthusiasm which is on display in the dancing routines for "Lullaby" was not faked. Maybe this movie has all the intellectual 'nutrients' of cotton candy and maybe that's a valid criticism, but it was work and honest work at that. This is a greatly entertaining film built out of the flimsiest of dramatic components, yet one thing remains true, it's a hell of an entertaining ride.

The comedic elements were clearly drawn comic-book style, and I do not find that objectionable in the least, for the goofiness of the lead comic actors is still charming all these decades later. OK, it is true that many millions of modern film fans may not have the slightest idea what 'snuff' is -- finely powdered tobacco -- but funny is funny, and the obsession of the screwball expert who is collecting them is still really funny !! If it wasn't funny, then why are 'nerds' still getting laughs in movies today ?? It's the same basic kind of humor.

The rating of 8 for this film does take into account the tissue-thin plot for this second "Gold Diggers" episode, but it remains one of my personal favorites and that is said after having given it several viewings. Look back on this as an historical document. See how people behaved before being constantly tethered to their cell phones, before being obsessed with 'global warming' or the price of gasoline.

Oh, and Gloria Stuart is so incredibly beautiful that she stops the action in almost every scene she's in, as does Wini Shaw's singing.

A great film for a cozy Saturday night, and it is also certified as being 100 % zombie-free.

Shot in crisp B&W with some lavishly designed sets and brilliant lighting techniques, the musical numbers in this film shine because of the sheer genius of Busby Berkeley's fantastic routines.

The story is thin and silly, but from start to finish it's an entertaining show with Dick Powell and Gloria Stuart in the romantic leads supported by such stalwarts among character actors as Alice Brady, Frank McHugh, Hugh Herbert and Adolphe Menjou. Dorothy Dare and Wini Shaw are added delights.

It's the typical boy meets girl story with Powell assigned to be a protective escort (as a business proposition posed by wealthy Alice Brady) whose daughter wants some excitement in her life before promising to marry stuffy Hugh Herbert.

But once the songs start spinning and the clever camera work gets going, the viewer will appreciate all the effort that went into this undertaking. Especially striking is the final musical sequence built around "Lullaby of Broadway," first the segment with the white pianos and then the actual dance routine choreographed brilliantly by both Busby and the Warner cameras.

Striking talent on display here, worth a peek if you're a fan of the old Warner Brothers musicals. Alice Brady is a riot as the world's stingiest wealthy woman always devising ways to do things on the cheap.

"Golddiggers of 1935" stars Alice Brady as a cheapskate determined that her daughter will marry a wealthy older man as planned.

In order to make sure this happens, she gives her daughter a last wish as a single woman, which is to let her do what she wants (i.e., have fun) all summer at the resort where they're staying.

So mom hires the student doctor at the reception desk, Dick (Dick Powell) to escort her around. Oh, and then there's the show for the milk fund. And what a show!

The daughter in question is the beautiful Gloria Stuart, who a mere 60+ years later will receive an Oscar nomination for "Titanic" and make it at last! 96 at the time of this writing, Stuart today is completely recognizable as that dazzling blond of her youth. There's no mistaking those incredible eyes or wonderful voice. It was really a treat to see her in this.

The film is remarkable for its milk fund numbers only - the rest of it isn't much. Berkeley pulled out all the stops with a mesmerizing array of moving white pianos played by chorus girls in gowns, and follows it up with "Lullaby of Broadway."

Sensational - so imaginative, dark, and atmospheric, truly one of the best numbers in cinema. Its unusual beginning (also done at the end) will cue you in immediately that you're about to see something different.

The cast is first rate - Powell, Stuart, Brady, Hugh Herbert, Dorothy Dare, Glenda Farrell, and Adolphe Menjou. Parts of it are overacted, almost as if the actors were on stage, but you won't be sorry you saw Berkeley's work at its best.