Broadway en folie

I have loved this movie since the first time I saw it on TCM years ago. I love classic movies and when I found out that this one isn't even available on VHS I was heartbroken. I can never seem to catch it on television anymore and I as such haven't seen it in years. Also, I love sharing my favorites with friends and family, but am not able to do so with this one. I desperately want it in my collection. If you're as much a fan of this movie as I am, please go to the following websites and put in your request to have it released for purchase. Hopefully, fans of the movie will eventually be able to have it in their collection!

E-mail Universal Studios and request that it be released.

Vote at Turner Classic Movies. Search for The Diamond Horseshoe and on the side of the page will be an icon to click on and vote!

20th Century Fox Studios promotes this film as a "Technicolor Extraganza," as the greatest Musical to hit the silver screen, but even though its stars may outdo what they do best, its screen-story, Cinematography and direction seem to cry for help here.

For this, 20th creates another backstage Musical, this time borrowing from the plot of the Broadway production of "The Barker" (1927) (Claudette Colbert and Norman Foster star in its original cast), adapted for the screen as "The Barker" (1928) (with Dorothy Mackaill and Douglas Fairbanks, Jr.), and now changing its venue from a carnival setting unto a nightclub circuit for "Diamond Horseshoe" (1945).

Betty Grable, by now, has become a major headliner for 20th especially because of WWII-era pin-up posters, war bond drives and USO tours, and, oh yes, those Techinicolor extravaganzas. Her co-star, Dick Haymes, a very capable deep rich baritone, handles his material well in an early leading screen role.

For their supporting performers, we find a cast rarity: the film debut of Beatrice Kay coincides with the film swan song for William Gaxton. These four, along with comedian Phil Silvers, advance the balance of the plot, as most others appear sporadically, in one scene or in uncredited roles, for which there are multitudes.

Carmen Cavallaro as Himself (pianist) appears in performance at Club 21. Willie Solar as Double-Talking Singer Comedian appears in performance at Diamond Horseshoe nightclub. Margaret Dumont as Mrs. Standish appears in Bonnie's dream sequence, along with Charles Coleman as Majordomo, Bess Flowers as Duchess of Duke, and Evan Thomas as Duke of Duchess.

Familiar faces as Phyllis Kennedy, Julie London, and Ray Teal as Tough Customer appear in bit roles although "Billy Rose," owner of Billy Rose's Diamond Horseshoe fails to make his appearance throughout the entire picture.

And as for story, this also borrows rather heavily from customary "the Coney Island Plot," a rags-to-riches type, in which cast members form an entertainment group, and something happens to break them up, and it's back to rags again, while someone tries to find a way to bring them back together.

Here, Bonnie Collins (Betty Grable), a chorus-dancer-turned-star and her roommate, Claire Williams (Beatrice Kay), a nostalgia singer, entertain at the lavish Diamond Horseshoe Nightclub, along with Joe Davis Sr. (William Gaxton), a widowed career singer, who spends his life in near poverty, saving his earnings, and hoping that his son would become an engineer or doctor to receive some sort of career security, which he's never known.

Claire and Joe Sr. have been seeing each other socially and plan for a future together, while Bonnie and Joe Sr. often cross swords after the curtain closes each evening. The someone who steps among the three would be Joe Davis Jr. (Dick Haymes), who arrives backstage to announce his plans to become a singer rather than an engineer or doctor, to his father's disapproval, which also causes a rift between Claire and Joe Sr.

Blinkie Miller (Phil Silvers), who works as a stage-hand, would be the one to try to bridge the feuding foursome with a semblance of peace if he can manage such a thing. But the plot thickens when Claire bribes Bonnie with the prize of one of her mink coats if Bonnie manages to convince Joe Jr. to return to his medical studies so that Joe Sr. wouldn't be worrying about Joe Jr., thus leaving Joe Sr. to concentrate upon his romance with Claire.

Binkie then introduces Joe Jr. to the manager of a rival night-spot, the Footlights Club (not to be confused with the "Stage Door" (1937) boarding house). Bonnie then launches into her extended dream sequence about being received as a "somebody" in mink, before being awakened by Joe Jr. to picnic (in front of a painted wall scene, it would seem), riding on a riverboat, lounging by the pool, and nightclub-hopping amid various camera effects.

So, because Bonnie, Claire, Joe Sr. and Joe Jr. each has an agenda of her or his own to fulfill, as well as harboring conflicting notions as to what the mink symbolizes, Binkie pretty much has his hands filled if he aims to try to gather the old gang back into Diamond Horseshoe in time for the big number and plenty more top-heavy head-dresses and ostentatious costuming.

Backstage musical alert. So, that means you know the story - people fall out and get back together again. And throw in some songs. What keeps this film interesting are three things – the costumes, the Technicolour and stage announcer Phil Silvers (Blinkie) who isn't his usual obnoxious self. I've never seen him in a likable role like this before.

Unfortunately, with Dick Haymes (Junior) in the cast you know you're going to get some ballads. The songs aren't that good in this film – the only good ones are sung by Betty Grable (Bonnie) as she gets the up-tempo tunes of which there is a regrettable lack of. It's what the film needed because the story drags as it heads towards the predictable schmaltzy ending. Even then, we get another ballad – yawn. Wrong way to end a musical.

Still, don't watch for the songs or story but for the reasons I have mentioned and the film becomes OK. And you also get to find out why the show must go on!

There needs to be some explanation for the context for this film...something which would have been known back when it was made but which would confuse viewers today. Billy Rose was a Broadway showman much like Flo Ziegfeld. He became famous for putting on lavish stage musicals and they were apparently VERY spectacular. He also eventually opened a combination restaurant and stage show called 'The Diamond Horseshoe' on Broadway...where folks would see one of Rose's megaproductions while eating fancy food...kind of like a much fancier form of dinner theater. This restaurant is the setting for the film.

Joey (Dick Haymes) is the son of a lifelong Broadway performer. But his father wants a better life for Joey and sends him to medical school. However, Joey is a knucklehead and wants to quit just before graduation in order to perform on Broadway. He's a very talented doctor-to-be AND has a voice like an angel...and he insists on using that voice.

Joey has fallen in love for a rather unlikable showgirl, Bonnie (Betty Grable). He's interested but she has zero interest and only begins showing him interest when she's offered a mink coat IF she can seduce him and keep him busy. Nice, huh?! Well, as time passes, she actually does fall for Joey...so perhaps it MIGHT work out after all.

How much you like this film will depend a lot on what you think about this sort of musical. I like ones where the songs are integrated into the story. However, most of Twentieth Century-Fox's featured big production numbers on stage...and this one is even bigger and more over-the-top than other films by the studio. Lavish costumes, lots of lovely ladies and formality is what you'll see...and that frankly bored me at times. I even wanted to skip over many of these numbers...mostly because it is NOT what I like. By contrast, an RKO Astaire-Rogers film has some of the formality but is more intimate and not stage-bound...which I love. Same with a film like MGM's "Meet Me in St. Louis" where the songs are integrated into the story. Because of this, I felt a bit cold about this one but must also admit that Dick Haymes' singing was VERY impressive...what a lovely voice.

Overall, an okay film which would have benefitted from more story and less staginess for me. You, on the other hand, might like this...and there's nothing wrong with liking this style of musical.

"Diamond Horseshoe" begins with a stage number wherein all the showgirls are ingredients in a French chef's recipe--with Betty Grable as the main course, of course. She fights with her co-star offstage (he tells the leggy chanteuse, "You are in show business for only two reasons...and you're standing on both of them!"). In order to bring romantic happiness for a gal-pal, wisecracking Betty agrees to come between a singer and his son, the latter of whom was to become a doctor but now wants a taste of the footlights. Taken from John Kenyon Nicholson's play "The Barker", the plot (though relentlessly padded with novelty numbers, revues and sketches) is far stronger than those of other showcases for Grable, and screenwriter George Seaton isn't afraid to be catty and snappy. Some of the put-downs are priceless, with Betty infusing the interplay with a jazzy '40s-era spirit (she's both jaded and sassy). Unfortunately, most of the songs are not singable, and Dick Haymes is such a shallow love-interest that it doesn't make any sense for a tootsie like Grable to fall for him. The production probably looked elaborate in 1945, but today it seems tacky, and at 104 minutes the movie eventually wears out its welcome. ** from ****