98 reviews
This is the most perfect example of "history on the silver screen" that I can think of. When Ginger Rogers says, "It's the Depression, dearie" at the beginning to explain the chorus girls' bad luck, it's the key to the whole film. While the "Shadow Waltz" number was being filmed during an actual 1933 earthquake in L.A. a number of the girls toppled off the Art Deco "overpass" where they were swaying with their filmy hoop skirts and their neon violins short-circuited. The electrical hook-ups were also rather dangerous, especially if the neon bows came in contact with the girls' metallic wigs in that number. The culminating production number, "Remember My Forgotten Man," is the most significant historically and illustrates Warner Bros.' "New Deal" sensibilities. Warner Bros. was the only studio that "bought" the whole Roosevelt approach to economic recovery. The year before, under Hoover, WWI vets were not only neglected in terms of benefits but were run out of their shanty town near the Capitol building. Starving guys were camping on the edges of most communities who'd served in the Great War fifteen years before. Of course, why or how this number fits into such a '30s girlie-type musical revue is anyone's guess. Berkeley never looked for reality, just eye-popping surrealistic effects.
About ten years ago I found myself sitting next to Etta Moten Barnett at a Chicago NAACP banquet. I was flabbergasted. She was in her 90s yet still looked lovely. She's the singer who sang "Forgotten Man" in the window. She also sang "The Carioca" in Astaire and Rogers' first pairing, "Flying Down to Rio." She was quite gracious, though she did not have wonderful things to say about Hollywood of that era. The African Americans in both pictures were fed in a tent away from the general commissary area.
Ruby Keeler has a certain odd-ball appeal, like a homely puppy. She can't sing, she watches her leaden feet while she dances, and almost all her lines are read badly. Yes, she was married to Al Jolson, but that may have HURT her career more than anything. He was not exactly always likable. He was much older than Ruby and so full of himself.
This film is also a classic example of the PRE-CODE stuff that was slipping by---the leering "midget baby" (Billy Barty), the naked girls in silhouette changing into their "armor," the non-stop flashing of underwear or lack of underwear, Ginger Rogers having her large coin torn off by the sheriff's office mug so she's essentially standing there in panties, and so forth.
A good comparison of before and after the code would be to examine this picture and "Gold Diggers of 1935." The latter is so much more chaste, discreet, and less fascinating except for the numbers. There's not the lurid, horny aura of the Pre-Code pictures. And it's not quite as much naughty fun, either.
About ten years ago I found myself sitting next to Etta Moten Barnett at a Chicago NAACP banquet. I was flabbergasted. She was in her 90s yet still looked lovely. She's the singer who sang "Forgotten Man" in the window. She also sang "The Carioca" in Astaire and Rogers' first pairing, "Flying Down to Rio." She was quite gracious, though she did not have wonderful things to say about Hollywood of that era. The African Americans in both pictures were fed in a tent away from the general commissary area.
Ruby Keeler has a certain odd-ball appeal, like a homely puppy. She can't sing, she watches her leaden feet while she dances, and almost all her lines are read badly. Yes, she was married to Al Jolson, but that may have HURT her career more than anything. He was not exactly always likable. He was much older than Ruby and so full of himself.
This film is also a classic example of the PRE-CODE stuff that was slipping by---the leering "midget baby" (Billy Barty), the naked girls in silhouette changing into their "armor," the non-stop flashing of underwear or lack of underwear, Ginger Rogers having her large coin torn off by the sheriff's office mug so she's essentially standing there in panties, and so forth.
A good comparison of before and after the code would be to examine this picture and "Gold Diggers of 1935." The latter is so much more chaste, discreet, and less fascinating except for the numbers. There's not the lurid, horny aura of the Pre-Code pictures. And it's not quite as much naughty fun, either.
Mervyn LeRoy directs this irresistible and touching depression-era musical. Busby Berkeley's choreography is as breath-taking as ever, as are the bevy of beautiful women in the elaborate productions. Many great musical numbers highlight this film including "We're in the Money" in which a then unknown, Ginger Rogers sings in Pig Latin. A host of other oddities can be found as always when Mr. Berkeley is involved. Ruby Keeler and Dick Powell are sensational as dancing and singing lovebirds and all works out well in the end. The show does close on a noticeably strange note with the very powerful protest number regarding the depression called "Forgotten Man" masterfully delivered by bombshell, Joan Blondell. A truly original and memorable musical.
With the success of "42nd Street," Warner Brothers wasted no time adding Busby Berkeley musical numbers to "Gold Diggers of 1933." Starring Dick Powell and Ruby Keeler, this musical also has some of the same Depression darkness that permeated "42nd Street." "It's the Depression, dearie," Ginger Rogers says as the show she and her fellow chorines are laboring in closes in rehearsal due to lack of funding. However, Brad (Powell), a composer in a nearby apartment who's sweet on Polly (Keeler), offers to give Ned Sparks the money he needs to produce his new show. His only condition is that Polly be featured. Everyone wonders where he got the money, and a news item plus the fact that he refuses to appear in the show make the girls suspicious that he's a bank robber. In fact, he's the scion of a wealthy man (Warren William), who soon appears on the scene with his attorney (Guy Kibbee) when Brad steps in for the lumbago-ridden juvenile lead. Polly's roommates Trixie and Carol (Joan Blondell and Aline MacMahon) go to work on the two immediately.
Though the film has some fantastic numbers - "We're in the Money," "The Shadow Waltz," "Pettin' in the Park," and great Busby Berkeley choreography, the middle section has no music and drags on as the gals meet the men, get them to pay for expensive hats, etc. This is probably because the film was completed when the musical numbers were added. But the final number is worth the whole film. "Remember Your Forgotten Man" is a tribute to the World War I soldiers now out of work in the Depression, and not only are the production effects and choreography fantastic, but the singing as well, particularly the solo work by Etta Morton. Blondell, who from the sound of it in Dames was completely tone deaf, is beautifully dubbed here.
Ginger Rogers shines in a supporting role especially with her pig Latin lyrics to "We're in the Money" which were added after she was heard fooling around in a rehearsal. Powell is in gorgeous voice in all the numbers, but "I've Got to Sing a Torch Song" is a high point.
It's easy to watch the dancing, the beautiful women in their costumes, and listen to the singing and forget what in fact was going on in the '30s - after all, that's why these films were made. But the "Forgotten Man" number serves as a reminder then and today that for the people sitting in the theaters, their troubles were right outside the door.
Though the film has some fantastic numbers - "We're in the Money," "The Shadow Waltz," "Pettin' in the Park," and great Busby Berkeley choreography, the middle section has no music and drags on as the gals meet the men, get them to pay for expensive hats, etc. This is probably because the film was completed when the musical numbers were added. But the final number is worth the whole film. "Remember Your Forgotten Man" is a tribute to the World War I soldiers now out of work in the Depression, and not only are the production effects and choreography fantastic, but the singing as well, particularly the solo work by Etta Morton. Blondell, who from the sound of it in Dames was completely tone deaf, is beautifully dubbed here.
Ginger Rogers shines in a supporting role especially with her pig Latin lyrics to "We're in the Money" which were added after she was heard fooling around in a rehearsal. Powell is in gorgeous voice in all the numbers, but "I've Got to Sing a Torch Song" is a high point.
It's easy to watch the dancing, the beautiful women in their costumes, and listen to the singing and forget what in fact was going on in the '30s - after all, that's why these films were made. But the "Forgotten Man" number serves as a reminder then and today that for the people sitting in the theaters, their troubles were right outside the door.
"Golddiggers of 1933" is a fun movie to watch because all the right elements that went into the making of this motion picture. Mervyn Leroy was truly inspired, and his direction clearly shows he was in total command. The contribution made by the incomparable Busby Berkeley is one of the best things in the film. His choreography for the big production numbers is one of the most impressive thing he did for the movies.
The film is a sweet story about young hopefuls in New York trying to make it in the musical theater. Thus, we find the impoverished room mates, Carol, Trixie and Polly, who are so poor they have to steal their neighbor's milk! These young women are at the end of their rope when Barney, the Broadway impresario comes by to tell them about the new show he is working on. The only trouble, he has no money for it.
How naive and wonderful those movies that came during the great depression were! Everything was possible, in spite of what was happening in the country at the time. In fact, this film, as well as others of that era, served as an excuse for people that were facing a hard time making ends meet for escaping it all when watching a movie like this one.
The cast is excellent. Warren William, Joan Blondell, Aline McMahon, Dick Powell, Ruby Keeler, Ned Sparks, Ginger Rogers, and Guy Kibbee giving performances that endeared them to the American public of the time.
The production number of "Shadow Waltz" has to be one of the best ones in this musical genre ever produced. The number is an amazing one and a tribute to the man who staged it, Busby Berkley. It also help the chorus girls were dressed by Orry-Kelly and the music was by Harry Warren and Al Dubin.
"Golddiggers of 1933" is one of the best movies to come out of the Hollywood of those years.
The film is a sweet story about young hopefuls in New York trying to make it in the musical theater. Thus, we find the impoverished room mates, Carol, Trixie and Polly, who are so poor they have to steal their neighbor's milk! These young women are at the end of their rope when Barney, the Broadway impresario comes by to tell them about the new show he is working on. The only trouble, he has no money for it.
How naive and wonderful those movies that came during the great depression were! Everything was possible, in spite of what was happening in the country at the time. In fact, this film, as well as others of that era, served as an excuse for people that were facing a hard time making ends meet for escaping it all when watching a movie like this one.
The cast is excellent. Warren William, Joan Blondell, Aline McMahon, Dick Powell, Ruby Keeler, Ned Sparks, Ginger Rogers, and Guy Kibbee giving performances that endeared them to the American public of the time.
The production number of "Shadow Waltz" has to be one of the best ones in this musical genre ever produced. The number is an amazing one and a tribute to the man who staged it, Busby Berkley. It also help the chorus girls were dressed by Orry-Kelly and the music was by Harry Warren and Al Dubin.
"Golddiggers of 1933" is one of the best movies to come out of the Hollywood of those years.
This, the first in the series of Gold Diggers films still in existence, is the best, the sparkiest, the funniest, and the strongest. Ruby Keeler, Joan Blondell, Aline MacMahon, Dick Powell, Guy Kibbee, Warren William, Ginger Rogers, and then some ... what a great cast! Wonderful musical numbers with that distinctive Berkeley choreography. A crackling script which still packs a punch now. And, best of all, that wonderful finale 'Forgotten Man', where Great War veterans shuffle through a world that doesn't care while the women left behind remember their happier days ...
New York City - the height of the Great Depression. Four showgirls, starving, scheming for that next role in a Broadway musical comedy. Looking for the Big Break. Auditioning for every part. Often down, but never downhearted. Using men, loving men, cheating men. These are the GOLD DIGGERS OF 1933.
This is a wonderful comedy - funny, tuneful & easy on the intellect. Plus, the magic of Busby Berkeley's musical numbers. It's the kind of entertainment that kept audiences happy for a few hours during the dark days of economic despair in the early 1930's.
The cast is first-rate: brassy Joan Blondell; cynical Aline MacMahon; innocent Ruby Keeler & on-the-make Ginger Rogers. Keeler lands handsome & mysterious Dick Powell, (who gets to croon some attractive Harry Warren tunes); and acerbic but loyal producer Ned Sparks.
Warren William & Guy Kibbee turn up late in the proceedings, playing priggish bluenoses who are nonetheless highly susceptible to alcohol & feminine wiles. Movie mavens will recognize Charles Lane as a society reporter; Ferdinand Gottschalk as a disgruntled club member; and Sterling Holloway as a messenger boy.
Some years back, in an introduction to a book about THE WIZARD OF OZ's Munchkins, dwarf Billy Barty stated that he was `too young' to appear in that 1939 movie. This, of course, is nonsense, and he can easily be spotted in the `Pettin' In The Park' number here. As he would in FOOTLIGHT PARADE, he rather disturbingly portrays a lecherous tot, a sure indication, if nothing else, that this is a pre-Production Code film.
Mr. Berkeley does get to have some fun. The film starts with `We're In The Money' featuring Ginger Rogers & girls clad in coins large & small; Rogers even gets to sing one chorus in pig Latin. `Pettin' In The Dark' extols the joys of bucolic lovemaking, segues to simulated, silhouetted female nudity and rather bizarrely ends with the chorus all metal-corseted (Powell is given a can opener to use on Keeler). `The Shadow Waltz' is Berkeley at his most romantic, with its helix-skirted ladies pretending to play fluorescent, fake violins, all moving in a multitude of weaving patterns staged for the famous overhead camera shots. The film's emotional punch comes at the end, with Blondell's tempestuous rendition of `Remember My Forgotten Man' - with its endless marching men, a blues wail for the doughboys of the Great War, ruined by the Depression. The movie ends on this somber note. (Powell also gets to warble `I've Got To Sing A Torch Song').
And just who are those hilarious, Yiddish Kentucky Hillbillies, anyway?
This is a wonderful comedy - funny, tuneful & easy on the intellect. Plus, the magic of Busby Berkeley's musical numbers. It's the kind of entertainment that kept audiences happy for a few hours during the dark days of economic despair in the early 1930's.
The cast is first-rate: brassy Joan Blondell; cynical Aline MacMahon; innocent Ruby Keeler & on-the-make Ginger Rogers. Keeler lands handsome & mysterious Dick Powell, (who gets to croon some attractive Harry Warren tunes); and acerbic but loyal producer Ned Sparks.
Warren William & Guy Kibbee turn up late in the proceedings, playing priggish bluenoses who are nonetheless highly susceptible to alcohol & feminine wiles. Movie mavens will recognize Charles Lane as a society reporter; Ferdinand Gottschalk as a disgruntled club member; and Sterling Holloway as a messenger boy.
Some years back, in an introduction to a book about THE WIZARD OF OZ's Munchkins, dwarf Billy Barty stated that he was `too young' to appear in that 1939 movie. This, of course, is nonsense, and he can easily be spotted in the `Pettin' In The Park' number here. As he would in FOOTLIGHT PARADE, he rather disturbingly portrays a lecherous tot, a sure indication, if nothing else, that this is a pre-Production Code film.
Mr. Berkeley does get to have some fun. The film starts with `We're In The Money' featuring Ginger Rogers & girls clad in coins large & small; Rogers even gets to sing one chorus in pig Latin. `Pettin' In The Dark' extols the joys of bucolic lovemaking, segues to simulated, silhouetted female nudity and rather bizarrely ends with the chorus all metal-corseted (Powell is given a can opener to use on Keeler). `The Shadow Waltz' is Berkeley at his most romantic, with its helix-skirted ladies pretending to play fluorescent, fake violins, all moving in a multitude of weaving patterns staged for the famous overhead camera shots. The film's emotional punch comes at the end, with Blondell's tempestuous rendition of `Remember My Forgotten Man' - with its endless marching men, a blues wail for the doughboys of the Great War, ruined by the Depression. The movie ends on this somber note. (Powell also gets to warble `I've Got To Sing A Torch Song').
And just who are those hilarious, Yiddish Kentucky Hillbillies, anyway?
- Ron Oliver
- May 6, 2000
- Permalink
Secretly wealthy composer Brad Roberts (Dick Powell) rescues a struggling Broadway musical, while chorus girls Carol (Joan Blondell) and Trixie (Aline MacMahon) set out to find rich husbands.
Busby Berkeley was on a roll in 1933. He made three of the best remembered musicals of the 30s in that year: Footlight Parade, 42nd Street and Gold Diggers of 1933.
Gold Diggers is the weakest of the trio. The subplot of Joan Blondell romancing Warren William is rather tedious, and none of the musical numbers are as spectacular as the ones in Footlight Parade or Dames.
That's not to say Gold Diggers is a bad film. "Pettin' in the Park" is one of Berkeley's funniest numbers, "We're in the Money" has rightly become a classic and "Shadow Waltz" is quite beautiful. Joan Blondell, Guy Kibbee, Ginger Rogers and Ned Sparks are excellent, and the scenes with Aline MacMahon trying to seduce Kibbee are hilarious. Ruby Keeler is not in the film very much, which is probably a good thing.
Rewatch. 3.5/5
Busby Berkeley was on a roll in 1933. He made three of the best remembered musicals of the 30s in that year: Footlight Parade, 42nd Street and Gold Diggers of 1933.
Gold Diggers is the weakest of the trio. The subplot of Joan Blondell romancing Warren William is rather tedious, and none of the musical numbers are as spectacular as the ones in Footlight Parade or Dames.
That's not to say Gold Diggers is a bad film. "Pettin' in the Park" is one of Berkeley's funniest numbers, "We're in the Money" has rightly become a classic and "Shadow Waltz" is quite beautiful. Joan Blondell, Guy Kibbee, Ginger Rogers and Ned Sparks are excellent, and the scenes with Aline MacMahon trying to seduce Kibbee are hilarious. Ruby Keeler is not in the film very much, which is probably a good thing.
Rewatch. 3.5/5
- guswhovian
- Apr 21, 2020
- Permalink
Even better than the splendid "42nd Street," this first of the many "Gold Diggers" films is hitting on all its cylinders. When you have Dick Powell, Ruby Keeler, and Ginger Rogers in the cast, the music of Harry Warren and Al Dubin, AND the choreography of Busby Berkley at his best, how can it be otherwise.
Okay, so Ruby Keeler still can't sing on key and her stomping dance style leaves many cold. She does still have that aura of innocence that helped her so much in "42nd Street" and which makes her performance tolerable. She does have the magnificent Joan Blondell and the soon-to-be-legendary Ginger Rogers to fall back on and, believe me, both ladies are more than equal to the task. (I have long believed that Blondell was one of the finest comic actresses in Hollywood history and Ginger Rogers - well, there was a reason Fred Astaire partnered with her more than with any other. No one could do musical comedy and dance better than Rogers at her peak.)
Yes, Berkley is an acquired taste. I find much of his later work a bit too precious for my tastes. Here, however, where he was still developing his style, it comes across as fresh and invigorating. Some of the numbers could have used a bit more rehearsal (low budget and a short shooting schedule probably nixed that) but they still all work and some are astonishingly good.
Dick Powell is, as usual, splendid and in great voice. Those of us who remember his later career as an award winning dramatic actor and director may not be aware that he was originally a singer - and a damned fine one until cigarette smoking and age took its toll.
Many might be a bit shocked by the bawdiness (naughtiness?) of some of the numbers. This was one of the pre-Hayes code films and it one of the reasons why certain groups of viewers were upset. None of it is dirty but some certainly disturbing to the sensitive. (See "Flying Down to Rio" or "Footlight Parade" for other examples of pre-code examples.) I find it all pretty tame but, in 1933, some considered this scandalous and nearly pornographic. We are talking skimpy clothing and innuendo, nothing more, but this was the 1930s and censorship was getting ready to rear its ugly heads. (See Chaplin's masterful "Monsieur Verdoux" for his not-so-subtle jabs at censorship.)
"Gold Diggers of 1933" is a certified classic and should not be missed by fans of the musical or early Hollywood. Just remember that its a product of its time and not the present age and enjoy it for what it is.
Okay, so Ruby Keeler still can't sing on key and her stomping dance style leaves many cold. She does still have that aura of innocence that helped her so much in "42nd Street" and which makes her performance tolerable. She does have the magnificent Joan Blondell and the soon-to-be-legendary Ginger Rogers to fall back on and, believe me, both ladies are more than equal to the task. (I have long believed that Blondell was one of the finest comic actresses in Hollywood history and Ginger Rogers - well, there was a reason Fred Astaire partnered with her more than with any other. No one could do musical comedy and dance better than Rogers at her peak.)
Yes, Berkley is an acquired taste. I find much of his later work a bit too precious for my tastes. Here, however, where he was still developing his style, it comes across as fresh and invigorating. Some of the numbers could have used a bit more rehearsal (low budget and a short shooting schedule probably nixed that) but they still all work and some are astonishingly good.
Dick Powell is, as usual, splendid and in great voice. Those of us who remember his later career as an award winning dramatic actor and director may not be aware that he was originally a singer - and a damned fine one until cigarette smoking and age took its toll.
Many might be a bit shocked by the bawdiness (naughtiness?) of some of the numbers. This was one of the pre-Hayes code films and it one of the reasons why certain groups of viewers were upset. None of it is dirty but some certainly disturbing to the sensitive. (See "Flying Down to Rio" or "Footlight Parade" for other examples of pre-code examples.) I find it all pretty tame but, in 1933, some considered this scandalous and nearly pornographic. We are talking skimpy clothing and innuendo, nothing more, but this was the 1930s and censorship was getting ready to rear its ugly heads. (See Chaplin's masterful "Monsieur Verdoux" for his not-so-subtle jabs at censorship.)
"Gold Diggers of 1933" is a certified classic and should not be missed by fans of the musical or early Hollywood. Just remember that its a product of its time and not the present age and enjoy it for what it is.
Gold Diggers Of 1933 (1933) :
Brief Review -
Fun, tricks and a perfect musical break for depression era. Gold Diggers Of 1933 is nothing out of the box musical neither it is great in mainstream terms but yes it has its own moments and own identity to follow. A rich composer rescues unemployed Broadway performers with a new play because he's in love with one of the girl. His brother and lawyer are tricked by two smart girls while trying to break off his love affair. Well, here's everything about the storyline and there's nothing much more than that except for it has a socially dramatic musical sequence at the end. Then what's so special about it to be called a good film? So, it's the structure of the film. First 20 minutes, just introduction nothing else. Then next 20 minutes we have something cooking up and then it takes top gear for next 55 minutes. Well, it was little late to put the top gear but fortunately it works even after the half runtime is past when one does not expect a fresh start. So this structure is nicely built by the director, first comes fun then tricks then musical and then grand finale with a patriotic touch. Williams and Blondell's chemistry is cute, Aline MacMahon gets the best part to play and Ruby Keeler and Dick Powell are adorable. Ginger Rogers didn't get much to do and it was shocking whereas Guy Kibbee was fun. The musical numbers are slow but melodious and are definitely watchable because of visual appeal. That's why technical team deserves a lot of credit. Mervyn LeRoy and Busby Berkeley set this chaos nicely despite having less runtime in hands. Many important things happen too quickly in the film which deserved a little extra time. It lost too much time in that slow start which could have been proved useful here but anyways overall it's a watchable material and that's enough.
RATING - 6.5/10*
By - #samthebestest
Fun, tricks and a perfect musical break for depression era. Gold Diggers Of 1933 is nothing out of the box musical neither it is great in mainstream terms but yes it has its own moments and own identity to follow. A rich composer rescues unemployed Broadway performers with a new play because he's in love with one of the girl. His brother and lawyer are tricked by two smart girls while trying to break off his love affair. Well, here's everything about the storyline and there's nothing much more than that except for it has a socially dramatic musical sequence at the end. Then what's so special about it to be called a good film? So, it's the structure of the film. First 20 minutes, just introduction nothing else. Then next 20 minutes we have something cooking up and then it takes top gear for next 55 minutes. Well, it was little late to put the top gear but fortunately it works even after the half runtime is past when one does not expect a fresh start. So this structure is nicely built by the director, first comes fun then tricks then musical and then grand finale with a patriotic touch. Williams and Blondell's chemistry is cute, Aline MacMahon gets the best part to play and Ruby Keeler and Dick Powell are adorable. Ginger Rogers didn't get much to do and it was shocking whereas Guy Kibbee was fun. The musical numbers are slow but melodious and are definitely watchable because of visual appeal. That's why technical team deserves a lot of credit. Mervyn LeRoy and Busby Berkeley set this chaos nicely despite having less runtime in hands. Many important things happen too quickly in the film which deserved a little extra time. It lost too much time in that slow start which could have been proved useful here but anyways overall it's a watchable material and that's enough.
RATING - 6.5/10*
By - #samthebestest
- SAMTHEBESTEST
- Jan 15, 2021
- Permalink
GOLD DIGGERS OF 1933 (Warner Brothers, 1933), based on the 1919 play by Avery Hopwood, is a worthy follow-up to the recent backstage musical success of "42nd Street" (1933). Previously filmed as a 1923 silent, then an early 1929 musical talkie, "The Golddiggers of Broadway". followed by sequels in name only, "Gold Diggers of 1935, 1937," and "IN Paris," the Hopwood plot was later reworked again by Warners in 1951 in western setting as "Painting the Clouds With Sunshine," with Dennis Morgan, but the 1933 edition, in the opinion of many, is the best of them all. It's one of the few 1930s musicals that can still be seen and appreciated today, thanks to choreographer Busby Berkeley's genius of inventing such remarkable production numbers, and director Mervyn LeRoy's fast-paced story-line.
The plot can be categorized in two parts. PART I: Roommate show girls, Carol (Joan Blondell), Trixie (Aline MacMahon), Polly (Ruby Keeler) and Fay (Ginger Rogers), give up their present jobs in order to appear in Barney Hopkins' (Ned Sparks) latest musical revue, FORGOTTEN MELODY. Barney wants to do a show about the Depression. In the meantime he is introduced to Brad (Dick Powell), an unknown composer, by Polly who loves him. Brad so happens to have the score Barney wants to use for the upcoming show. After rehearsals comes opening night. The juvenile leading man (Clarence Nordstrom) is unable to go on and Brad is chosen to take his place. After the show clicks, Brad and Polly become overnight stars. PART II: Millionaire snob J. Lawrence Bradford (Warren William), and his family attorney, Peabody (Guy Kibbee) arrive in New York from Boston in order to prevent Brad, J. Lawrence's younger brother, from disgracing the family name by appearing in the shows and getting himself mixed up with show girls, who have the reputation of being nothing but "chisslers, parasites and gold diggers." Because Brad wants a career in the theater and to now marry Polly, he refuses to listen to his brother. J. Lawrence decides to break up the relationship by meeting Polly and buying her off, but instead he meets Carol and mistakes her for Polly. Carol and Trixie decide to J. Lawrence and Peabody "for a ride" and "gold dig" their way into their wallets.
Beginning and ending with production numbers, the movie opens with "We're in the Money" sung by Ginger Rogers both in English and in Pig Latin; followed by Dick Powell crooning "The Shadow Waltz" to Ruby Keeler from across her apartment window. Powell then sings the beautiful tune, "I've Got to Sing a Torch Song" while auditioning for Sparks. That song is underscored during the film's love scenes and tender moments. The stage shows include the lively and racy "Pettin' in the Park," followed by chorus girls in hoop skirts playing neon violins to "The Shadow Waltz," ending with the Depression theme, "Remember My Forgotten Man" a dark and moody number with Joan Blondell (wearing tight blouse and skirt)/sung by black singer Etta Moten, underscored in serious tone presenting dough-boy soldiers fighting at the front during World War I, and returning home to the states finding themselves hit by the Depression, becoming homeless and unemployed. Only Berkeley could take a very lively movie and end it like this. Of the four show girls in the story, only Ginger Rogers has little to do. Aline MacMahon and Guy Kibbee make an excellent "odd couple." Powell and Keeler continue to delight with their innocent charm, while sassy Blondell and no nonsense William make go with their love/hate relationship.
While musicals have a reputation for having thin plots and strong production numbers, or visa versa, GOLD DIGGERS OF 1933 is strong on both counts and entertains throughout its full 96 minutes. Mistaken identity plot par excellence make this a breezy and merry affair. There are some Hollywood "in jokes" here that some viewers might not understand, with pre-production code risqué dialogue and scenes that will open many eyes before beginning to chuckle with amusement. Look for it. Excellent score by Harry Warren and Al Dubin, with choreography by Busby Berkeley, make this one movie musical of the 1930s highly recommended to be seen and enjoyed, if above all else. (****)
The plot can be categorized in two parts. PART I: Roommate show girls, Carol (Joan Blondell), Trixie (Aline MacMahon), Polly (Ruby Keeler) and Fay (Ginger Rogers), give up their present jobs in order to appear in Barney Hopkins' (Ned Sparks) latest musical revue, FORGOTTEN MELODY. Barney wants to do a show about the Depression. In the meantime he is introduced to Brad (Dick Powell), an unknown composer, by Polly who loves him. Brad so happens to have the score Barney wants to use for the upcoming show. After rehearsals comes opening night. The juvenile leading man (Clarence Nordstrom) is unable to go on and Brad is chosen to take his place. After the show clicks, Brad and Polly become overnight stars. PART II: Millionaire snob J. Lawrence Bradford (Warren William), and his family attorney, Peabody (Guy Kibbee) arrive in New York from Boston in order to prevent Brad, J. Lawrence's younger brother, from disgracing the family name by appearing in the shows and getting himself mixed up with show girls, who have the reputation of being nothing but "chisslers, parasites and gold diggers." Because Brad wants a career in the theater and to now marry Polly, he refuses to listen to his brother. J. Lawrence decides to break up the relationship by meeting Polly and buying her off, but instead he meets Carol and mistakes her for Polly. Carol and Trixie decide to J. Lawrence and Peabody "for a ride" and "gold dig" their way into their wallets.
Beginning and ending with production numbers, the movie opens with "We're in the Money" sung by Ginger Rogers both in English and in Pig Latin; followed by Dick Powell crooning "The Shadow Waltz" to Ruby Keeler from across her apartment window. Powell then sings the beautiful tune, "I've Got to Sing a Torch Song" while auditioning for Sparks. That song is underscored during the film's love scenes and tender moments. The stage shows include the lively and racy "Pettin' in the Park," followed by chorus girls in hoop skirts playing neon violins to "The Shadow Waltz," ending with the Depression theme, "Remember My Forgotten Man" a dark and moody number with Joan Blondell (wearing tight blouse and skirt)/sung by black singer Etta Moten, underscored in serious tone presenting dough-boy soldiers fighting at the front during World War I, and returning home to the states finding themselves hit by the Depression, becoming homeless and unemployed. Only Berkeley could take a very lively movie and end it like this. Of the four show girls in the story, only Ginger Rogers has little to do. Aline MacMahon and Guy Kibbee make an excellent "odd couple." Powell and Keeler continue to delight with their innocent charm, while sassy Blondell and no nonsense William make go with their love/hate relationship.
While musicals have a reputation for having thin plots and strong production numbers, or visa versa, GOLD DIGGERS OF 1933 is strong on both counts and entertains throughout its full 96 minutes. Mistaken identity plot par excellence make this a breezy and merry affair. There are some Hollywood "in jokes" here that some viewers might not understand, with pre-production code risqué dialogue and scenes that will open many eyes before beginning to chuckle with amusement. Look for it. Excellent score by Harry Warren and Al Dubin, with choreography by Busby Berkeley, make this one movie musical of the 1930s highly recommended to be seen and enjoyed, if above all else. (****)
At last! The best of the Berkeley movies have made it onto DVD. It's just a shame that the politically-incorrect WONDER BAR wasn't included in this selection at least in the name of completeness.
As has been noted by others, this film didn't start out as a musical and the Busby Berkeley sequences were added to the completed film after the monumental success of the earlier 42ND STREET. But you'd never know it. This has been one of my favourite 30s musicals since I was a teenager and it had never once occurred to me that the musical numbers had been added as an afterthought.
And though the plot is very similar to that of 42ND STREET, GOLD DIGGERS OF 1933 stands up as a time capsule of the era. The performances are perky, with special shouts going out to Ginger and Joan. I've never been a fan of Ruby Keeler and I'm unable to see in her what 1930s audiences must have seen. She couldn't sing or dance half as well as Ginger, but of course, Ginger went on to a stellar career as the best-loved of Fred Astaire's partners and Ruby didn't.
Also a revelation is Dick Powell as the "juvenile lead" in the in-film stage show. Though better known to audiences as the tough Philip Marlowe of MURDER MY SWEET, this is where he got his start and it's telling that, along with James Cagney and any number of other Hollywood stars of the era, Powell was able to sing and tap dance with the best of them. If only today's stars were so multi-talented.
Overall, an absolutely terrific, energetic snapshot of life during the Great Depression. Thank god I didn't have to live through it, but also thank god for those who did and left us this fascinating glimpse of what it must've been like.
As has been noted by others, this film didn't start out as a musical and the Busby Berkeley sequences were added to the completed film after the monumental success of the earlier 42ND STREET. But you'd never know it. This has been one of my favourite 30s musicals since I was a teenager and it had never once occurred to me that the musical numbers had been added as an afterthought.
And though the plot is very similar to that of 42ND STREET, GOLD DIGGERS OF 1933 stands up as a time capsule of the era. The performances are perky, with special shouts going out to Ginger and Joan. I've never been a fan of Ruby Keeler and I'm unable to see in her what 1930s audiences must have seen. She couldn't sing or dance half as well as Ginger, but of course, Ginger went on to a stellar career as the best-loved of Fred Astaire's partners and Ruby didn't.
Also a revelation is Dick Powell as the "juvenile lead" in the in-film stage show. Though better known to audiences as the tough Philip Marlowe of MURDER MY SWEET, this is where he got his start and it's telling that, along with James Cagney and any number of other Hollywood stars of the era, Powell was able to sing and tap dance with the best of them. If only today's stars were so multi-talented.
Overall, an absolutely terrific, energetic snapshot of life during the Great Depression. Thank god I didn't have to live through it, but also thank god for those who did and left us this fascinating glimpse of what it must've been like.
In Hollywood's most successful collaborative era, sometimes the best things happened by accident. Gold Diggers of 1933 was set to be a routine backstage romantic comedy, but after the runaway success of 42nd street with its spectacular dance numbers choreographed by Busby Berkely, studio heads decided to make a few changes and shoehorn in some Berkely routines. What should have been a mess, turned out to be a masterpiece. You see, it happened by accident, but not without overwhelming creative genius from all corners.
First of all let's disregard Berkely for a moment and consider the bones of the picture. This was a golden age for Warner Brothers, and even their potboilers tended to be meaty offerings. The broad plot may be a simple comedy of errors, but the minutiae and the dialogue are unashamedly frank about the depression, then at its very worst point. The fact that the comic escapades are backed by very real and harsh truths gives an unexpected layer of poignancy to the proceedings. Yes, the man-baiting escapades of three money-hungry chorus girls makes for riotous entertainment, but we are never allowed to forget how they became money-hungry.
The director is Mervyn LeRoy, who despite his youth was one of the most competent and professional filmmakers on the Warners payroll. He directs Gold Diggers with pace and punch, never allowing the action to slow down and become dull, but still keeping everything in clarity. A neat little trick of his is using depth to keep certain characters on display. For example, in the scene where Don Gordon (the perpetual juvenile lead) is doubled up with lumbago, Gordon and Ned Sparks are in the foreground, but Dick Powell is prominently placed in the background. Gordon is the most important character at that precise moment, so it is logical to have him up front, but Powell is more important in the long run as he will soon replace Gordon, so it is necessary for us to remember him at that time.
The cast is one to die for, or at the very least, go to prison for. Dick Powell and Ruby Keeler are ostensibly the leads, but the show really belongs to Joan Blondell and Aline MacMahon. Powell was a great singer, and Keeler a wonderful dancer, but neither of them could act well. And thankfully, while they are prominent in the song and dance numbers, they are really supporting players in the drama. Blondell was prolific in both musicals and melodramas of this time, but tended to play "best friend" type roles rather than leading ladies. Gold Diggers is her chance to shine, and show what a terrific actress she is. She plays things at a fairly muted level, but there is a lot of emotion going on under the surface. When she appears in the Forgotten Man number she not only becomes a singer, she carries on being an actress. MacMahon at first looks a little out of place amongst all the sweet and delicate chorines, but as soon as she gets to work her magic on Guy Kibbee she dominates the screen and you know exactly why she was cast. A young Ginger Rogers is here too, still getting villainous roles thanks to her mean-looking face, but nevertheless proving herself to be a superb performer. Ned Sparks gives perhaps his deepest and most heartfelt performance, without ever once breaking out of his trademark character. Amid all these sparkling jewels, there are some memorable bit parts by the likes Ferdinand Gottschalk and Sterling Holloway, yet more pearls in the Gold Diggers crown.
And at last we come to the music. Of course, the melodies of Harry Warren are simply divine, the lyrics of Al Dubin cheeky and incisive as ever, and the choreography of Busby Berkely absolutely breathtaking, but it's how the whole thing is fitted together that puts Gold Diggers so far ahead of its peers. Most of the Berkely musicals "stacked" the numbers - that is, put them all together at the end as a grand finale. That worked fine for 42nd Street and Footlight Parade, but for Gold Diggers of 1933 the structure is geared to awesome effect. We open with "We're in the Money", a lively slice of irony casually wishing the depression away. "Pettin' in the Park" gives us a little comical boost in the middle of the picture. "Shadow Waltz" is pure Berkely indulgence, lovely to look at but with nothing that will unbalance the end of the picture emotionally. And finally, "Remember My Forgotten Man" drops us right into the realities of the depression. It is a bitter counterpoint to "We're in the Money" and its impact is utterly devastating.
Gold Diggers of 1933 is not only the finest of the Busby Berkely musicals, not only the pinnacle of Warner Brothers' pre-code licentiousness, it is the very heart of depression-era America. "Can't you hear that wailing?" Ned Sparks asks us, as Dick Powell hammers out a rough version of "Forgotten Man". You'll hear it alright.
First of all let's disregard Berkely for a moment and consider the bones of the picture. This was a golden age for Warner Brothers, and even their potboilers tended to be meaty offerings. The broad plot may be a simple comedy of errors, but the minutiae and the dialogue are unashamedly frank about the depression, then at its very worst point. The fact that the comic escapades are backed by very real and harsh truths gives an unexpected layer of poignancy to the proceedings. Yes, the man-baiting escapades of three money-hungry chorus girls makes for riotous entertainment, but we are never allowed to forget how they became money-hungry.
The director is Mervyn LeRoy, who despite his youth was one of the most competent and professional filmmakers on the Warners payroll. He directs Gold Diggers with pace and punch, never allowing the action to slow down and become dull, but still keeping everything in clarity. A neat little trick of his is using depth to keep certain characters on display. For example, in the scene where Don Gordon (the perpetual juvenile lead) is doubled up with lumbago, Gordon and Ned Sparks are in the foreground, but Dick Powell is prominently placed in the background. Gordon is the most important character at that precise moment, so it is logical to have him up front, but Powell is more important in the long run as he will soon replace Gordon, so it is necessary for us to remember him at that time.
The cast is one to die for, or at the very least, go to prison for. Dick Powell and Ruby Keeler are ostensibly the leads, but the show really belongs to Joan Blondell and Aline MacMahon. Powell was a great singer, and Keeler a wonderful dancer, but neither of them could act well. And thankfully, while they are prominent in the song and dance numbers, they are really supporting players in the drama. Blondell was prolific in both musicals and melodramas of this time, but tended to play "best friend" type roles rather than leading ladies. Gold Diggers is her chance to shine, and show what a terrific actress she is. She plays things at a fairly muted level, but there is a lot of emotion going on under the surface. When she appears in the Forgotten Man number she not only becomes a singer, she carries on being an actress. MacMahon at first looks a little out of place amongst all the sweet and delicate chorines, but as soon as she gets to work her magic on Guy Kibbee she dominates the screen and you know exactly why she was cast. A young Ginger Rogers is here too, still getting villainous roles thanks to her mean-looking face, but nevertheless proving herself to be a superb performer. Ned Sparks gives perhaps his deepest and most heartfelt performance, without ever once breaking out of his trademark character. Amid all these sparkling jewels, there are some memorable bit parts by the likes Ferdinand Gottschalk and Sterling Holloway, yet more pearls in the Gold Diggers crown.
And at last we come to the music. Of course, the melodies of Harry Warren are simply divine, the lyrics of Al Dubin cheeky and incisive as ever, and the choreography of Busby Berkely absolutely breathtaking, but it's how the whole thing is fitted together that puts Gold Diggers so far ahead of its peers. Most of the Berkely musicals "stacked" the numbers - that is, put them all together at the end as a grand finale. That worked fine for 42nd Street and Footlight Parade, but for Gold Diggers of 1933 the structure is geared to awesome effect. We open with "We're in the Money", a lively slice of irony casually wishing the depression away. "Pettin' in the Park" gives us a little comical boost in the middle of the picture. "Shadow Waltz" is pure Berkely indulgence, lovely to look at but with nothing that will unbalance the end of the picture emotionally. And finally, "Remember My Forgotten Man" drops us right into the realities of the depression. It is a bitter counterpoint to "We're in the Money" and its impact is utterly devastating.
Gold Diggers of 1933 is not only the finest of the Busby Berkely musicals, not only the pinnacle of Warner Brothers' pre-code licentiousness, it is the very heart of depression-era America. "Can't you hear that wailing?" Ned Sparks asks us, as Dick Powell hammers out a rough version of "Forgotten Man". You'll hear it alright.
"Gold Diggers of 1933" is lighter and funnier than "42nd Street," released earlier in the same year and the product of much of the same production team. Though at the same time, the Depression is more constantly present in "Gold Diggers" than it was in "42nd Street," and the film culminates (and ends rather abruptly) with a dark and critical social comment.
Present again are the elaborate and bizarre choreographic creations of Busby Berkeley, designed to showcase lots of female skin. Particularly nonsensical is the "Pettin' in the Park" number that ends (I'm not kidding) with Dick Powell using a can opener on Ruby Keeler. And get a load of those costumes in the "We're in the Money" number; those strategically placed quarters would never have gotten past the censors had this been released post-code. Overall, it's obvious that the filmmakers were still more used to vaudeville than musical comedy, as the film pretty much stops to allow time for some disjointed musical numbers rather than incorporating them into the action.
The aforementioned Powell and Keeler are about as bland as they were in "42nd Street," though Keeler is much more palatable without the saccharine, cavity-inducing personality she was asked to don in the earlier movie. And thank God she isn't given more than a few minutes to dance, since she's got the grace of a truck driver.
The biggest assets to this film are Joan Blondell, spicy and sexy, and Aline MacMahon, who plays the role Rosalind Russell would be playing if she were in this movie. Ginger Rogers, tremendous screen presence aside, has only a couple of scenes and is pretty much wasted again, though she inexplicably gets to sing some bars of "We're in the Money" in Pig Latin and extreme close-up.
A film center in my home city of Chicago is having a Busby Berkeley retrospective, so I've been able to see these two early thirties movies in sequence and note how the art form of musical comedy evolved from one film to the next. "42nd Street" was like musical comedy without the music or the comedy. "Gold Diggers of 1933" adds the comedy, but still struggles with what to do with the music. "Gold Diggers of 1935" is up next, and we'll see what Berkeley and company have learned along the way.
Grade: B
Present again are the elaborate and bizarre choreographic creations of Busby Berkeley, designed to showcase lots of female skin. Particularly nonsensical is the "Pettin' in the Park" number that ends (I'm not kidding) with Dick Powell using a can opener on Ruby Keeler. And get a load of those costumes in the "We're in the Money" number; those strategically placed quarters would never have gotten past the censors had this been released post-code. Overall, it's obvious that the filmmakers were still more used to vaudeville than musical comedy, as the film pretty much stops to allow time for some disjointed musical numbers rather than incorporating them into the action.
The aforementioned Powell and Keeler are about as bland as they were in "42nd Street," though Keeler is much more palatable without the saccharine, cavity-inducing personality she was asked to don in the earlier movie. And thank God she isn't given more than a few minutes to dance, since she's got the grace of a truck driver.
The biggest assets to this film are Joan Blondell, spicy and sexy, and Aline MacMahon, who plays the role Rosalind Russell would be playing if she were in this movie. Ginger Rogers, tremendous screen presence aside, has only a couple of scenes and is pretty much wasted again, though she inexplicably gets to sing some bars of "We're in the Money" in Pig Latin and extreme close-up.
A film center in my home city of Chicago is having a Busby Berkeley retrospective, so I've been able to see these two early thirties movies in sequence and note how the art form of musical comedy evolved from one film to the next. "42nd Street" was like musical comedy without the music or the comedy. "Gold Diggers of 1933" adds the comedy, but still struggles with what to do with the music. "Gold Diggers of 1935" is up next, and we'll see what Berkeley and company have learned along the way.
Grade: B
- evanston_dad
- Jun 12, 2005
- Permalink
The musical Gold Diggers of 1933 was directed by Mervyn Leroy. This black and white film was able to grab the viewers attention without the color. The use of cartoons before the movie also gave this film a uniqueness that helped grab the attention of its viewers.
After this preemie cartoon, the movie consisted of a lot of singing, music, and dancing. The dancers, beautiful girls with long skinny legs, would dance around with silver coins around their private areas, and would have other extravagant costumes. When these dancers find out their manager stopped paying his bills they were left with no job. They were left with no source of income and needed to find another job during this time of depression.
After some time passed there was word that their manager Mr. Hopkins was putting on a new show and needed dancers. He arrived at all the dancers homes and said he didn't have enough money to put the show on but there was a show. This ended in Mr. Hopkins getting money from Brad, who fell in love with one of the dancers named Polly. Trixie, another dancer that is friends with Polly, thought that Mr. Hopkins had stolen the money. Although Trixie thought this she still went on with wanting to do the show because she needed money, as did everyone else.
The movie Gold Diggers of 1933 was an impressive movie. At first seeing that it was black and white made me think that it would be a really old fashioned movie that wouldn't hold my attention. I was proved wrong and enjoyed watching and listening to the singing and dancing. The costumes made things alive and vibrant even though there was no color. I was surprised in the way the movie was made, since it was during the 1930's. I would defiantly recommend this movie to other people learning about Dance in films, or people who enjoy watching old fashioned movies.
After this preemie cartoon, the movie consisted of a lot of singing, music, and dancing. The dancers, beautiful girls with long skinny legs, would dance around with silver coins around their private areas, and would have other extravagant costumes. When these dancers find out their manager stopped paying his bills they were left with no job. They were left with no source of income and needed to find another job during this time of depression.
After some time passed there was word that their manager Mr. Hopkins was putting on a new show and needed dancers. He arrived at all the dancers homes and said he didn't have enough money to put the show on but there was a show. This ended in Mr. Hopkins getting money from Brad, who fell in love with one of the dancers named Polly. Trixie, another dancer that is friends with Polly, thought that Mr. Hopkins had stolen the money. Although Trixie thought this she still went on with wanting to do the show because she needed money, as did everyone else.
The movie Gold Diggers of 1933 was an impressive movie. At first seeing that it was black and white made me think that it would be a really old fashioned movie that wouldn't hold my attention. I was proved wrong and enjoyed watching and listening to the singing and dancing. The costumes made things alive and vibrant even though there was no color. I was surprised in the way the movie was made, since it was during the 1930's. I would defiantly recommend this movie to other people learning about Dance in films, or people who enjoy watching old fashioned movies.
I've heard of this movie for years, but didn't actually see it until last week when Turner Classic Movies ran it. And it is positively stunning!! On the surface, it moves almost like a carbon copy of 42ND STREET- right up to the last-minute switch in players before the curtain goes up (although in this film, it's Dick Powell instead of Ruby Keeler). But its astringent look at trying to play Tin Pan Alley smack in the middle of the Depression gives it a very adult and tragic significance. It still has the Berkley dazzle- from the "Shadow Waltz" chorus girls (and electric violins) to the now-legendary "We're In The Money" dress rehearsal fronted by a pre-Astaire Ginger Rogers. (I was a teenager when my mother mentioned that one verse of this song was actually sung in Pig Latin- and I swore for twenty-five years that she was pulling my chain. It is one of the cleverest vocal interludes I've ever seen and heard.) But the three girls implied in the film's title- Ruby Keeler, Aline McMahon, and especially the sharp, smart, and gorgeous Joan Blondell- are the best things in the movie. And Blondell fronts the sublime finale number "Forgotten Man-" which pays tribute to the men (and women) of WWI and the ironies which followed. The staging of it- the marching which goes from triumphant to tragic, the torchy, gospel-like vocal of Etta Moten (the black woman sitting in the window), and the pullback shot of everyone coming downstage at the fadeout- is truly spectacular.
- movibuf1962
- Oct 30, 2003
- Permalink
This is one of the greatest movie musicals of all time. Some would say the best of them all, including the Fred Astaire/Ginger Rogers and Gene Kelly classics. It is one of the few musicals of the 1930's and 40's that ventured to include social commentary and social criticism with the comedy and music. The "Remember My Forgotten Man" number is one of the best, some would say the best, choreographed song and dance of them all. It is sort of icing on the cake coming as it does near the end of this amazing film. Arthur Penn's "Bonnie and Clyde" would use the "We're in the Money" opening number as a backdrop to emphasize the irony of the outlaws' dilemma, since most persons living in the southwest in 1933 were certainly not "in the money." The only one actually watching the movie is Bonnie. "Gold Diggers" is filled with New Deal aphorisms. I have never read anything about the new President FDR's reaction to "Gold Diggers," but I'm sure it was a positive one, since it helped promote his economic ideas concerning recovery as outlined in the writings of British economist John Maynard Keynes.
There are so many goodies in "Gold Diggers" that it is easy to miss many of them on first viewing. Many throwaway lines are gems. For example, when Barney (Ned Sparks) is hyping his new musical that he will make if he can only get the money together, he beams, "Why, it's the funniest thing you've ever seen." One of the hoofers replies sarcastically, "I don't know, have you ever seen me ride a pony?"
This was the apex of Busby Berkeley's career. He came close a few times but never reached the lofty heights of "We're In The Money," "Pettin' in the Park" and "Remember My Forgotten Man." Tunesmiths Warren and Dubin reached their apogee as well. This is one of those rare animals where everything down to the minutest item jells. It is a winner all the way. Strange that the only true gold digger in the film is Ginger Rogers.
There are so many goodies in "Gold Diggers" that it is easy to miss many of them on first viewing. Many throwaway lines are gems. For example, when Barney (Ned Sparks) is hyping his new musical that he will make if he can only get the money together, he beams, "Why, it's the funniest thing you've ever seen." One of the hoofers replies sarcastically, "I don't know, have you ever seen me ride a pony?"
This was the apex of Busby Berkeley's career. He came close a few times but never reached the lofty heights of "We're In The Money," "Pettin' in the Park" and "Remember My Forgotten Man." Tunesmiths Warren and Dubin reached their apogee as well. This is one of those rare animals where everything down to the minutest item jells. It is a winner all the way. Strange that the only true gold digger in the film is Ginger Rogers.
There is a pattern to 1930's Hollywood musicals; struggle to put on show proceeds alongside struggle for love to conquer all. And in the end both struggles are successfully concluded. It is a pattern that is broken by "Gold Diggers Of 1933". Sure, all of the usual elements are in place, including the Hungry, Penniless Showgirl Depression setting. But where this movie differs is in the fact that after the various plot strands are neatly tied up, it doesn't end. Instead, we are treated to the last big production number,"My Forgotten Man", as downbeat as it was possible to get in 30's Hollywood. All the Busby Berkeley musicals paid lip service to the Great Depression, but this one goes much further, as "My Forgotten Man" was the last, most enduring image of the film, and the one that audiences left the theatre with. It's placement was a brave decision on the part of whoever made it, and it would be interesting to learn of the public reaction at the time. Because while it is undoubtedly true that in an era of deprivation, you can't blithely make movies that are totally divorced from reality, it's equally true that people want to be reassured there is a better life, and they won't be scratching around in the dirt forever. Personally, I love the number, and it's placement. It's something that has fascinated me since my very first viewing 7 years ago, but it seems to be a point that not a lot of critics have picked up on. Perhaps it wasn't so unusual after all!
- marksweeney
- Nov 4, 2000
- Permalink
This wasn't as entertaining as I had hoped it would be, simply because there wasn't enough music in here. It starts off with a bang with "We're In The Money," but then doesn't offer much else - musically - until the end of the story with three Busby Berkeley extravaganzas. One of those was very good (I liked the neon violins!) while the other two didn't do much for me. One had Joan Blondell talking-and-singing and the other was a work-march.
Guy Kibbe and Ned Sparks provide some good humor to the film but I didn't think Aline MacMahon did. She was unappealing and took away from the enjoyment of watching this film.
Overall, it's a very dated but still fun to watch movie. I always enjoy hearing the expressions of the day in these early 1930 films, and also always enjoy those fabulous Berkeley sets.
Guy Kibbe and Ned Sparks provide some good humor to the film but I didn't think Aline MacMahon did. She was unappealing and took away from the enjoyment of watching this film.
Overall, it's a very dated but still fun to watch movie. I always enjoy hearing the expressions of the day in these early 1930 films, and also always enjoy those fabulous Berkeley sets.
- ccthemovieman-1
- Sep 26, 2006
- Permalink
This masterpiece from 1933 is one of the best examples I've seen of early Hollywood exploitation, although by today's standards if you didn't already know it was controversial at the time you probably wouldn't notice. With the introduction of the talkies in the late 1920's, Hollywood seemed unable to control various movies using subtle innuendos, and actresses displaying a bit more skin than they should until the Hays Code came into full force in 1934, which enforced the boundaries as to what was deemed acceptable on screen. Gangsters profited from crime, women displayed their legs, and in the case of Gold Diggers Of 1933, women used their sexuality to conquer men and gain what they wanted.
Set during the Depression, it follows a quartet of stage dancers after their show is stopped due to the creative director failing to pay the bills. Things look on the up when the girls are asked to return for a brand new show, which would tackle the effects of the Depression on the common man and the state of the country. The enthusiastic director Barney (Ned Sparks) overhears the girls' neighbour Brad (Dick Powell) crooning a tune playing his piano, and invites him to play more tunes and eventually write the score for the upcoming musical. Barney also needs a lot of money to fund, something that Brad is happy to pay in case, much to the girls' suspicion.
It comes across as a film with two halves - the first focusing on the development of the musical, the relationship between Brad and dancer Polly (Ruby Keeler), and the confusion surrounding the shady Brad's situation. The second seeing fellow dancers Carol (Joan Blondell) and Trixie's (Aline MacMahon) attempts to squeeze as much cash as possible out of Barney's upper-class brother Lawrence (a brilliant Warren William) and bumbling Peabody (Guy Kibbee). The first is a masterclass of beautiful stage numbers, fantastic songs, and good old-fashioned escapism. The second is where the film hits full stride, providing laugh out loud situations and some verbal comedy that wouldn't look out place today, as the girls flirt with and tease the old men as we cheer them on. It's the kind of thing that Sex And The City wishes it could pull off when it isn't being so materialistic and soulless.
When you think it's over it pulls off one last masterstroke in the highly effective 'Remember My Forgotten Man' musical number, as Joan Blondell sings about how her man fought for her country and now begs for food and resorts to picking up discarded cigarette butts, as bloody soldiers march through the street. It's a beautiful moment and really sums up the era. It offers an insight into the whole Pre-Code Hollywood movement, where people would go to the cinema to escape their everyday struggles to see an actress like Blondell revealing a bit more leg than she should, or a Pre-Code veteran such as Warren William sneer his way through some juicy lines and villainous roles. It gave the general public that little something extra to get excited about.
This is a film that has everything, and if you can track it down I would urge you to see it. It's a fascinating time capsule, and even has a very early role for Ginger Rogers as the flirty Fay. It has also been entered into the National Film Registry for preservation by the Library of Congress. A must-see.
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Set during the Depression, it follows a quartet of stage dancers after their show is stopped due to the creative director failing to pay the bills. Things look on the up when the girls are asked to return for a brand new show, which would tackle the effects of the Depression on the common man and the state of the country. The enthusiastic director Barney (Ned Sparks) overhears the girls' neighbour Brad (Dick Powell) crooning a tune playing his piano, and invites him to play more tunes and eventually write the score for the upcoming musical. Barney also needs a lot of money to fund, something that Brad is happy to pay in case, much to the girls' suspicion.
It comes across as a film with two halves - the first focusing on the development of the musical, the relationship between Brad and dancer Polly (Ruby Keeler), and the confusion surrounding the shady Brad's situation. The second seeing fellow dancers Carol (Joan Blondell) and Trixie's (Aline MacMahon) attempts to squeeze as much cash as possible out of Barney's upper-class brother Lawrence (a brilliant Warren William) and bumbling Peabody (Guy Kibbee). The first is a masterclass of beautiful stage numbers, fantastic songs, and good old-fashioned escapism. The second is where the film hits full stride, providing laugh out loud situations and some verbal comedy that wouldn't look out place today, as the girls flirt with and tease the old men as we cheer them on. It's the kind of thing that Sex And The City wishes it could pull off when it isn't being so materialistic and soulless.
When you think it's over it pulls off one last masterstroke in the highly effective 'Remember My Forgotten Man' musical number, as Joan Blondell sings about how her man fought for her country and now begs for food and resorts to picking up discarded cigarette butts, as bloody soldiers march through the street. It's a beautiful moment and really sums up the era. It offers an insight into the whole Pre-Code Hollywood movement, where people would go to the cinema to escape their everyday struggles to see an actress like Blondell revealing a bit more leg than she should, or a Pre-Code veteran such as Warren William sneer his way through some juicy lines and villainous roles. It gave the general public that little something extra to get excited about.
This is a film that has everything, and if you can track it down I would urge you to see it. It's a fascinating time capsule, and even has a very early role for Ginger Rogers as the flirty Fay. It has also been entered into the National Film Registry for preservation by the Library of Congress. A must-see.
www.the-wrath-of-blog.blogspot.com
- tomgillespie2002
- Feb 12, 2011
- Permalink
I'm really struggling with this movie. Although I liked the cynical depression-era humor and the snarky one-liners (in a film that has Joan Blondell, Ginger Rodgers and I guess Ruby Keeler as the big stars, Aline MacMahon as Trixie absolutely steals the show), the plot was just too silly for me. I get that old money heirs finding Broadway girls too cheap and vulgar probably would be a real thing back then, but I just couldn't get invested in the romantic machinations that make up most of the plot.
But just like in 42nd Street, the plot is not the point. And it has to be said, the musical numbers absolutely save the film, even if they are too far and in between. What Busby Berkeley does with the neon violins in the penultimate number alone is worth the price of admission. And then comes the astonishing 'Forgotten Man' closing number. This song laments how the US government has forgotten its WWI veterans that have come home jobless, penniless and homeless. While it is the stylistic highlight of the film, it just felt like such a peculiar note to end the film on, especially after all the silliness that had come before. I guess it does tie in in with the general theme of how the depression had hit everybody and how omnipresent poverty was.
Another musical interlude is 'Pettin' in the park', which is distinctly pre-code. Although I loved the craziness of the choreography which includes skating police officers, a pervy toddler (played by real life dwarf Billy Barty) and Dick Powell opening up Ruby Keeler's outfit with a can opener, the lyrics felt a bit "date-rapey" ("Pettin' in the park. Bad boy. Pettin' in the dark. Bad girl.... Struggle just a little. Then hug a little").
In the end, I am having troubling rating this film. On one hand it didn't really work for me as a real movie and I was often bored throughout the non-musical parts of it. But on the other hand, the musical numbers were just magical and the choreographies even more elaborate than in 42nd Street. Still, I am putting it firmly below 42nd Street, because the plot was a bit more streamlined and somehow those final 2 numbers are even slightly more iconic to me than the two excellent songs that close out "Gold Diggers" (probably both because 42nd Street was actually the first to introduce such inventive choreographies and because I did see it first).
Next up in my marathon will be Footlight Parade, as I am still looking for a film that can incorporate those wonderful Busby Berkeley numbers into an engaging story, in order to create a truly great piece of cinema.
But just like in 42nd Street, the plot is not the point. And it has to be said, the musical numbers absolutely save the film, even if they are too far and in between. What Busby Berkeley does with the neon violins in the penultimate number alone is worth the price of admission. And then comes the astonishing 'Forgotten Man' closing number. This song laments how the US government has forgotten its WWI veterans that have come home jobless, penniless and homeless. While it is the stylistic highlight of the film, it just felt like such a peculiar note to end the film on, especially after all the silliness that had come before. I guess it does tie in in with the general theme of how the depression had hit everybody and how omnipresent poverty was.
Another musical interlude is 'Pettin' in the park', which is distinctly pre-code. Although I loved the craziness of the choreography which includes skating police officers, a pervy toddler (played by real life dwarf Billy Barty) and Dick Powell opening up Ruby Keeler's outfit with a can opener, the lyrics felt a bit "date-rapey" ("Pettin' in the park. Bad boy. Pettin' in the dark. Bad girl.... Struggle just a little. Then hug a little").
In the end, I am having troubling rating this film. On one hand it didn't really work for me as a real movie and I was often bored throughout the non-musical parts of it. But on the other hand, the musical numbers were just magical and the choreographies even more elaborate than in 42nd Street. Still, I am putting it firmly below 42nd Street, because the plot was a bit more streamlined and somehow those final 2 numbers are even slightly more iconic to me than the two excellent songs that close out "Gold Diggers" (probably both because 42nd Street was actually the first to introduce such inventive choreographies and because I did see it first).
Next up in my marathon will be Footlight Parade, as I am still looking for a film that can incorporate those wonderful Busby Berkeley numbers into an engaging story, in order to create a truly great piece of cinema.
- laurenspierre
- Feb 16, 2023
- Permalink
Chorus girls Carol (Joan Blondell), Pollu (Ruby Keeler) and Trixie (Aline McMahon) all room together but can't find a job. Because of the Depression nobody can afford to put on a musical. However piano player Brad (Dick Powell) can help someone put on a musical and that leads to a big hit show. There's more to the plot than that but who really cares? This movie was done to show some incredibly elaborate Busby Berkley numbers and it DOES give you that!
Right from the slam-bang opening of Ginger Rogers singing "We're in the Money" (with one entire verse in Pig Latin!) this movie never stops. It moves VERY quickly, there's tons of overlapping dialogue and there are plenty of wisecracks and risqué jokes (mostly from McMahon). This is also an odd musical that uses the Depression as a main plot focus--back in 1933 people went to see musicals to FORGET about the Depression! The elaborate Berkley musical numbers are incredible to watch--especially "Pettin in the Park" and the one with all the chorus girls having glow in the dark violins! Also it ends on a downbeat note with the depressing "Remember My Forgotten Man" number. Still this isn't TOO depressing---just very interesting. Easily one of the best musical from the 1930s. Highly recommended.
Right from the slam-bang opening of Ginger Rogers singing "We're in the Money" (with one entire verse in Pig Latin!) this movie never stops. It moves VERY quickly, there's tons of overlapping dialogue and there are plenty of wisecracks and risqué jokes (mostly from McMahon). This is also an odd musical that uses the Depression as a main plot focus--back in 1933 people went to see musicals to FORGET about the Depression! The elaborate Berkley musical numbers are incredible to watch--especially "Pettin in the Park" and the one with all the chorus girls having glow in the dark violins! Also it ends on a downbeat note with the depressing "Remember My Forgotten Man" number. Still this isn't TOO depressing---just very interesting. Easily one of the best musical from the 1930s. Highly recommended.
Good movie that captured the time, but for the life of me I can't understand how Ruby Keeler was ever cast in anything. She can't sing-and I mean REALLY can't sing-and she is the clumsiest dancer I have ever seen. Must have had very good connections.
In "Gold Diggers of 1933", after the cast has been introduced, the first beautiful face you see is that of Ginger Rogers. Pre-Fred (they would be teamed later in the year in "Flying Down To Rio"). And she is a truly radiant beauty with a huge smile. She belts out one of the signature songs of the 1930's, "We're In The Money". At one point of the song she sings an entire chorus of the song in Pig Latin. That's right, Pig Latin. And we're off to the races.
This movie, following the success of "42nd Street" was developed in an obvious attempt to get the audience to forget the harsh times they were living in for 98 minutes and just let go and enjoy themselves. And right from the start that happens. Even 70 years later, we still find ourselves in trying times, and this movie lovingly enables you to forget "life" for a while, and surrender to it's wonderful music and humor.
The cast is first rate. Especially Ned Sparks as the producer, Ginger Rogers as Fay Fortune, Guy Kibbee as "Fanny", and Joan Blondell, who looks very sexy during the finale, "The Forgotten Man".
And the score by Warren and Dubin(who is not credited for some reason) is perfect. "The Forgotten Man"(a "Brother, Can You Spare A Dime" knockoff), "We're In The Money", "Got To Sing A Torch Song", and one of my favorites, "Shadow Waltz".
Yes, it's a musical. Yes, it's fluff. Yes, it's badly dated. Yes, it's a 98 minute cliché. Who cares?! This is a must see for any film enthusiast. Sit back, relax and I dare you to try not to enjoy this film.
8 out of 10
This movie, following the success of "42nd Street" was developed in an obvious attempt to get the audience to forget the harsh times they were living in for 98 minutes and just let go and enjoy themselves. And right from the start that happens. Even 70 years later, we still find ourselves in trying times, and this movie lovingly enables you to forget "life" for a while, and surrender to it's wonderful music and humor.
The cast is first rate. Especially Ned Sparks as the producer, Ginger Rogers as Fay Fortune, Guy Kibbee as "Fanny", and Joan Blondell, who looks very sexy during the finale, "The Forgotten Man".
And the score by Warren and Dubin(who is not credited for some reason) is perfect. "The Forgotten Man"(a "Brother, Can You Spare A Dime" knockoff), "We're In The Money", "Got To Sing A Torch Song", and one of my favorites, "Shadow Waltz".
Yes, it's a musical. Yes, it's fluff. Yes, it's badly dated. Yes, it's a 98 minute cliché. Who cares?! This is a must see for any film enthusiast. Sit back, relax and I dare you to try not to enjoy this film.
8 out of 10
- alfiefamily
- Oct 21, 2004
- Permalink
- grandpagbm
- Nov 2, 2008
- Permalink
- view_and_review
- Nov 22, 2023
- Permalink