...from Warner Brothers/First National, director Lloyd Bacon, and dance choreographer/director Busby Berkeley. A group of showgirls, including Norma (Joan Blondell) and Genevieve (Glenda Farrell), grow tired of struggling with poverty, so they set out to change their circumstances. Norma meets insurance salesman Rosmer Peak (Dick Powell), and he gets her a job at his firm. Genevieve falls in with shady theatrical bookkeeper Morty (Osgood Perkins) who's trying to get out from under the debt of theater owner J.J. Hobart (Victor Moore), and who concocts a plan that brings them into contact with Rosmer and Norma.
The musical format had started to change in cinema by this point. Whereas previous films had largely kept musical numbers confined to the stage on which they were ostensibly being shown to the "audience" within the film's narrative, now more and more songs were being performed out "in the world", with characters breaking out into song while walking down the street or sitting in a park. Berkeley's only major number comes at the very end, an elaborate fantasia that is supposedly being viewed by a theater audience but actual defies all physics of reality. It's interesting to look at, but isn't terribly inspired. Dixon, who I'm unfamiliar with, gets a couple of tap-dancing showcases, including one on a giant rocking chair seat. I enjoyed Moore, and I always welcome Blondell and Farrell, but the movie is only passable. Berkeley earned an Oscar nomination for Best Dance Direction. Look out for Carole Landis and Jane Wyman among the chorus girls.
The musical format had started to change in cinema by this point. Whereas previous films had largely kept musical numbers confined to the stage on which they were ostensibly being shown to the "audience" within the film's narrative, now more and more songs were being performed out "in the world", with characters breaking out into song while walking down the street or sitting in a park. Berkeley's only major number comes at the very end, an elaborate fantasia that is supposedly being viewed by a theater audience but actual defies all physics of reality. It's interesting to look at, but isn't terribly inspired. Dixon, who I'm unfamiliar with, gets a couple of tap-dancing showcases, including one on a giant rocking chair seat. I enjoyed Moore, and I always welcome Blondell and Farrell, but the movie is only passable. Berkeley earned an Oscar nomination for Best Dance Direction. Look out for Carole Landis and Jane Wyman among the chorus girls.