This is one of the underrated musicals of the 1930s. But it has a lot going for it, most notably the electric performance of one of the greatest entertainers before microphones, Al Jolson. Jolson demonstrates in this film why he could have audiences in the palm of his hand---the power of his voice and the awesome reach of his personality come across on the screen as they must have in a vaudeville house or on the musical comedy stage. Ruby Keeler is also fine as the femme fatale, dancing with great style (though the film could have profited from the talents of a master choreographer like Busby Berkeley!). And Barton MacLane is grand as the heavy. The songs by Harry Warren and Al Dubin are charming and winning, especially such jewels as "She's a Latin From Manhattan," "About a Quarter To Nine," and the title song. In all, a winning little film.
22 Reviews
A Last Ditch Effort
bkoganbing24 April 2006
Taking a look at the screen credits of Ruby Keeler and you'll find that Go Into Your Dance is not only the only film she did with her husband Al Jolson, but after five films, her first away from Dick Powell. She did two more subsequent to Go Into Your Dance with Powell, but after only one more film at Warner Brothers, she only made three more prior to retiring from the screen and settling down as wife and mother. Of course Keeler did make a comeback in the Sixties and I well remember seeing her and Patsy Kelly in that Broadway revival of No No Nanette.
What Go Into Your Dance really was meant to do is try to save the Jolsons marriage which was in free fall by then. Al's egomania didn't make him the easiest person to live with and within a few years Keeler called it quits. For the rest of her life she would never answer one question about life with Jolson.
Warner Brothers did assemble a good cast for them. Al plays an irresponsible, egomaniacal entertainer, no stretch in the casting department. He's walked out on too many a show as his sister Glenda Farrell tells him, no producer will hire him. Never mind says Jolie, he'll produce his own with a new dancer he's discovered, Ruby Keeler.
Producing costs money and that means going to gangster Barton MacLane whose trampy wife wants to resume her show business career. Jolie gets the money and the wife played by Helen Morgan. But his problems are only beginning.
Bobby Connolly did the dance direction and I have to say pinch hit admirably for Busby Berkeley. The big hit song of the film was Jolson singing and Keeler dancing to About a Quarter to Nine. It was nicely staged and worthy of Berkeley in every sense of the word as Berkeley gave Jolson that awful Going' to Heaven on a Mule in Wonder Bar. In this film the chorus of male dancers and Jolson all turn to blackface for a minute. Jolson also does the finale title song in blackface as well.
Unfortunately not only does Jolson do blackface, but in this film, not once, but twice he rubs the head of black actor Fred "Snowflake" Toone for good luck. That particular bit of tastelessness kept Go Into Your Dance off the television screens for decades. I remember seeing it on WOR TV's million dollar movie as a lad in the Fifties, but never again until recently.
The real pity is that we were also deprived of seeing Helen Morgan sing as well. Her alcoholism had gotten pretty bad at this point, but she was one of Broadway brightest stars. She sings The Little Things You Used to Do in her typical poignant fashion. It would have really been great to see her co-star with Jolson in a film, but that was not to be.
Go Into Your Dance is quite a museum piece of a film and if you're not into Jolson, I would urge you to see it for Helen Morgan.
What Go Into Your Dance really was meant to do is try to save the Jolsons marriage which was in free fall by then. Al's egomania didn't make him the easiest person to live with and within a few years Keeler called it quits. For the rest of her life she would never answer one question about life with Jolson.
Warner Brothers did assemble a good cast for them. Al plays an irresponsible, egomaniacal entertainer, no stretch in the casting department. He's walked out on too many a show as his sister Glenda Farrell tells him, no producer will hire him. Never mind says Jolie, he'll produce his own with a new dancer he's discovered, Ruby Keeler.
Producing costs money and that means going to gangster Barton MacLane whose trampy wife wants to resume her show business career. Jolie gets the money and the wife played by Helen Morgan. But his problems are only beginning.
Bobby Connolly did the dance direction and I have to say pinch hit admirably for Busby Berkeley. The big hit song of the film was Jolson singing and Keeler dancing to About a Quarter to Nine. It was nicely staged and worthy of Berkeley in every sense of the word as Berkeley gave Jolson that awful Going' to Heaven on a Mule in Wonder Bar. In this film the chorus of male dancers and Jolson all turn to blackface for a minute. Jolson also does the finale title song in blackface as well.
Unfortunately not only does Jolson do blackface, but in this film, not once, but twice he rubs the head of black actor Fred "Snowflake" Toone for good luck. That particular bit of tastelessness kept Go Into Your Dance off the television screens for decades. I remember seeing it on WOR TV's million dollar movie as a lad in the Fifties, but never again until recently.
The real pity is that we were also deprived of seeing Helen Morgan sing as well. Her alcoholism had gotten pretty bad at this point, but she was one of Broadway brightest stars. She sings The Little Things You Used to Do in her typical poignant fashion. It would have really been great to see her co-star with Jolson in a film, but that was not to be.
Go Into Your Dance is quite a museum piece of a film and if you're not into Jolson, I would urge you to see it for Helen Morgan.
Starring Mr. and Mrs. Jolson....
planktonrules24 August 2016
"He doesn't even know I am alive...he thinks I am a kid or something" (Ruby Keeler in "Go Into Your Dance", who, incidentally married Jolson in real life when she was 18 and he was well into his 40s)
"Go Into Your Dance" is a highly flawed movie and the main character, Al (Al Jolson), is an oddly written guy--and it makes you wonder WHAT the writer was thinking! After all, he plays a successful Broadway star (what a stretch!) who is a jerk. Again and again, when he has a successful show he gets bored and simply walks away...leaving everyone in a lurch. This makes his character a seriously bad person...leaving backers and actors to be ruined simply because he gets bored! Well, by the time this film starts, he's once again disappeared and is down in Mexico having a good time...and he's burned about every possible bridge. So, when he has an idea about putting on a new show, backers are naturally unexcited about it. And this gets me to the HUGE problem with the film...the audience watching this picture also feels the same way---Al is a jerk and you DON'T want to see him succeed. Why would Jolson agree to make this film as it makes him look awful...just as terrible as the guy Ruby Keeler used to say he was like off stage!?
What you get in this film is pretty much what you'd expect otherwise. Jolson sings a lot and there are a lot of production numbers. And, unfortunately, Al gets the break he simply doesn't deserve. But what does he do with it? See the film.
I noticed that I am one of the few reviewers who thought the movie was fatally flawed. Obviously the other viewers could look past Al's nasty history of ditching shows because he got bored. They also apparently could look past Jolson doing a black-face number-- something he was famous for over the course of his career. As for me, the film was a decent time-passer and no more. It did end well and got better as the film progressed. I also noticed that a lot of the actors yelled their lines--particularly Barton MacLane and Ruby Keeler. Oddly, Patsy Kelly didn't!
"Go Into Your Dance" is a highly flawed movie and the main character, Al (Al Jolson), is an oddly written guy--and it makes you wonder WHAT the writer was thinking! After all, he plays a successful Broadway star (what a stretch!) who is a jerk. Again and again, when he has a successful show he gets bored and simply walks away...leaving everyone in a lurch. This makes his character a seriously bad person...leaving backers and actors to be ruined simply because he gets bored! Well, by the time this film starts, he's once again disappeared and is down in Mexico having a good time...and he's burned about every possible bridge. So, when he has an idea about putting on a new show, backers are naturally unexcited about it. And this gets me to the HUGE problem with the film...the audience watching this picture also feels the same way---Al is a jerk and you DON'T want to see him succeed. Why would Jolson agree to make this film as it makes him look awful...just as terrible as the guy Ruby Keeler used to say he was like off stage!?
What you get in this film is pretty much what you'd expect otherwise. Jolson sings a lot and there are a lot of production numbers. And, unfortunately, Al gets the break he simply doesn't deserve. But what does he do with it? See the film.
I noticed that I am one of the few reviewers who thought the movie was fatally flawed. Obviously the other viewers could look past Al's nasty history of ditching shows because he got bored. They also apparently could look past Jolson doing a black-face number-- something he was famous for over the course of his career. As for me, the film was a decent time-passer and no more. It did end well and got better as the film progressed. I also noticed that a lot of the actors yelled their lines--particularly Barton MacLane and Ruby Keeler. Oddly, Patsy Kelly didn't!
Good natured and fun, especially the musical numbers, but the story hurts it
TheLittleSongbird5 November 2016
'Go Into Your Dance' is interesting for seeing husband and wife team Al Jolson and Ruby Keeler together. It is a very watchable film and musical, faring better as a musical than as a drama.
What hurts 'Go Into Your Dance' the most is the story, which is flimsy and contrived, as well as trying to combine backstage musical and gangster drama. The backstage musical stuff has been done so many times before and since, and much better, here it doesn't always have much spark, while the gangster drama stuff doesn't gel with the rest of the film.
Jolson sounds great, but is a little stiff as an actor at times and fails to make his character rootable. Despite being married to Keeler, to me Keeler had a sweeter and more natural chemistry with Dick Powell. Fred Toones is also obnoxious, and the film has a point around the half-way mark where it drags to just before the final production number.
However, 'Go Into Your Dance' is a good-looking film and nicely directed. The songs are very tuneful and at their best great, the highlight being "About a Quarter to Nine" with "She's a Latin in Manhattan" close behind. Surprisingly good are the choreography and dancing, have often been indifferent to Bobby Conolly, but he does a great job here with the final production number being particularly imaginative and energetic.
Keeler is very charming and likable, even if her dancing is not always great. Helen Morgan knocks it out the park with her powerful rendition of "The Little Things You Used to Do", and Patsy Kelly is a lot of fun. There is often a good natured feel to the film as well.
Overall, fun if flawed film. 6/10 Bethany Cox
What hurts 'Go Into Your Dance' the most is the story, which is flimsy and contrived, as well as trying to combine backstage musical and gangster drama. The backstage musical stuff has been done so many times before and since, and much better, here it doesn't always have much spark, while the gangster drama stuff doesn't gel with the rest of the film.
Jolson sounds great, but is a little stiff as an actor at times and fails to make his character rootable. Despite being married to Keeler, to me Keeler had a sweeter and more natural chemistry with Dick Powell. Fred Toones is also obnoxious, and the film has a point around the half-way mark where it drags to just before the final production number.
However, 'Go Into Your Dance' is a good-looking film and nicely directed. The songs are very tuneful and at their best great, the highlight being "About a Quarter to Nine" with "She's a Latin in Manhattan" close behind. Surprisingly good are the choreography and dancing, have often been indifferent to Bobby Conolly, but he does a great job here with the final production number being particularly imaginative and energetic.
Keeler is very charming and likable, even if her dancing is not always great. Helen Morgan knocks it out the park with her powerful rendition of "The Little Things You Used to Do", and Patsy Kelly is a lot of fun. There is often a good natured feel to the film as well.
Overall, fun if flawed film. 6/10 Bethany Cox
Just strut your stuff and they won't ignore you!
mark.waltz26 November 2018
Warning: Spoilers
One of the highlights of the Broadway musical version of the 1933 movie musical classic "42nd Street" is when the character of Maggie breaks into this song to encourage newcomer Peggy Sawyer on how to get a job in a Broadway chorus. It is performed quite differently here, sung as a solo at a key moment near the dramatic conclusion as Ruby Keeler, the original Peggy, is lying injured in her dressing room. "Go Into Your Dance" is a near brilliant musical drama which was the only time that Al Jolson and Keeler (then husband and wife) worked together on film other than a cameo as part of a movie premiere in "Show Girl in Hollywood" (1930), made before Keeler went onto fame as a movie musical hoofer. The story focuses on Jolson, a troubled Broadway star, whose drunken antics have gotten him blacklisted and resorting to breaking into the act in nightclubs in Mexico. In fact, when first seen, he's nearly attacked by a jealous Mexican nightclub owner (Akim Tamiroff) for insulting the star player, but his drunken good humor gets him out of this mess like it has any other. When his big hearted younger sister (Glenda Farrell) finds him, she drags him back to New York, and thanks to Keeler and former hoofer co-star Patsy Kelly, gets a chance for a comeback at a swank nightclub where Keeler works on sobering him up for good.
This is chalk full of musical goodies, whether it be Keeler's cocktail number, Jolson singing along to "About a Quarter to Nine" while Keeler dances, and later another production number, "She's a Latin From Manhattan" and finally the title song. The legendary Helen Morgan seems to be playing a character not unlike herself, singing a "Bill" like torch song ("The Little Things You Used to Do"), playing the mistress of mobster Barton MacLane whom Farrell is suddenly accused of killing, setting the mob onto Jolson. There's more plot than normal here than the typical movie musical, and while the cast and studio would indicate that it was Busby Berkeley who choreographed the musical numbers, it was Warner Brothers' other major dance director (for which he got an Oscar Nomination), Bobby Connelly who took on that responsibility. Jolson gets sole top billing over the title, even though Keeler was already being top billed in her movie musicals opposite Dick Powell, giving an indication to one reason why their marriage was on the rocks. In spite of any personal issues, that doesn't show on screen however, and they are simply dynamite together.
This is chalk full of musical goodies, whether it be Keeler's cocktail number, Jolson singing along to "About a Quarter to Nine" while Keeler dances, and later another production number, "She's a Latin From Manhattan" and finally the title song. The legendary Helen Morgan seems to be playing a character not unlike herself, singing a "Bill" like torch song ("The Little Things You Used to Do"), playing the mistress of mobster Barton MacLane whom Farrell is suddenly accused of killing, setting the mob onto Jolson. There's more plot than normal here than the typical movie musical, and while the cast and studio would indicate that it was Busby Berkeley who choreographed the musical numbers, it was Warner Brothers' other major dance director (for which he got an Oscar Nomination), Bobby Connelly who took on that responsibility. Jolson gets sole top billing over the title, even though Keeler was already being top billed in her movie musicals opposite Dick Powell, giving an indication to one reason why their marriage was on the rocks. In spite of any personal issues, that doesn't show on screen however, and they are simply dynamite together.
Watch it for Jolson
richard-17878 May 2017
This isn't a great movie. The story isn't of any interest.
You do get to see Helen Morgan since one unremarkable song.
And you get to see Ruby Keeler do some unremarkable singing.
But the reason why this movie is worth watching - and it is very definitely worth watching - is that you get to see Al Jolson perform some of his greatest hits, like "At a Quarter to Nine." They give us some idea of the magnetism that made Jolson such a popular performer on Broadway.
So, do your best to wade through most of the movie. But when Jolson's on, stay riveted to your TV. It's worth it.
You do get to see Helen Morgan since one unremarkable song.
And you get to see Ruby Keeler do some unremarkable singing.
But the reason why this movie is worth watching - and it is very definitely worth watching - is that you get to see Al Jolson perform some of his greatest hits, like "At a Quarter to Nine." They give us some idea of the magnetism that made Jolson such a popular performer on Broadway.
So, do your best to wade through most of the movie. But when Jolson's on, stay riveted to your TV. It's worth it.
Over-egged
1930s_Time_Machine5 December 2021
Pretty good film but it lacks the magic of the previous WB musicals. The problem is Al Jolson - he's too Al Jolson! It's difficult to accept him as the character because you keep thinking: that's Al Jolson. His well-honed over-powering persona is too big for this film. In earlier WB musicals we've got girl and boy next door types who aren't the best singers or dancers usually striving for success. In this we've got Ruby Keeler being her usual screen persona - sweet but not too polished with someone who was the Elvis of his day - doesn't quite work. Makes you wonder if this mis-match was reflected in their marriage?
America's favorite singing racist goes south of the border
ArtVandelayImporterExporter27 January 2023
Super-boring crooner Al Jolson is famous for uttering a spoken line in The Jazz Singer, which continues to be mistakenly regarded as the first talkie.
Not content with spending the 20s offending more talented bl3ck performers, Jolson turns his attention to offending Mexicans in this movie.
We see him in a Tijuana nightclub wearing Mexican peasant clothes and singing AyeAye Manyana or something. Cringe.
Film also suffers from having sidekick Patsy Kelly, whose unfunny shouting of lines presages the ''comedy" portion of leftyst mouthpiece Tom Hanks' career.
The set are terribly underlit. The nightclub scenes aren't entertaining. The dames are marginal. And that Jolson smile is p3dophile-level creep-a-palooza. Even the C-rate attempt at a Busby Berkeley number is dull.
Three directors are credited. Maybe they spliced together three terrible Al Jolson movies and called it a day. How was that guy popular?
Not content with spending the 20s offending more talented bl3ck performers, Jolson turns his attention to offending Mexicans in this movie.
We see him in a Tijuana nightclub wearing Mexican peasant clothes and singing AyeAye Manyana or something. Cringe.
Film also suffers from having sidekick Patsy Kelly, whose unfunny shouting of lines presages the ''comedy" portion of leftyst mouthpiece Tom Hanks' career.
The set are terribly underlit. The nightclub scenes aren't entertaining. The dames are marginal. And that Jolson smile is p3dophile-level creep-a-palooza. Even the C-rate attempt at a Busby Berkeley number is dull.
Three directors are credited. Maybe they spliced together three terrible Al Jolson movies and called it a day. How was that guy popular?
He's Back on Broadway
lugonian21 April 2001
***SPOILERS*** ***SPOILERS*** "Go Into Your Dance" (Warner Brothers, 1935), directed by Archie L. Mayo, with choreography by Bobby Connolly, is a flimsy but highly entertaining show-biz musical that became the only film collaboration of the Jolsons, Al and Ruby Keeler. Like most Jolson movies of that period, "Go Into Your Dance" starts off with good comedy and wisecracks, and during its final half hour or so, changes to melodrama. In spite of mood swings, the changes don't hurt the continuity in any way. Jolson appears to be more at ease with his comical one-liners and is much improved here as an actor during the more serious moments. Keeler gets to sing one song but she gets plenty of opportunity to go into her dancing.
Opening title: "BROADWAY: The street of ups and downs, where show business in 1935 was in top speed." Story: Al Howard (Al Jolson), is an irresponsible and egotistic entertainer responsible for his Broadway shows closing by not appearing. Al's sister, Molly (Glenda Farrell) comes to the Actors Equity Association with the assurance that this will be Al's last time that he will ever desert a show, but she is told by the producers that he is through on Broadway. Molly manages to get her old friend, Dorothy Wayne (Ruby Keeler), a dancer, to team up with Al in hope her partnership with him will lead up to his comeback. Dorothy agrees and she and Al become successful for the next several months appearing at Brown's St. Ledger Roof Garden. While Al treats Dorothy like a "kid," and philanders with other women, especially chorus girls, Dorothy, who resents being treated this way, unwittingly falls in love with Al and decides to leave the act. Molly, however, persuades Dorothy to remain and soon arranges to hire Duke Hutchinson (Barton MacLane), an underworld financier, to back Al's new night club engagement, The Casino De Paree, in New York. In the meantime, Al, who considers himself "God's gift to women," becomes entangled with Luana Wells (Helen Morgan), a blues singer who happens to be Duke's wife wanting to also make a comeback on Broadway by appearing at the Casino De Paree. Before opening night, Al is told by Dorothy, after receiving a phone call, that his sister Molly is in jail for murder. Al must decide whether to take the show's $30,000 to bail out Molly, or go on with the show as planned. If he abandons this show, the Duke will have his thugs awaiting for him outside.
Patsy Kelly, not mentioned in the above synopsis, provides true comedy relief in appearing in three separate scenes with Jolson actually unrelated to the plot as if she were added in at the last minute to boost up some comedy. In spite all, it helps the continuity along. Kelly is a laugh riot and not to be missed. Glenda Farrell, featured as Jolson's sister, known best for usually playing a wisecracking and fast-talking gold-digger, gets her chance on film to play a basically straight character. Farrell only has one scene that does involve comedy which takes place on a train where she encounters a British passenger (Arthur Treacher) after accidentally dipping him with ink. She even gets her chance to wear stylish wardrobes and fur coat.
Great tunes by Harry Warren and Al Dubin include: "Cielito Lindo" (written by Elpidio Ramirez and sung in Spanish by Jolson); "A Good Old-Fashioned Cocktail" (sung/danced by Ruby Keeler and chorus); "Mammy, I'll Sing About You" (Jolson); "About a Quarter to Nine," "Swanee River" (by Stephen Foster, sung briefly by Jolson in black-face); "The Little Things You Used to Do" (sung by Helen Morgan); "Casino De Paree," "She's a Latin From Manhattan," "Go Into Your Dance" and a reprise finish to "About a Quarter to Nine" (all sung by Jolson). During a night club sequence earlier in the story, there is an underscoring by a band to the tune, "'Cause My Baby Says It's So," but is never sung in the story. Possibly an intended song for this movie but scrapped before release. That song would finally be heard and fully introduced by Dick Powell in "The Singing Marine" (Warners, 1937).
Also in the cast are Akim Tamiroff, Sharon Lynn, Phil Regan and Gordon Westcott. While Benny Rubin gets screen credit, he has only a tiny bit at The Caliente. I did recognize former silent screen actress, Mary Carr, famous for sentimental mother roles in the twenties, briefly scene as a wardrobe woman.
"Go Into Your Dance," available on DVD and occasional viewing on Turner Classic Movies, is 89 minutes of solid entertainment, highly recommended as it is entertaining. And as Jolson would say whenever being truthful and sincere, "A word of a Howard." (***1/2)
Opening title: "BROADWAY: The street of ups and downs, where show business in 1935 was in top speed." Story: Al Howard (Al Jolson), is an irresponsible and egotistic entertainer responsible for his Broadway shows closing by not appearing. Al's sister, Molly (Glenda Farrell) comes to the Actors Equity Association with the assurance that this will be Al's last time that he will ever desert a show, but she is told by the producers that he is through on Broadway. Molly manages to get her old friend, Dorothy Wayne (Ruby Keeler), a dancer, to team up with Al in hope her partnership with him will lead up to his comeback. Dorothy agrees and she and Al become successful for the next several months appearing at Brown's St. Ledger Roof Garden. While Al treats Dorothy like a "kid," and philanders with other women, especially chorus girls, Dorothy, who resents being treated this way, unwittingly falls in love with Al and decides to leave the act. Molly, however, persuades Dorothy to remain and soon arranges to hire Duke Hutchinson (Barton MacLane), an underworld financier, to back Al's new night club engagement, The Casino De Paree, in New York. In the meantime, Al, who considers himself "God's gift to women," becomes entangled with Luana Wells (Helen Morgan), a blues singer who happens to be Duke's wife wanting to also make a comeback on Broadway by appearing at the Casino De Paree. Before opening night, Al is told by Dorothy, after receiving a phone call, that his sister Molly is in jail for murder. Al must decide whether to take the show's $30,000 to bail out Molly, or go on with the show as planned. If he abandons this show, the Duke will have his thugs awaiting for him outside.
Patsy Kelly, not mentioned in the above synopsis, provides true comedy relief in appearing in three separate scenes with Jolson actually unrelated to the plot as if she were added in at the last minute to boost up some comedy. In spite all, it helps the continuity along. Kelly is a laugh riot and not to be missed. Glenda Farrell, featured as Jolson's sister, known best for usually playing a wisecracking and fast-talking gold-digger, gets her chance on film to play a basically straight character. Farrell only has one scene that does involve comedy which takes place on a train where she encounters a British passenger (Arthur Treacher) after accidentally dipping him with ink. She even gets her chance to wear stylish wardrobes and fur coat.
Great tunes by Harry Warren and Al Dubin include: "Cielito Lindo" (written by Elpidio Ramirez and sung in Spanish by Jolson); "A Good Old-Fashioned Cocktail" (sung/danced by Ruby Keeler and chorus); "Mammy, I'll Sing About You" (Jolson); "About a Quarter to Nine," "Swanee River" (by Stephen Foster, sung briefly by Jolson in black-face); "The Little Things You Used to Do" (sung by Helen Morgan); "Casino De Paree," "She's a Latin From Manhattan," "Go Into Your Dance" and a reprise finish to "About a Quarter to Nine" (all sung by Jolson). During a night club sequence earlier in the story, there is an underscoring by a band to the tune, "'Cause My Baby Says It's So," but is never sung in the story. Possibly an intended song for this movie but scrapped before release. That song would finally be heard and fully introduced by Dick Powell in "The Singing Marine" (Warners, 1937).
Also in the cast are Akim Tamiroff, Sharon Lynn, Phil Regan and Gordon Westcott. While Benny Rubin gets screen credit, he has only a tiny bit at The Caliente. I did recognize former silent screen actress, Mary Carr, famous for sentimental mother roles in the twenties, briefly scene as a wardrobe woman.
"Go Into Your Dance," available on DVD and occasional viewing on Turner Classic Movies, is 89 minutes of solid entertainment, highly recommended as it is entertaining. And as Jolson would say whenever being truthful and sincere, "A word of a Howard." (***1/2)
Jolson at his best; terrific 1930s musical
fisherj16 November 2005
It is often written that Al Jolson was not a great screen actor and there is truth in this, but Jolson was at his best in "Go Into Your Dance." Co-starring with his then-wife Ruby Keeler, also at her best in this film, Jolson introduces songs forever after associated with him ("About a Quarter to Nine," "She's a Latin from Manhattan") and the film is a logical successor to "42nd Street." Bonuses include comedy from Patsy Kelly, who works well with Jolson, and the legendary torch singer Helen Morgan who, unfortunately, only sings one song. The filmmakers missed an opportunity not having Jolson and Morgan perform together. Especially entertaining is the fast-paced, melodramatic conclusion with Jolson on-stage in his characteristic black face reprising "About a Quarter to Nine" and singing the film's title song, "Go Into Your Dance." This film should be more highly regarded as one of the more entertaining musicals of the 1930s.
High Class Entertainment
Maleejandra14 January 2007
Go Into Your Dance is a significant film because it is the only one to star married couple Al Jolson and Ruby Keeler. The two have an odd relationship on the screen which seems to reflect their coupling off-screen. Who would have ever thought that a pompous jazz singer would marry an innocent chorus girl? Though their relationship was wrought with problems and eventually led to divorce, it is one of the big romances of early Hollywood.
Jolson stars as Al Howard, a popular Broadway star who has neglected to show up to his own premieres one too many times; he's sunk. His concerned sister (Glenda Farrell) does all she can to knock some sense into him and revive his career. Teaming him with a chorus dancer (Keeler) seems to do the trick, but he fails to recognize how much his new partner loves him.
Jolson is wonderful as always here. His personality is a bit flamboyant, but he is still able to maintain his status as a romantic lead. His presence seems to have helped Keeler as well; this is her best performance to date. There are times when you might catch yourself believing everything she says and getting wrapped up in her parts of the story. In previous films, it seems all she had to do was be cute and dance, but here, acting kicks in. Farrell is a favorite of mine, a sassy actress with a heart of gold. She peps up every film she's in, and she's beautiful to boot. Also making appearances is Patsy Kelly in a small comic role and Helen Morgan as the girlfriend of a gangster with eyes for Al.
The music is pretty good for such a forgotten film. Keeler is introduced in a simple chorus number called "A Good Old Fashioned Cocktail" that utilizes props and costume changes. Jolson gets to sing about his Mammy, but his standout song is "A Quarter to Nine," an upbeat, catchy song about anticipating a date. Morgan is outstanding singing an understated but powerful "The Little Things You Used to Do." "Latin From Manhattan" is another catchy, carefree song that should be better known. Last, we have the title song, "Go Into Your Dance" which is much more forgettable than the others.
Jolson stars as Al Howard, a popular Broadway star who has neglected to show up to his own premieres one too many times; he's sunk. His concerned sister (Glenda Farrell) does all she can to knock some sense into him and revive his career. Teaming him with a chorus dancer (Keeler) seems to do the trick, but he fails to recognize how much his new partner loves him.
Jolson is wonderful as always here. His personality is a bit flamboyant, but he is still able to maintain his status as a romantic lead. His presence seems to have helped Keeler as well; this is her best performance to date. There are times when you might catch yourself believing everything she says and getting wrapped up in her parts of the story. In previous films, it seems all she had to do was be cute and dance, but here, acting kicks in. Farrell is a favorite of mine, a sassy actress with a heart of gold. She peps up every film she's in, and she's beautiful to boot. Also making appearances is Patsy Kelly in a small comic role and Helen Morgan as the girlfriend of a gangster with eyes for Al.
The music is pretty good for such a forgotten film. Keeler is introduced in a simple chorus number called "A Good Old Fashioned Cocktail" that utilizes props and costume changes. Jolson gets to sing about his Mammy, but his standout song is "A Quarter to Nine," an upbeat, catchy song about anticipating a date. Morgan is outstanding singing an understated but powerful "The Little Things You Used to Do." "Latin From Manhattan" is another catchy, carefree song that should be better known. Last, we have the title song, "Go Into Your Dance" which is much more forgettable than the others.
"Go Into Your Dance"
budweiser9740211 February 2007
"Go Into Your Dance" was a terrific movie in the sense of movie historical value. Jolson and Keeler were not really known as good actors. Jolson and Keeler were at their best as entertainers. Jolson's singing and Keeler's dancing. The greatest part of this film is are the musical numbers. And historically, the fact that it was the only film in which husband and wife Jolson and Keeler ever appeared together. Many of the songs in which Keeler was in were way before my time. Yet I remember them from watching the old Warner Brothers cartoons when I was a kid. It was great finally seeing where they actually came from. I only wish that "Go Into Your Dance" was available on DVD.
It well rates an 8.45
ptb-816 April 2005
Why GO INTO YOUR DANCE is not as well known or appreciated or even screened as often as other Warners musicals of the 30s is a mystery to me because this film works well - with excellent and quite spectacular dance numbers. Four songs in particular "An Old Fashioned Custom" "She's a Latin From Manhattan" "A Quarter To Nine" and "Go Into Your Dance" are as catchy as any in the Berkeley films and the staging of the main nightclub scenes are right up there with what RKO was providing for Astaire and Rogers. This effervescent musical film even survives the clobbering behavior of Al Jolson romping about bellowing and squeezing everyone in between belting out songs. He is so obnoxious! I know he is legend but so leery and abrasive...yecch. Ruby Keeler in her last film is as delicious and normal as ever and looks great in taps on bare wood or in the glamor-puss scenes in full ballroom dress. Not seen on TV here in Oz for over 20 years, I occasionally run the tape (with terrible 80s ads) just to see how it is holding up. GO INTO YOUR DANCE never fails to entertain. I would love a DVD. This film much deserves to be discovered and shown as much as any of the other well loved 30s musicals from any studio.
You ain't heard nothing yet!
SgtSteenbeck10 November 2007
If you're a fan of Jolson's music, then you ain't heard nothing yet! Songs by Jolson include 'Cielito Lindo', 'Mammy, I'll Sing About You', 'About A Quarter To Nine', 'Casino de Paris', 'She's A Latin From Manhattan' and 'Go Into Your Dance'. 'About A Quarter To Nine' is particularly memorable as it slips seamlessly from a bar to a big stage number, with some complicated (for its time) 'optical' effects. Not only do the stars "twinkle and shine", there is definitely a glint in Al's eyes as he contemplates his date later in the evening.
Other songs include the catchy number 'A Good Old Fashioned Cocktail' performed by Ruby Keeler and 'The Little Things You Used To Do', sung by Helen Morgan. Unfortunately, 'A Good Old Fashioned Cocktail' is slightly interrupted as Al Howard chats up a tall good-looking showgirl during the performance.
The film is of particular interest as Jolson shares the screen with his real-life wife Ruby Keeler. For those who have watched The Jolson Story starring Larry Parks, it might come as a surprise to realise that Ruby Keeler was nothing like 'Julie Benson' who Jolson marries in the 'bio-pic'. Of course, the Jolson Story was a great musical in its own right, but should not be viewed as historically accurate.
Despite the good music, the 'blackface' sequences are not comfortable and now belong to a bygone age. It's interesting to consider that in the history of blackface performance, in the UK the BBC continued to run 'The Black and White Minstrel Show' until 1978. Also distinctly uncomfortable is the sequence with Fred 'Snowflake' Toones (as he was known) playing the ever cheerful but obsequious valet. If you look him up on the IMDb website, you'll be amazed at how many films he was in - almost all uncredited.
In the end, this is a fascinating piece of cinema history with some excellent songs and performances. However, I suspect that it's for the reasons given that this film is not often seen these days.
Other songs include the catchy number 'A Good Old Fashioned Cocktail' performed by Ruby Keeler and 'The Little Things You Used To Do', sung by Helen Morgan. Unfortunately, 'A Good Old Fashioned Cocktail' is slightly interrupted as Al Howard chats up a tall good-looking showgirl during the performance.
The film is of particular interest as Jolson shares the screen with his real-life wife Ruby Keeler. For those who have watched The Jolson Story starring Larry Parks, it might come as a surprise to realise that Ruby Keeler was nothing like 'Julie Benson' who Jolson marries in the 'bio-pic'. Of course, the Jolson Story was a great musical in its own right, but should not be viewed as historically accurate.
Despite the good music, the 'blackface' sequences are not comfortable and now belong to a bygone age. It's interesting to consider that in the history of blackface performance, in the UK the BBC continued to run 'The Black and White Minstrel Show' until 1978. Also distinctly uncomfortable is the sequence with Fred 'Snowflake' Toones (as he was known) playing the ever cheerful but obsequious valet. If you look him up on the IMDb website, you'll be amazed at how many films he was in - almost all uncredited.
In the end, this is a fascinating piece of cinema history with some excellent songs and performances. However, I suspect that it's for the reasons given that this film is not often seen these days.
One of Jolson's best
sryder@judson-il.edu24 March 2004
I watched this last evening. Honestly, I believe that other reviewers are overrating this one, as compared with some of the great Warners backstage musicals; however, it is a pleasant hour-plus entertainment; and Jolson gives one of his few (somewhat)underplayed performances. (This probably ranks after Hallelujah, I'm a Bum; though his supporting roles In Swanee River and Rose of Washington Square show him off to good advantage, largely because he doesn't dominate the film.) As noted by others, it's a typical Jolson plot, less maudlin than most others, except at the close when Ruby Keeler does a near-death scene. (Well, at least she was a first-rate tap dancer.) I couldn't help noticing that in this film, Jolson's character is called "the world's greatest entertainer". Ruby Keeler, his wife for seven or eight years, is said to have remarked: "I know he was the world's greatest entertainer; he told me so every day." Incidentally, in my film history course, I always included the Jolson night club number from The Jazz Singer. Even the younger generation was impressed by the way his dynamic personality almost jumps off the screen; perhaps that was the screen appearance that showed him off to best advantage at the peak of his Broadway career.
Al Jolson sings.... and Patsy Kelly.
ksf-218 November 2018
Patsy Kelly is the best part of this, with her gung-ho, rough and ready humor. She was a big hit in the 1930s. Al Jolson is a washed up performer Al Howard, who keeps running off and deserting the show. That ticked off the rest of the "cast", producers, landlords who couldn't depend on him. This is from 1935, so the production and sound quality are SO much improved from the earlier Jolson films. He only acted in twenty films, and it was always about his career in show biz and vaudeville bits. Some really good songs in here. His singing and timing was impeccable. Some big name co-stars... Ruby Keeler, Glenda Farrell, Barton MacLane. (Farrell and MacLane made the "Torchy Blane" films together.) This one has a really smooth storyline where several sub plots are woven together. Yup, there's black face in this one, but that WAS a part of the history of showbiz. respectful, for the times. We've come a long way over the years, good thing. This is Great stuff. a chunk of history, and well done.
Must-see musical!
JohnHowardReid26 October 2017
Warning: Spoilers
Director: ARCHIE L. MAYO. Screenplay: Earle Baldwin. Based on the 1934 novel of the same name by Bradford Ropes. Photography: Tony Gaudio. Film editor: Hugh McLernan. Art director: John Hughes. Costumes: Orry-Kelly. Associate producer: Sam Bischoff. Songs, all music by Harry Warren, lyrics by Al Dubin: "About a Quarter to Nine" (Jolson and male chorus, Keeler dancing, reprized Jolson), "A Latin from Manhattan" (Jolson, Porcasi, danced by Keeler), "Go Into Your Dance" (Jolson), "The Casino De Paree" (Jolson), "A Good Old-Fashioned Cocktail" (Keeler and female chorus), "The Little Things You Used to Do" (Morgan), "Mammy, I'll Sing About You" (Jolson). Dances staged by Bobby Connolly. Music orchestrated by Ray Heindorf, directed by Leo F. Forbstein. Additional songs: "Cielito Lindo" (Jolson and chorus) by Neil Wilson, Carlo Fernandez, Sebastian Yradier, "Swanee River" (Jolson) by Stephen Foster.
Copyright 5 June 1935 by First National Pictures, Inc. Presented by Warner Bros. Pictures, Inc. New York opening at the Capitol: 3 May 1935. 10 reels. 92 minutes. U.K. release title: CASINO DE PAREE.
SYNOPSIS: Singer opens a New York nightclub with the backing of a Chicago gangster.
NOTES: Michael Curtiz took over the direction for one week. Bobby Connolly was nominated for an Academy Award for Dance Direction for his "A Latin from Manhattan" number (as well as the "Playboy from Paree" from Broadway Hostess), but lost to Dave Gould.
COMMENT: Actually, much as I love "A Latin from Manhattan", I like "About a Quarter to Nine" even more. Jolson is terrific, both off- stage and on. So is Miss Keeler, who dances up a storm. Helen Morgan has a typical ballad too. And there's a great support cast led by admirably fast-talking Glenda Farrell.
Director Archie Mayo moves the wise-cracking script along at a wonderfully snappy pace, taking time out only for a couple of dull comedy routines with Patsy Kelly. And it all comes to a literally show-stopping climax in which Helen Morgan (here cast in an unsympathetic role) finally shows her consummately treacherous hand.
In short, a dazzlingly produced Warner musical spectacular, with lavishly elaborate production numbers, doubly enthusiastic players and impeccably professional technical credits.
Copyright 5 June 1935 by First National Pictures, Inc. Presented by Warner Bros. Pictures, Inc. New York opening at the Capitol: 3 May 1935. 10 reels. 92 minutes. U.K. release title: CASINO DE PAREE.
SYNOPSIS: Singer opens a New York nightclub with the backing of a Chicago gangster.
NOTES: Michael Curtiz took over the direction for one week. Bobby Connolly was nominated for an Academy Award for Dance Direction for his "A Latin from Manhattan" number (as well as the "Playboy from Paree" from Broadway Hostess), but lost to Dave Gould.
COMMENT: Actually, much as I love "A Latin from Manhattan", I like "About a Quarter to Nine" even more. Jolson is terrific, both off- stage and on. So is Miss Keeler, who dances up a storm. Helen Morgan has a typical ballad too. And there's a great support cast led by admirably fast-talking Glenda Farrell.
Director Archie Mayo moves the wise-cracking script along at a wonderfully snappy pace, taking time out only for a couple of dull comedy routines with Patsy Kelly. And it all comes to a literally show-stopping climax in which Helen Morgan (here cast in an unsympathetic role) finally shows her consummately treacherous hand.
In short, a dazzlingly produced Warner musical spectacular, with lavishly elaborate production numbers, doubly enthusiastic players and impeccably professional technical credits.
corny and classic
beauzee6 November 2014
by '35, the public was getting weary of the *movie* Jolson..but strangely, he gave 'em one more...and one of his best. his acting improved greatly, which in itself is a reason to watch this over and over again, esp. if you are a fan.
he finally united with his wife Ruby Keeler, at the time, somewhat more popular than Al, as she made one successful film after the other. if they were less than "united" at home, it does not seem likely watching them on screen. the fireworks are all around, and whatever real affection they had, perhaps needed this medium to bring it out. they do a monster production number on A QUARTER TO NINE and the biggest naysayers will crack a smile.
another wonderful song, done in the "old" style is MAMMY, I"LL SING ABOUT YOU. would have been great for his '27 film debut and 8 years later it still works. Jolie drops to his knee and outstretches his arms on the ending, and it's magic.
a reality check, though, shows us that this kind of vehicle was on its' way out and for good reason: the "blackface" theatrics were not at all escusable on any level. the minstrel world was nearly over, as African Americans were slowly getting into position to get the spotlight they were systematically denied, before. (not that all Black singers had to reflect the old South).
he finally united with his wife Ruby Keeler, at the time, somewhat more popular than Al, as she made one successful film after the other. if they were less than "united" at home, it does not seem likely watching them on screen. the fireworks are all around, and whatever real affection they had, perhaps needed this medium to bring it out. they do a monster production number on A QUARTER TO NINE and the biggest naysayers will crack a smile.
another wonderful song, done in the "old" style is MAMMY, I"LL SING ABOUT YOU. would have been great for his '27 film debut and 8 years later it still works. Jolie drops to his knee and outstretches his arms on the ending, and it's magic.
a reality check, though, shows us that this kind of vehicle was on its' way out and for good reason: the "blackface" theatrics were not at all escusable on any level. the minstrel world was nearly over, as African Americans were slowly getting into position to get the spotlight they were systematically denied, before. (not that all Black singers had to reflect the old South).
***
edwagreen29 August 2016
Warning: Spoilers
Let's face it, Al Jolson was no actor in this film. Nonetheless, he belts out Quarter to Nine, the title song and Mammy as if he owned those songs.
The story line is wonderful where Al plays Al Howard, an unreliable Broadway luminary who is eventually blacklisted by the Broadway producers due to his running out on them.
Backed up by a wonderful sister, Glenda Farrell, whose grit is the picture, she plots to get Howard back on the Great White Way.
Patsy Kelly provides comedy relief as Toledo, and Ruby Keeler shines as Al's new partner in his quest.
The story takes on Damon Runyon theme with high society mingling with gangsters.
While the ending certainly made sense, I wish the picture could have gone on. Again, special kudos to Miss Glenda Farrell.
The story line is wonderful where Al plays Al Howard, an unreliable Broadway luminary who is eventually blacklisted by the Broadway producers due to his running out on them.
Backed up by a wonderful sister, Glenda Farrell, whose grit is the picture, she plots to get Howard back on the Great White Way.
Patsy Kelly provides comedy relief as Toledo, and Ruby Keeler shines as Al's new partner in his quest.
The story takes on Damon Runyon theme with high society mingling with gangsters.
While the ending certainly made sense, I wish the picture could have gone on. Again, special kudos to Miss Glenda Farrell.
Wait for the songs
GManfred9 March 2011
Taken as a whole, "Go Into Your Dance" is good entertainment. As a musical it is even better but as drama it falls short. Al Jolson is recognized as the greatest entertainer ever and his talent is clearly in evidence when he takes the stage. In these instances he is dynamic and comes alive, whereas when acting talent must take over he is limited and mechanical. His wife, Ruby Keeler, is similarly afflicted and is much better when dancing (acting expertise does not run in this family).
There are several good songs, especially "A Quarter To Nine", and you have an opportunity to see tragic singer Helen Morgan sing, although she has only one song. Patsy Kelly is on hand for some comic relief and she and Jolson work well off each other. The story is unremarkable, about unreliable Jolson trying to get a backer for a new show, but this picture has some valid historical value; Jolson was known for performing in blackface, a throwback to vaudeville and to minstrel shows before that, and does so here as well as some embarrassing interaction with Fred Toones, his black valet. And I wonder how long it has been since evening dress was de rigeur in public, although everyone looks great in evening gowns and tuxedos - they did it a lot in Astaire-Rogers films also.
"Go Into Your Dance" is worth a look as a museum piece and to see 'Jolie' in his element, as well as some good music from the team of Dubin and Warren, the kind no one writes anymore.
There are several good songs, especially "A Quarter To Nine", and you have an opportunity to see tragic singer Helen Morgan sing, although she has only one song. Patsy Kelly is on hand for some comic relief and she and Jolson work well off each other. The story is unremarkable, about unreliable Jolson trying to get a backer for a new show, but this picture has some valid historical value; Jolson was known for performing in blackface, a throwback to vaudeville and to minstrel shows before that, and does so here as well as some embarrassing interaction with Fred Toones, his black valet. And I wonder how long it has been since evening dress was de rigeur in public, although everyone looks great in evening gowns and tuxedos - they did it a lot in Astaire-Rogers films also.
"Go Into Your Dance" is worth a look as a museum piece and to see 'Jolie' in his element, as well as some good music from the team of Dubin and Warren, the kind no one writes anymore.
Jolson at this best
MikeMagi22 August 2016
A relatively little-known Al Jolson vehicle, happily brought back by TCM, that's a pleasure to watch. Here, Jolson plays a Broadway star with a king-size ego who has alienated so many producers that he can't land even a bit part. So he decides to produce his own show, co-starred with a tap-dancing gamin played by Ruby Keeler. This is the only time the couple appeared on screen together and the chemistry works. Ms. Keeler wasn't that pretty and her dancing sometimes resembled an attempt to stamp out cockroaches but her spunky appeal shines through. The production numbers, particularly "A Quarter to Nine," are first-rate and the plot contrivances -- including a rub-out attempt by a ticked-off mobster -- don't detract from what the movie is really about. Watching Jolson sail through a half-dozen songs with his energetic verve, sidestepping a plot that never gets in the way.
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