| Tue. July 28 | 6:45 AM | TCM |
| Arthur Lake | ... | Harold Astor | |
| Betty Compson | ... | Nita French | |
| Joe E. Brown | ... | Joe Beaton | |
| Sally O'Neil | ... | Kitty (as Sally O'Neill) | |
| William Bakewell | ... | Jimmy | |
| Louise Fazenda | ... | Sarah Fogarty | |
| Sam Hardy | ... | Jerry | |
| Harry Gribbon | ... | Joe | |
| Lee Moran | ... | Pete, the Stage Manager | |
| Wheeler Oakman | ... | Bob Wallace | |
| Marion Fairbanks | ... | Dorsey Twin (as The Fairbanks Twins) | |
| Madeline Fairbanks | ... | Dorsey Twin (as The Fairbanks Twins) | |
| Purnell Pratt | ... | Sam Bloom (as Purnell B. Pratt) | |
| Thomas Jefferson | ... | Dad | |
| Ethel Waters | ... | Ethel Walters | |
| Otto Hoffman | ... | Bert | |
| Harry Fink | ... | Father in Show (as Henry Fink) | |
| Josephine Huston | ... | Harold's Fiancee in Show | |
| rest of cast listed alphabetically: | |||
| Angelus Babe | ... | Herself (uncredited) | |
| Mildred Carroll | ... | Singer (uncredited) | |
| Anita Garvin | ... | Chorine (uncredited) | |
| John William Sublett | ... | Dancer, Birmingham Bertha Number (uncredited) | |
| Marguerite Warner | ... | (uncredited) | |
Directed by | |||
| Alan Crosland | |||
Writing credits(in alphabetical order) | ||
| Robert Lord | writer | |
| Humphrey Pearson | play "Shoestring" | |
Produced by | |||
| Darryl F. Zanuck | .... | producer | |
Original Music by | |||
| Cecil Copping | (uncredited) | ||
Cinematography by | |||
| Tony Gaudio | |||
Film Editing by | |||
| Jack Killifer | |||
Sound Department | |||
| Harvey Cunningham | .... | sound engineer | |
Music Department | |||
| Louis Silvers | .... | musical director | |
Other crew | |||
| Larry Ceballos | .... | choreographer | |
| Lewis Geib | .... | technician | |
| F.N. Murphy | .... | technician | |
| Max Parker | .... | technician | |
| Victor Vance | .... | technician | |
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| Full cast and crew | Company credits | IMDb Musical section |
| IMDb USA section | Add this title to MyMovies |
OK, so it's the old story about what goes on backstage in the production of a Broadway musical----even to the cliché of the star getting sick and the understudy taking her place and becoming a big star. Many critics see this as the inspiration for 42nd STREET, but this film has the period charm that only the transitional talkie musicals could have. Part of it is quite stagebound-----including musical numbers as you probably would have seen them on the Broadway stage in the 1920's, so if you don't care for very early musicals, you'd better pass on this one.
This was the film that introduced the song "Am I Blue" sung by a very young Ethel Waters, and followed by the even better "Birmingham Bertha" with black dancer John Bubbles. You should be warned that there are black dancers in the cast who wear some outrageous politically incorrect costumes---including one number where their costumes have watermelon stripes on them! And seeing Joe E. Brown as a mean comedian who constantly argues with Arthur Lake (better known as Dagwood Bumstead in the BLONDIE Series) will be something of a revelation to his fans. The film was made in the early two-strip Technicolor process, which unfortunately has yet to be found, but is still quite enjoyable in B & W. Remember, although this is a very charming transitional talkie musical, modern audiences will only see it as a horribly dated antique.