Janie lives to dance and will dance anywhere, even stripping in a burlesque house. Tod Newton, the rich playboy, discovers her there and helps her get a job in a real Broadway musical being directed by Patch. Tod thinks he can get what he wants from Janie, Patch thinks Janie is using her charms rather than talent to get to the top, and Janie thinks Patch is the greatest. Steve, the stage manager, has the Three Stooges helping him manage all the show girls. Fred Astaire and Nelson Eddy make appearances as famous Broadway personalities. Written by
Lisa Grable <firstname.lastname@example.org>
When Franchot Tone reads the program for the play, the cast listed therein includes the real names of all the performers except Joan Crawford, whose character name is listed. Even the chorus girls are listed by their real names. See more »
While chasing Patch, Janie is splashed by mud from a passing car; when she hops out of a cab minutes later, her shoes and stockings are clean. See more »
Clark Gable may have been the right star at the wrong studio - just think what Warner Bros. could have done with him in the Thirties - but he still had enough star quality to overcome even the most dubious casting. Take Dancing Lady, MGM's take on Warners' backstage Busby Berkeley musicals. It's a terrific movie put together with no expense spared, but somehow Gable isn't the first name that springs to mind when you think of a musical director putting on a Broadway revue. But then Joan Crawford isn't the first name you'd think of for a downtown gal going from Burlesque to Broadway and exhibiting the singing ability of Lee Marvin and the dancing skills of a fugitive from a chain gang (there's a difference between dancing and just knowing the steps).
All clichés are present and correct, from Joan replacing an 'untalented' star who can dance her off the screen to the chorus girls with great faces but horrendous voices. Somehow it doesn't matter: it's too much fun and too ridiculous for that, especially in the absurdly overproduced musical finale which would need a theatre the size of Times Square to stage (great lyrics too: "Here in Bavaria/We'll take good care of ya"). Franchot Tone provides the romantic rivalry, Fred Astaire the only discernible dancing ability. Far more enjoyable than it has any right to be.
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