Aviator and band leader Roger Bond is forever getting his group fired for flirting with the lady guests. When he falls for Brazilian beauty Belinha de Rezende it appears to be for real, ... See full summary »
Dolores del Rio,
Ruby falls in love with small-time con man Eddie. During a botched blackmail scheme, Eddie accidentally kills the man they were setting up. Eddie takes off and Ruby is sent to a reformatory for two years.
Football player John Kent tags along as Huck Haines and the Wabash Indianians travel to an engagement in Paris, only to lose it immediately. John and company visit his aunt, owner of a posh... See full summary »
Dr. Tony Flagg's friend, Steven, has problems in the relationship with his fiancee, Amanda, so he persuades her to visit Dr. Flagg. After some minor misunderstandings, she falls in love ... See full summary »
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>
Perhaps the most eclectic cast in movie history. Here we have Clark Gable and Joan Crawford, Franchot Tone in his man-about-town mode, Fred Astaire playing himself in his movie debut, Nelson Eddy in his second film, Robert Benchley contrasting with Ted Healy and the Three Stooges, (in by far their most prominent role before the TV era) and even a young Eve Arden. Gable spends the film snarling at everybody and demanding that they produce a "modern, up-to-date musical" that's about what's happening now. Somehow this morphs into a finale in which Astaire and Crawford are prancing about in liederhosen, (which has a relevance to 1933 they perhaps didn't anticipate). What it all proves it that MGM, while it had the know-how to make the greatest musicals of all-time in the 1940's and 1950's, just didn't quite "get it" yet in 1933. RKO and Warners were still miles ahead of them.
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