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Gold Diggers of 1933 (1933)

Unrated | | Comedy, Drama, Musical | 27 May 1933 (USA)
A wealthy composer rescues unemployed Broadway performers with a new play.

Director:

Writers:

(screenplay) (as Erwin Gelsey), (screenplay) | 3 more credits »
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Nominated for 1 Oscar. Another 1 win. See more awards »
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Cast

Complete credited cast:
...
J. Lawrence Bradford
...
Carol King
...
Trixie Lorraine
...
Polly Parker
...
Brad Roberts
...
Faneul H. Peabody
...
Barney Hopkins
...
Fay Fortune
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Storyline

Chorus girls Polly, Carol and Trixie are ecstatic when they learn that Broadway producer Barney Hopkins is putting on a new show. He promises all of the girls parts in the new show and even hires their neighbor Brad Roberts, an unknown composer, to write some of the music. There's only one problem: he doesn't have the money to bankroll it all. That problem is solved when Brad turns out to be quite rich but he insists that he not perform. When opening night comes, the juvenile lead can't go on forcing Brad to take the stage. He's recognized of course and his upper crust family wants him to quit. When he refuses, they tell him to end his relationship with Polly or face having his income cut off. When Brad's snobbish brother Lawrence mistakes Carol for Polly, the girls decide to have a bit of fun and teach him a lesson. Written by garykmcd

Plot Summary | Add Synopsis

Taglines:

13 BIG STARS - 5 NEW SONG HITS by Harry Warren and Al Dubin See more »

Genres:

Comedy | Drama | Musical

Certificate:

Unrated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

27 May 1933 (USA)  »

Also Known As:

Golddiggers of 1933  »

Box Office

Budget:

$433,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

(Turner library print)

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider. See more »

Goofs

When Brad plays piano for Mr. Hopkins, his fingers don't match the sound of the piano. See more »

Quotes

J. Lawrence Bradford: I'll ask you to return my check, please.
Carol King: Your check, huh that's on exhibition over there on the wall. I figured you'd stop payment on it.
J. Lawrence Bradford: I'll take the necessary steps...
Carol King: You'll do what? Listen, you made a sap out of yourself and you tried your best to make a sap out of me. Now I never want to see you again, understand? And as for your check, well, you don't think I hold myself as cheaply as all that do you?
J. Lawrence Bradford: Cheaply? Ten thousand dollars?
Carol King: Well that's your estimate of me, not mine. That check is...
See more »

Connections

Followed by Gold Diggers in Paris (1938) See more »

Soundtracks

Shadow Waltz
(1933) (uncredited)
Music by Harry Warren
Lyrics by Al Dubin
Sung by Dick Powell, Ruby Keeler and chorus
Reprised also in the show
See more »

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User Reviews

"A Woman's Got To Have A Man"
24 December 1999 | by (London, England) – See all my reviews

Made in the year when the global economic crash hit rock bottom, and the first signs of recovery began to appear, 'Gold Diggers' is very much a product of the Depression. Bread lines and penury are all around, but there is a jaunty air of optimism, too: "the long-lost dollar has come back to the fold".

Polly, Trixie and Carol are three vivacious and attractive showgirls who room together and scrape a precarious living by getting hired for each new Broadway musical as it crops up, and riding their luck until it closes - which is often before it even opens. On the fringe of their group hovers Fay, the smart blonde with the waspish tongue (Ginger Rogers).

The girls are 'gold diggers' in that they waste no opportunity to batten onto rich men. It is hinted during the course of the film that showgirls inhabit a shadowy region on the borders of prostitution, and the harsh economic realities of 1933 force the girls to regard their good looks as a marketable commodity.

A kind of innocent carnality runs through the film. Our three heroines actually sleep together. Fay thinks nothing of changing clothes with Carol, and she gets her backside slapped several times - by both men AND women. Trixie bathes with the door wide open, while Carol preens herself in the scantiest of negligees. The girls contrive to embarrass a rich snob by having him wake up undressed in Carol's bed. The script is loaded with playful smuttiness - taking 'Back Bay codfish' for a ride, making bedroom eyes and so forth.

It is in the show numbers, however, that the real naughtiness is on display. Busby Berkeley had had a phenomenal impact earlier in the year with his staged routines for "42nd Street", and a similar (but more risque) format is used here. Girls strip naked in silhouette, Ginger sings and dances all but nude for "We're In The Money", and metal chastity bodices are breached using can openers.

Ruby Murray and Dick Powell once again team up as the ingenue lovers, this time playing Brad and Polly - "a knockout for the mush interest". Murray is all coy charm and Powell's tenor voice is magnificent. Ginger is, as always, a beautiful and intelligent performer. Watch her pull off the gibberish verses in 'Money', and breezing through the comic dialogue in the apartment scene. Joan Blondell as Carol is simply adorable. Her sad face during the trick played on Lawrence is enough to tell us that she is falling in love. Her performance as The Spirit Of The Depression in "My Forgotten Man" is one of the great images in cinema history.

Warren and Dubin wrote the songs - and what songs! There are amusing, playful numbers like "Pettin' In The Park", with Berkeley choreography to match, and "We're In The Money" is deservedly famous. "In The Shadows" is a lovely ballad, with a set of geodesic walkways and electrically-illuminated violins. The spine-tingling climax is the anthemic "My Forgotten Man".

"Pettin' In The Park" was originally intended to be the closing number (hence Polly in her park outfit during the final reel), but the running-order was changed. A reprise of "Pettin'" as aural wallpaper in the restaurant scene is an understated gem, with a lovely arrangement featuring muted cornets. In a nice little in-joke, the producer likes Brad's songs so much, he decides to fire Warren and Dubin. By the way - who is the girl who sits silently in the armchair throughout that long scene?

The conception for "My Forgotten Man" was "men marching, marching, marching!" A sweeping epic is told in song and action as we see breadlines, tenements, Great War doughboys and much, much more - all in one song! Joan Blondell deters the heartless cop by pulling back the bum's lapel in a vignette of great emotional power. The musical styles range through torch song, jazz, blues and more. Listen out for the trumpet's counter melody as Joan speaks the verses, the negress on the window sill with the divine alto voice, the clarinet and sax obbligato after each sung line, and the gospel-style descant. "Gee, don't it get ya?"


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