Multi-millionaire Ezra Ounce wants to start a campaign against 'filthy' forms of entertainment, like Broadway-Shows. He comes to his relatives families and makes them members of his ... See full summary »
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,
Mimi Glossop wants a divorce so her Aunt Hortense hires a professional to play the correspondent in apparent infidelity. American dancer Guy Holden meets Mimi while visiting Brightbourne (... See full summary »
A rich railroad tycoon, bored with his marriage (his wife has no time for him -- she's too busy giving parties and sailing on yachts) starts seeing a showgirl. This are going OK until the ... See full summary »
Ronny Bowers, a saxophonist in Benny Goodman's band has won a talent contest an got a ten week contract with a film studio. On his first evening he is supposed to go with the studio's star ... See full summary »
Mary Hale (a singer) and Jimmy Seymour (pianist/composer), are a show biz couple working in The Big Apple in small night clubs hoping to hit it big. One night, Larry Bryant (a Broadway ... See full summary »
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
300 Gorgeous GIRLS Hand-picked from more than 5000 applicants. Each a perfect example of feminine beauty...Add these 300 beauties to the 13 stars, 5 song hits and 4 glittering ensembles and you'll know why we call this picture "THE SHOW of a THOUSAND WONDERS" See more »
As with 42nd Street (1933), this film was shot with two separate units. Mervyn LeRoy's unit, which handled the non-musical parts of the story, worked on a 30-day schedule from February 16 through March 23, 1933. Busby Berkeley oversaw the shooting of the musical numbers between March 6 and April 13. Sol Polito was the cinematographer for both units, with Sidney Hickox filling in for any schedule conflicts. See more »
At 1:18 into film Lawrence (Warren William) is on his bed with an ice pack, Peabody (Guy Kibbee) sitting next to him. Lawrence gets up and undoes the sash of his robe, but in the very next shot the sash is completely tied, as it had been before. See more »
I've heard of this movie for years, but didn't actually see it until last week when Turner Classic Movies ran it. And it is positively stunning!! On the surface, it moves almost like a carbon copy of 42ND STREET- right up to the last-minute switch in players before the curtain goes up (although in this film, it's Dick Powell instead of Ruby Keeler). But its astringent look at trying to play Tin Pan Alley smack in the middle of the Depression gives it a very adult and tragic significance. It still has the Berkley dazzle- from the "Shadow Waltz" chorus girls (and electric violins) to the now-legendary "We're In The Money" dress rehearsal fronted by a pre-Astaire Ginger Rogers. (I was a teenager when my mother mentioned that one verse of this song was actually sung in Pig Latin- and I swore for twenty-five years that she was pulling my chain. It is one of the cleverest vocal interludes I've ever seen and heard.) But the three girls implied in the film's title- Ruby Keeler, Aline McMahon, and especially the sharp, smart, and gorgeous Joan Blondell- are the best things in the movie. And Blondell fronts the sublime finale number "Forgotten Man-" which pays tribute to the men (and women) of WWI and the ironies which followed. The staging of it- the marching which goes from triumphant to tragic, the torchy, gospel-like vocal of Etta Moten (the black woman sitting in the window), and the pullback shot of everyone coming downstage at the fadeout- is truly spectacular.
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