Nora Moran, a young woman with a difficult and tragic past, is sentenced to die for a murder that she did not commit. She could easily reveal the truth and save her own life, if only it ... See full summary »
A nightclub singer marries the rich owner of a rubber plantation. When she returns with him to his estate in Malaysia, she finds out that he is cruel, vicious and insanely jealous. She and ... See full summary »
Fingers is planning a half-million-dollar bank robbery in gang boss Cobra Collins' territory. Fingers' moll Connie tries to bluff Cobra into thinking the hit won't be for another week when the call comes through saying it's now.
This ghastly Universal musical released in August 1933 is their answer to Warner's Busby Berkeley blockbusters. Consider this release pattern; from WB: Jan '33 42nd St; May 33 Gold Diggers '33; in August comes this: Universal's copy: MOONLIGHT AND PRETZELS then Sept 33 WB's FOOTLIGHT PARADE. In M&P dance director Bobby Connolly has slavishly and clumsily copied two of the best Busby Berkeley numbers from Gold diggers of 33: their "Pettin In The Park" becomes "Get Up And Go To Work" here, and their "Remember My Forgotten Man" becomes here "Dusty Shoes". In the midst of all this is basically unattractive actors with bad teeth staring and smiling at each other in between muttering 'Gee that's swell'. Dim small town gal Sally loves rubber faced songplugger George who makes good on Broadway. Boring cross eyed Sally goes to NY and gets into his show in an attempt to make him come home and drone with her in dusty-ville. However, sassy Elsie played by terrific Lillian Miles who looks a lot like Alice Faye or Ginger Rogers sings up a storm and assists getting the lame show refinanced by Leo Carillo, the Spanish actor who here plays a Greek and a-talks-a-lika-dat. Stomping dance numbers with unrehearsed chorines in out of step routines and yelling lyrics are the topper to this mash of songs romance and 1933 drama. I was so perplexed by the title and what relevance it had to do with anything or anyone or any part of any show ever, except the bit where for no reason they dressed up in Tyrolean alpine outfits and yelled Moonlight And Pretzels ! at each other while swilling beer and munching on hot dogs. It is all so awful as to be mesmerizing. In fact so compelling I forgot what it was about and simply stared in disbelief. At one stage Elsie and George sit under a paper moon and identify it so but do not sing "it's only a paper moon" like they are about to but don't. All you can focus upon is how terrible their teeth are. They don not seem to be clean or fit in their mouths. Somehow Sally has a bent head. She is supposed to be the Ruby Keeler gal but here looks like Ruby after a stroke instead. Her eyes do not close at the same time. George is supposed to look like Dick Powell but actually could be mistaken for George Formby... or worse, Kenny Baker in fat-face makeup. . MOONLIGHT AND PRETZELS is a depression era knockoff of Warner snazziness and here looks like a budget suburban musical society version of 42nd St. The song where the husband and wife get up to go to work has a mad interlude where chorus girls on a satin bed-clock attempt some BB kaleidoscope.... in another number filmed in front of a curtain (!) 25 out of step chorines simply wave their arms about as they march back and forth and get mangled in some half figure-eight. It is so nutty as to be with 100 grimaces by the 99 minute mark. I of course loved it. Oh, and there's even dashounds. On leashes.
1 of 8 people found this review helpful.
Was this review helpful to you?