President Franklin Roosevelt appoints a theatrical producer as the new Secretary of Amusement in order to cheer up an American public still suffering through the Depression. The new ...
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Young freewheeling wanderer Jerry Day and his beautiful wife Toni are at odds over their lifestyle. Jerry can't accept responsibility but Toni yearns for a family and a settled life. Then ... See full summary »
Shirley's last film on her 20th Century Fox contract (aged 12). Her parents (Oakie, Greenwood) decide to retire from show biz so she can have a normal life. They are unwelcome in the small ... See full summary »
A poor girl falls for a wealthy young man. He invites her to his gala birthday party, but she doesn't have the right kind of dress to wear, so her family and friends band together to raise money to get her the proper dress.
Golden is a two-bit gambler who has promised wife Virginia he'll quit when he makes $200,000. When he fixes a fight he gets mobster Mossiter mad, then loses his fortune to him. He pawns his... See full summary »
Edwin J. Burke
Kathleen is a 12 year old who lives in a big house with a nanny, a butler, maids, no mother and a father who is working most of the time. She dreams of a family with a mother, father and ... See full summary »
Harold S. Bucquet
Chinese stowaway Mei Li (Miyoshi Umeki) arrives in San Francisco with her father to meet her fiancé, wealthy nightclub owner Sammy Fong (Jack Soo), in an arranged marriage, but the groom ... See full summary »
President Franklin Roosevelt appoints a theatrical producer as the new Secretary of Amusement in order to cheer up an American public still suffering through the Depression. The new secretary soon runs afoul of political lobbyists out to destroy his department. Written by
Daniel Bubbeo <email@example.com>
The dress that Shirley Temple wore during the "Baby, Take a Bow" number (a white organza with red polka-dots and a full skirt that became her trademark) was her own. Her mother, Gertrude Temple, thought that she would feel more comfortable wearing one of her own dresses, rather than one from the costume department. See more »
Now, Miss Monroe...
Oh, yes, step here a minute, will you, please... something I want to show you. There's one phase in this amusement campaign which I think you ought to understand. The zones in...
[overcome by her good looks, he stops]
Ah, of course I'm not.
I said I'm not beautiful.
Young woman, you're talking to Lawrence Cromwell... Lawrence Cromwell, the world's recognized authority on feminine beauty and charm. Do you mean to stand there and ...
[...] See more »
Stand Up And Cheer!
Lyrics and Music by Lew Brown and Harry Akst
Sung by over the end credits
Instrumental over the title sequence and beginning credits
c. 1934 Movietone Music Corportation See more »
The portrayals of African American characters in this movie are, as has been pointed out, stereotypical, but I would like to suggest that where the actors themselves are allowed to show their talents, they transcend the stereotypes in ways even the filmmakers themselves recognized.
Take, for example, the show-stopping finale to "I'm Laughing," performed by Tess Gardella. There are a series of tableaux in this number, of various individuals all representing different marginalized groups: Immigrants, sweatshop workers, laborers of all kinds, all leading up to Tess Gardella herself busting out with the biggest, cheeriest performance of all, surrounded by a rousing, dancing chorus. It was clearly meant to recap the song's theme--if I can laugh, as downtrodden as I am, so can you--and to embody those who persevere and triumph over circumstance. With a swish of her ample hips and a gleam in her eye, Ms. Gardella triumphs.
The standard Stepin Fetchit routine has been analyzed everywhere, but let me just add that in this picture, the actor personifies African American resistance. In 1934 Black men were still not free from the vicious system of racial etiquette known as Jim Crow, and were therefore limited in the number of personae they were allowed to display. The genius of Stepin Fetchit is that he acts out the prescribed social role while frustrating those who prescribe it by withholding his intelligence and personality from the social interaction altogether. He slyly gives white people exactly what they demand,nothing more, forcing them to realize that perhaps that's not what they want after all. The resistance is his and the joke is on them.
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