5.6/10
9
2 user

Stepping Toes (1938)

The granddaughter of an old showman is kept away from him by his daughter, ashamed of their background. But the girl is phenomenally talented by hereditary, and wins a talent competition, leading to star in a west end show.

Director:

John Baxter

Writers:

Barbara K. Emary (story), Jack Francis (story) | 1 more credit »
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Cast

Cast overview:
Hazel Ascot Hazel Ascot ... Hazel Warrington
Enid Stamp-Taylor ... Mrs. Warrington
Jack Barty Jack Barty ... Joe
Edgar Driver Edgar Driver ... Tich
Ernest Butcher Ernest Butcher ... Stringer
Richard Cooper Richard Cooper ... Kenneth Warrington
Ivan Samson Ivan Samson ... Mr. Warrington
Wilson Coleman Wilson Coleman ... Bob Burnham
John Turnbull ... Representative
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Storyline

The granddaughter of an old showman is kept away from him by his daughter, ashamed of their background. But the girl is phenomenally talented by hereditary, and wins a talent competition, leading to star in a west end show.

Plot Summary | Add Synopsis

Genres:

Musical

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Details

Country:

UK

Language:

English

Release Date:

12 September 1938 (UK) See more »

Also Known As:

Rhythm of My Heart See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Aspect Ratio:

1.37 : 1
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User Reviews

 
Innocuous Vehicle for Prewar British Child Star Hazel Ascot
21 October 2017 | by richardchattenSee all my reviews

Producer-Director John Baxter made pioneering dramas about life among the underclass which he underwrote with glossy escapism like this, which is the usual stuff about a talented young entertainer who rises to the top in the face of parental disapproval. (Including a blackface number that shocks her headmistress for entirely different reasons from why it might offend modern viewers.) The title makes it clear that 'Stepping Toes' was devised as a vehicle for pre-war nine-day wonder Hazel Ascot, an attractive young lass with an engaging smile and nimble gangling legs.

Miss Ascot is not called upon to do much acting, most of the dialogue being handled by the grown-ups, who spend much of the film's running time talking about her during her long stretches offscreen (while she herself was presumably at school).

Ernest Butcher provides welcome relief from the prevailing upbeat tone with his miserable face and growling delivery during some the film's more caustically amusing moments.


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