(1933, Lloyd Bacon) Busbyberkeleython: Jimmy Cagney’s high-steppin’ search through the opium dens for “Shanghai Lil” Ruby Keeler, aquatic ballet “By a Waterfall,” and a stop at the hot and horny Honeymoon Hotel. All the Berkeley sequences demonstrate this unique auteur’s astonishing powers to transform straightforward performative set-ups into abstract micro-worlds of consistently evolving experimental art, shooting and virtually editing in one camera with almost Hitchcockian foresight and precision.” “Once the numbers get going, nothing else matters!” “The movie thrives and survives on Berkeley’s genius for all his spectacular theatrical flair, he’s a sociobiologist in rhythm.” It sums up what is meant by the phrase “pure thirties.” “A funny, good-natured backstage musical, and a Depression period piece as well. 35mm print preserved by Library of Congress. The Pre-Code Busby Berkeley musical, with some of his most eye-popping numbers ever. Great film.(1933, Mervyn LeRoy) Coin-clad Ginger Rogers warbles “We’re In The Money,” Ruby Keeler falls for tunesmith Dick Powell, and Joan Blondell fends off lecherous Warren William. Overall - very entertaining and an absolute blast in some places, with Cagney and Berkeley turning in outstanding work. "Frankenstein"), and later, after seeing a bunch of African-American kids playing in the water from a fire hydrant, he'll quip "That's what need - a modern waterfall splashing on beautiful white bodies." You have to forgive the film for those transgressions, which are relatively small for the time period. Earlier in the film, Cagney will brainstorm for themes in his musicals and hit upon one with "African slaves" (after other wacky ideas, e.g. There are some cringe-inducing moments, including Keeler as an Asian woman during 'Shanghai Lil, singing some broken English lyrics which may make you think of the cliché 'me love you long time' (one of the actual lines: "I miss you very much, a long time, I think that you no love me still"). Related to that and as a small side note, I thought it was funny to see Claire Dodd, wide-eyed, reading a book called "Naughty Stories" with a vamp on the cover.Īs for the other leads, Dick Powell is not my favorite but he's passable, and Ruby Keeler is a joy, playing a cute secretary who transforms into a performer. There's also lots of 1933 eye candy here, with dancer's legs, skimpy outfits, and bathing suits abounding, helped along by the movie being pre-Code. The banter and comedy throughout the movie keeps it entertaining, with the exception of Hugh Herbert, who's in a whiny, annoying role. He's marvelously light on his feet, both when he shows performers how it's done early in the movie, and then later when he 'fills in' for a guy who has had too much to drink to perform 'Shanghai Lil', which is set in a Chinese den of iniquity. The sets are spectacular, as are the visual effects Berkeley creates with overhead camera shots - just have a look on youtube.Ĭagney is a delight to watch in his film, which has him in a role different from his usual gangster typecasting. It ends with a couple of absolutely STUNNING musical numbers choreographed by Busby Berkeley - 'By a Waterfall' and 'Shanghai Lil'. It starts off as a good Cagney-Blondell pairing, with him playing a theater producer whose job is in trouble with the advent of "talkies", and her playing his hardworking, intelligent secretary. This is a fantastic film that saves its best for last.
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