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Footlight parade 19333/29/2023 ![]() ![]() The term "gold diggers," which is the source of the title of two of the films included in this set, refers unflatteringly to chorus girls in search of wealthy husbands. The stories aren't much, usually revolving around the putting-together of a musical show as well as the lives and loves of chorus girls. Keeler and Powell were the most frequent headliners, supported by character players such as Joan Blondell, Guy Kibbee, and Ned Sparks, and most of the songs were contributed by Harry Warren and Al Dubin. In many ways, the title song from Dames sums it up best: "What do you go for / to see a show for? / Tell the truth, you go to see those beautiful dames." While Berkeley choreographed and directed the musical sequences in these films, the plot sections were generally directed by others such as Lloyd Bacon. By the dozens, they dance, play pianos, frolic in waterfalls, and, in some of the most overtly sexual numbers, stand spread-eagled in a line as the camera passes through their legs. But more than anything, they're known for their celebration of women. Berkeley's numbers are known for their kaleidoscopic patterns, their stark black-and-white contrast, and their sheer sense of spectacle. This is the quintessential backstage musical in which young Peggy Sawyer (Ruby Keeler) goes from wide-eyed chorus girl to leading lady, urged by Warner Baxter, "You're going out there a youngster, but you've got to come back a star!" A cast that also includes Dick Powell and Ginger Rogers (when she was an RKO contract player and before she teamed up with Fred Astaire) performs "Shuffle Off to Buffalo, " "You're Getting to Be a Habit with Me," and the title tune, in which Keeler tap-dances on a black surface that turns out to be the roof of a car. The centerpiece is of course 42nd Street (1933). The Busby Berkeley Collection celebrates the work of one of the most visually inventive director-choreographers in the history of film. ![]()
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