Gold Diggers of 1933

Warner Bros, 1933
Starring Ruby Keeler, Dick Powell, Joan Blondell, and Aline MacMahon
Directed by Mervyn LeRoy
Music by Harry Warren; Lyrics by Al Dubin

This was Warners' second major musical after the tremendous success of 42nd Street and is a remake of their huge (and now mostly lost) blockbuster Gold Diggers of Broadway. It proved to be just as big of a hit as 42nd Street, with an even zestier cast and a more Depression-soaked story. How does the tale of three showgirls who pose as gold diggers to help their friend look now? Let's head to a theater in New York, just as one of the most famous songs from this score, "We're In the Money," is in progress...

The Story: Polly (Keeler), Trixie (MacMahon), and Carol (Blondell) are roommates and chorus girls who just lost a job after the producer, Barney Hopkins (Ned Sparks), couldn't pay his bills. Fellow chorus girl Fay Fortune (Ginger Rogers) announces that Hopkins has gotten his show back together. He has...everything but the money. Turns out the guy across the way that Polly's been flirting with, Brad Roberts (Powell), is not only a great songwriter, but is able to cough up the money in cash to finance the show. Despite being a good singer, he won't appear onstage, at least until the male juvenile can't move and he has to take his place.

That's when we learn that he's really the son of a rich Boston family that threatens to cut him off without a penny. His brother J. Lawrence Bradford (Warren William) and family lawyer Fanuel "Fanny" Peabody (Guy Kibbee) mistake Carol for Polly and try to get her away from Brad. In an attempt to help their friend and teach the snobbish duo a lesson, Trixie and Carol make them think Carol is Polly and vamp them for all they're worth...but their plans backfire when they actually fall in love with them.

The Song and Dance: It's Powell and the ladies who shine here. Powell and Keeler have almost switched roles from 42nd Street; this time, she's the slightly more wordly one, and he's the one who'll come back a star. Powell in particular comes off as a bit less stiff than he did in the earlier movie. Blondell and MacMahon hav a blast as the wisecracking dancers, and Ginger Rogers is a lot of fun as the only real gold-digger to be found. There's also a lot of references to the early Depression era - including "Forgotten Man" - that helps ground it in the era now.

Favorite Number: We kick off the movie in high style with my favorite song from this score, "We're In the Money." Ginger Rogers and the chorus girls romp in costumes made of coins, and Rogers even gets a solo in Pig Latin...until the creditors arrive and take it all away. "Pettin' In the Park" is a catchy little romp that shows girls and their beaus (and randy baby Billy Barty) chasing each other through three seasons. Check out the segment where Barty lifts the screen, revealing their tin costumes! "Shadow Waltz" is more romantic, with its girls in hoop skirts and neon violins forming violin shapes.

"Remember My Forgotten Man" is one of the most dramatic numbers in Busby Berkley's career. The "forgotten men" are the World War I veterans who marched on Washington the year before, trying to get their bonus pay. The gritty sets were inspired by German Expressionism, and they give an almost frighteningly surreal feel to the scenes of poverty and determination. The number was so moving, when studio head Jack L. Warner saw it, he ordered it be swapped to the end in place of "Petting In the Park."

Trivia: There was originally supposed to be a fifth big number performed by Blondell, "I've Got to Sing a Torch Song," but it was cut before release. The song is only heard performed briefly by Powell in the beginning.

An earthquake hit while they filmed "Shadow Waltz" and nearly electrocuted the dancers.

What I Don't Like: While MacMahon is having fun flirting with Kibbee, Blondell is completely mismatched with the erudite William. You'd never believe he'd change his mind about her so quickly, especially after being fooled like that. I also wish they'd focused more on that "putting on the show" in the second half and less on the rather convoluted and silly gold-digging plot.

The Big Finale: I don't like it as much as 42nd Street, but it does have its own charms, including some classic numbers. If you love the musicals of the 30's in general or the Busby Berkley musicals in particular, you'll want to look for this one.

Home Media: DVD is currently released by the Warner Archives. It's available with several streaming companies as well.

DVD
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