Starring Dick Powell, Ruby Keeler, Joan Blondell, and Hugh Herbert
Directed by Ray Enright
Music by Harry Warren and others; Lyrics by Al Dubin and others
This week, we're diving into Busby Berkeley's signature kaleidoscope numbers in two of his lesser-known Warners films. Dames was a direct result of the massive success of Gold Diggers of 1933, 42nd Street, and Footlight Parade. Warners wanted more of the same and immediately put a lot of the actors from those three films at work on this one. Trouble was on the horizon, however. The new Production Code forbade scanty costumes and sexual ogling...and all of this is reflected in this movie. How does the lavish Berkeley sensibility mix with the story of an eccentric millionaire (Herbert) who is determined to raise morals and eliminate those he doesn't find upright, upstanding citizens...especially show business folk? Let's begin with Ezra Ounce and his principles and find out...
The Story: Ezra visits his cousin Matilda Hemingway (ZaSu Pitts) in New York City, which he considers the center of vice and immorality in the US. None of them are happy when they find out that Matilda's daughter Barbara (Keeler) is actually dancing in a show, or that she's in love with "black sheep" singer and songwriter Jimmy Higgens (Powell). Matilda's husband Horace (Guy Kibbee) ends up in trouble when he gives a showgirl named Mabel (Blondell) a ride home in his private train car. He's so terrified of scandal, he leaves her money and a note saying not to tell anyone...but Mabel uses his connections to her and to Barbara to blackmail him into backing their show.
The Song and Dance: The supporting cast definitely waltzes off with this one. Herbert's a supremely weird and enjoyable eccentric rich uncle, fluttery Pitts is hilarious as his stuffed-shirt sister, and Kibbee is all enjoyably flustered bluster as her husband whose kindness to a showgirl starts the trouble. We're still at the height of Berkeley's initial influence and popularity, too. One of the most famous songs from any of the Warners/Berkeley came from this film, and one of its most unique numbers. Berkeley's famous playing with the camera to turn showgirls into Ruby Keeler for "I Only Had Eyes for You" and girls in black and white frills tapping in formation for the camera in the title song.
The Numbers: "I Only Have Eyes for You" is the standard ballad here, and it gets not one, but two numbers worthy of it. The first, less lavish has Jimmy crooning the hit to Barbara on the ferry to Manhattan with other couples looking on. The second is far more elaborate. Powell dreams of every girl dancing in white frills looking like Keeler, with Keeler's face being held up by chorus girls. "Dames" shows said ladies sleeping, dressing, and showering before going into their ruffle-and-black stocking kaleidoscope tap dance for the camera.
"The Girl at the Ironing Board" is more whimsical. Early 1900's laundress Mabel dances with laundry after wishing for more romantic love. It's funny and charming, and Blondell looks like she's having fun with it. "Try to See It My Way" is Barbara and Jimmy again, and there's the satirical "When You Were a Smile On Your Mother's Lips and a Twinkle In Your Daddy's Eyes."
What I Don't Like: Not one of the better Berkeley comedies. The story is silly and kind of annoying, even by the standards of 30's musicals. Keeler and Powell are fine, but they're not nearly as much fun as the hilarious supporting cast.The songs don't start until nearly 20 minutes in, and while they are good, there aren't that many of them.
The Big Finale: The great numbers and supporting cast are fun for fans of Berkeley movies and 30's musicals, but casual viewers will likely want to start with 42nd Street or Gold Diggers of 1933 first.
Home Media: The solo DVD is pricey, but it can be found on several Berkeley collections and on streaming.
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