Fashions of 1934

Bette Davis looks so beautiful in this confection of a film that celebrates the glorious fashions of the early 1930's. This film will start a love affair for life with the clothes here. If only we could look as lovely every day.

William Powell and Bette Davis are mere side lines in this film that was made in the height of the Great Depression. The story of a conman in the fashion world of the 1930's is an usual storyline but it gives opportunity for an insiders look at this world that we really know and understand very little especially at this time. There are some unusual scenes that include

a walking stick that is a camera. The main musical scene has girls as harps. It is absolutely enchanting.

A previous reviewer called this film "dated". I'm always rather amused by such a comment. Of course it's dated--the film was made in 1933! That's precisely what makes it so charming. It's a slice of Americana, circa 1933, that you are unlikely to find in any other way. The music, the fashions, the decor, even Busby Berkely's over-the-top, wonderful production number all add up to a fantastic glimpse of our past. The art deco sets alone are worth the price of admission (which on TCM is free!). Throw in some marvelously talented actors who may not have been doing their best work--but they were entertaining just the same--and you have a simply marvelous little piece of cinematic magic. And that tune--"Spin a Little Web of Dreams"--I can't get it out of my head!

Old time Hollywood doesn't come much slicker than this- a fast talking Powell, a fast moving screenplay, lots of scantily clad girls, and plenty of snappy dialogue. All add up to a WB topper, and catch that Busby Berkeley choreographed show stopper. Have ostrich plumes ever been used to greater dance effect than with Berkeley's artistic eye. Then too, guys, the chorines are about as near-nude as even pre-Code would allow. And that's along with parades of statuesque ladies modeling the year's high fashions. It's also Bette Davis as a near ingenue in her pre-feisty phase. Still, I could have done without two gag men (McHugh & Herbert) furnishing what amounts to unnecessary comedy relief, the snappy dialogue already supplying as much as needed.

Overall, Powell dominates the speedy proceedings showing his rare talent for charm and presence. Then too, the plot's an engaging one as Powell moves effortlessly from one slick fashion scam to the next. But you may need a scorecard to keep up. Also, check out IMDB's trivia for interesting production facts, like what Davis objected to in her part.

All in all, it's pre-Code Hollywood at its most liberated and engaging, so don't pass it up. Plus, the colorful results are a can't-miss for fans of Powell like me.

Despite its garish title, "Fashions of 1934" is actually a pretty decent movie, certainly better than the bad reputation it's stuck with. Armed with a snappy script and fast paced direction, the actors in "Fashions" shine, showing off their abilities, whether they be comedic, dramatic or both. William Powell makes a good old rascal, the decent "un decent" man that was a virtual staple at Warner Bros. (the studio who produced this film) at the time. Bette Davis, all glammed up in red lipstick and classy dresses, shows off a rare ability for humor, fitting right in to the film's light hearted tone. As Powell's sidekick, Frank McHugh almost steals the show, mastering and even rising above the script's punchlines by exaggerated facial expressions and crude but effective slapstick. "Fashions of 1934" isn't a comedy classic nor does it aim to be one. It simply wants to entertain the audience with good humor, effective acting and direction that moves things along at a quick pace. By all accounts, it has succeeded.

The plot of this film wanders all over the place, from various schemes of a con man in the fashion world (William Powell) to a few melodramatic romantic interests. The highlight worth waiting for is the ostrich feather musical number choreographed by Busby Berkeley, as well as a smaller number showing fashion designs inspired from historical figures. Until then, Powell is reasonably engaging in pursuing a young woman he's hired to sketch fashions (Bette Davis) as well as an old lover masquerading as an aristocrat in Paris (Verree Teasdale). To the latter, he says he never forgets her "personality" after swatting her behind, which reminded me of the playful euphemism in the 1946 song of the same name by Johnny Mercer. Davis is pretty and very chic, though she's unfortunately underused. It's great to see the fashion elements which appear throughout the film, but the rest of the cast and their various subplots don't add much. Frank McHugh plays a guy who laughs in a silly way in response to anything, including seeing the "filthy" postcards a bookseller is trying to push, and Hugh Herbert is sedate as an ostrich feather supplier who drinks too much. Of course, right? The film was released early enough in 1934 to beat the enforcement of the Production Code, and as a result there are lots of revealing outfits on display, including ostrich feather bikinis which predate the modern bikini by over a decade. Worth watching for the stars, fashion designs, and the musical numbers, but don't expect much more.