Footlight Parade

Footlight Parade is among the best of the 1930's musical comedy extravaganzas. A snappy script and an all-star cast including Jimmy Cagney, the lovely Joan Blondell, Dick Powell, and Ruby Keeler make this film a cut above the rest. Directed and choreographed by the creative genius Busby Berkeley, this film will have you grinning from ear-to-ear from start to finish.

Busby, of course, is the undisputed master of the Hollywood musical with "Gold Diggers of 1933" and "42nd Street" to his credit (as Dance Director). Footlight Parade is graced by hundreds of scantily-clad chorus girls, a Berkeley trademark. The elaborate dance numbers were shot with only one camera and Busby was the first director to film close-ups of the dancers. His obsession with shapely legs and "rear-view" shots is amply demonstrated here. The overall effect is highly erotic and mesmerizing.

Our boy Jimmy Cagney plays Chester Kent, a producer of "prologues" or short musical stage productions that were performed in movie theaters to entertain the audience before the talkies were shown. He's surrounded by crooked partners, a corporate spy, and a gold-digging girlfriend. Although Cagney had a solid background in vaudeville, this was the first film in which he showed his dancing talents. Joan Blondell is memorable as Cagney's wise-cracking, lovestruck secretary. And Ruby Keeler is adorable, as always.

The film climaxes with three outstanding production numbers, "Honeymoon Hotel", "The Waterfall", and "Shanghai Lil", each one a masterpiece and not likely to be duplicated in today's Hollywood where so-called "special effects" have replaced creative cinematography.

Claudia's Bottom Line: Clever and erotic, with some of the best musical production numbers ever put on celluloid. A thoroughly enjoyable Depression era romp.

This fabulous movie must be viewed knowing that millions scraped together 10 cents to see it and forget the gloomy day-to-day economic conditions during the 30's. Remember, 10 cents bought a loaf of bread back then, so this was a minor luxury for many people. It's testimony to how Hollywood did its best to make the USA feel a little better about itself. You'll note that with the studio system in Hollywood at the time many of the actors and actresses were type-cast in similar movies, e.g. James Cagney, William Powell, Ruby Keeler, Frank McHugh, Joan Blondell and Guy Kibbee . Then too, branches of the U.S. military were always respected with enthusiasm and patriotism as in the use of military precision marching by the great choreographer, Busby Berkeley, at the end.

Not so much a musical as a mating call set to music. But then what else could be expected from three back-to-back production numbers from that carnally-obsessed choreographer Busby Berkeley. "Beside the Waterfall" alone has enough 'flowering o's', half-dressed chorines, and suggestive camera angles to make Hugh Hefner blush and send Dr. Freud into terminal overload. Then too, who else but the mad Mr. Berkeley could convert the complicated matter of sex into a mere conjugation of overhead geometry. There's also "Honeymoon Hotel", a celebration of the no-tell motel, with marching phalanxes of hormonally driven couples all named Smith, and led by a demonic cupid looking like an early Billy Barty. The sight of his tiny legs chasing after a fleeing Amazon is enough to drive Harpo Marx to distraction and cause the audience to doubt the laws of physics. While bringing down the curtain is the marching madness of "Shanghai Lil", where Berkeley proves-- in case you ever doubted-- that race, creed, and bad make-up make no difference to a Chinese bordello. It's sort of an early gathering of the UN, where people from all over come together to discuss the world's number one topic. All in all, there's enough sheer pizzaz, flash, and animal energy in these numbers to light up a thousand dark movie houses.

Sure, Warner Bros. tries to cover the orgy with the fig leaf of two cheerful innocents played by a sappy Dick Powell and a virginal Ruby Keeler. But it doesn't work, because everyone else gets in on the fun, including that human buzz-saw Jimmy Cagney and everyone's favorite sassy dame Joan Blondell. Director Lloyd Bacon proves too he knows what to do, giving us an eyeful of Blondell endlessly rolling and unrolling her hosiery, while the writers pepper the conversation with suggestive one-liners. Yeah, it's a great movie-- good enough to help bring down the heavy hand of censorship the following year, and put an end to damp dreams like "Beside a Waterfall". But not even the Watchdogs of Public Morality could stop Berkeley's deliriously suggestive pageantry that would live on at even that most repressed of studios, MGM. Sure, Astaire-Rogers may have been more graceful and a whole lot more chaste, no doubt producing more sheer polish-- still and all, don't let this unabashedly pagan celebration pass you by. As they say around the owl cage, it's a real hoot.

An opium den, a dirty little boy (actually a midget), prostitutes galore, a violent fracas in a dive, a motel for sexual shenanigans, scantily clad babes with cleavage a lot, a boozer falling down the stairs, a racially mixed clientèle in a bar with Asians, Africans, and Anglos treated equally, does this sound like a film playing at the local shopping mall? Wrong. These are all scenes from a 1933 musical.

The first half of "Footlight Parade" is preparation for a musical extravaganza which occupies the last half of the film. Chester Kent (Cagney) is about to lose his job and does lose his playgirl wife as a result of talking pictures squeezing out live stage musicals. His producers take him to see a popular talky of the day, John Wayne in "The Big Trail." Before each showing of the flick, a dance number is presented as a prologue. Shorts, news reels, serials, and cartoons would later serve the purpose. Kent gets the idea that a prologue chain would be the road to salvation for the dwindling live musical business. Kent is basically an idea man along the lines of choreographer Busby Berkeley. Could it be that Cagney's character is patterned after Berkeley? Could be.

In preparation for the prologues, Kent learns that his ideas are being stolen by a rival. He uncovers the traitor, fires him, then unbeknown to him a new leak is planted in the form a dazzling temptress. His assistant, Nan Prescott (Joan Blondell - soon to be Mrs. Dick Powell) has the hots for Kent and is determined to expose the wiles of the temptress. A new singer from Arkansas College shows up in the form of Scotty Blain (Dick Powell) who turns out to be a real find and is paired with Bea Thorn (Ruby Keeler). The resulting three prologue musicals, which couldn't possibly have been presented on any cinema stage of the day, are as fresh and enjoyable today as they were over seventy years ago, "Honeymoon Hotel," "By a Waterfall," and "Shanghai Lil."

Of special note is the song and dance of tough-guy James Cagney. Like Fred Astaire and Bill "Bojangles" Robinson, Cagney's dancing appeared natural and unrehearsed, although hours went into practice to get each step just right. Not as good a singer as Astaire, Cagney's singing, like Astaire's, sounded natural, unlike the crooning so popular at the time. It's amazing that one person could be so talented and so versatile as James Cagney.

Most critics prefer the "Shanghai Lil" segment over the other two. Yet the kaleidoscopic choreography of "By a Waterfall" is astonishing. How Berkeley was able to film the underwater ballets and to create the human snake chain must have been difficult because it has never been repeated. The close up shots mixed brilliantly with distant angles is a must-see. The crisp black and white photography is much more artistic than it would have been if shot in color.

Though not nearly as socially conscious as "Gold Diggers of 1933," "Footlight Parade" stands on its own as one of the most amazing and outrageous musicals ever put on the big screen.

I don't have anything original to add to the justified encomia others have lavished on this remarkable movie.

Watching it again tonight, I was, however, struck yet once again by the genius of Busby Berkeley in staging the last three numbers, the "prologues." Most remarkable of a very remarkable trio for me is "Beside a waterfall." It just keeps building and building and building. Yes, of course, some of the shots of the women in the water are very erotic. It was 1933, after all, and before the Hayes Code. Berkeley and Warner Brothers understood that pretty women posed erotically had a real appeal to men,

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I watched the end of this movie again this morning. Perhaps I paid closer attention to this number this time, perhaps I was just in the right "mood." Either way, I marveled at the suggestiveness of so much of it. Those jets of water spurting up - I use the verb advisedly - between the swimming women's legs. All those shots of women opening and closing their legs. It was remarkably erotic on my 46" tv screen. What must it have been like in 1933 on huge movie theater screens in the era before multiplexes????

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But these erotic poses are not JUST erotic poses. The number keeps building and building and building. What will he do next, you keep wondering? Oh, that. But "that" is even more incredible than what has come before. By the time you get to the end of this number, you're exhausted, not just physically and erotically, but imaginatively as well. How could anyone have maintained and built on that suspense for 10 whole minutes? I can't tell you, but Berkeley did.

Third of the three prologues, "Shanghai Lil," is definitely not something that could have been filmed the same way just a year or two later when the Production Code was put in force. We see an opium den, a lot of prostitutes, at least one interracial couple, etc.

Having watched it again tonight, I will add that this is a strange "musical." There is almost no music for the first hour and a half. It's all in the three closing numbers. But what numbers!