Dancing Lady

1933 was a watershed year for the movie musical. It was the year Busby Berkeley helped make it exciting again with his numbers for 42nd Street and Gold Diggers of 1933. Ginger Rogers was a factor in that excitement when she performed the "We're in the Money" number in the latter. And if that had been it for her career, she'd at least be an important footnote in the movie musical's history. But bigger things were coming her way later in the year. And it wouldn't be at Warner Bros. where she was at the time but at RKO. Her future legendary partner was already there but had yet to make his film debut. But since the studio had no assignments for him yet, he was allowed to go to M-G-M for a specialty spot there as himself. And so it was at Leo the Lion's place that Fred Astaire-previously a Broadway sensation with sis Adele-got his first stint in front of the cameras. His partner there was Joan Crawford, who had displayed much of her dancing ability in many of her previous films so she wasn't a bad first film dancer for Fred to start with. So on that note, this movie is worth a good look for that reason alone. But there's still some good acting by leading man Clark Gable, second lead Franchot Tone (whom Ms. Crawford would briefly marry) and Ted Healy as Gable's assistant who was still the leader of his stooges: Moe, Curly, and Larry, all represented at their slapstick best here. Other notable supporting turns came from Robert Benchley who keeps looking for a pencil, Winnie Lightner as Crawford's friend, May Robson as Tone's grandmother, and Eve Arden-years before playing her Oscar-nominated role opposite Oscar-winner Crawford in Mildred Pierce-in a small part as a rejected potential chorus girl. Oh, and this was one of Nelson Eddy's earliest singing spots. In summary, Dancing Lady is enjoyable enough to watch as entertainment with a historical first as an extra treat.

"Dancing Lady" is a breezy & enjoyable backstage musical, a vehicle for Joan Crawford, co-starring Clark Gable & Fred Astaire. Crawford & Gable are fantastic together.

Brilliantly directed by Robert Z Leonard, the film swiftly moves from a burlesque setting to Broadway as Crawford chases Gable, and ends ecstatically with a grand Busby Berkeleyish number with Astaire.

Nelson Eddy & The Three Stooges make an early intriguing appearance.

Perhaps the most eclectic cast in movie history. Here we have Clark Gable and Joan Crawford, Franchot Tone in his man-about-town mode, Fred Astaire playing himself in his movie debut, Nelson Eddy in his second film, Robert Benchley contrasting with Ted Healy and the Three Stooges, (in by far their most prominent role before the TV era) and even a young Eve Arden. Gable spends the film snarling at everybody and demanding that they produce a "modern, up-to-date musical" that's about what's happening now. Somehow this morphs into a finale in which Astaire and Crawford are prancing about in liederhosen, (which has a relevance to 1933 they perhaps didn't anticipate). What it all proves it that MGM, while it had the know-how to make the greatest musicals of all-time in the 1940's and 1950's, just didn't quite "get it" yet in 1933. RKO and Warners were still miles ahead of them.

Like the other studios, MGM wasted no time cashing in on the success of 42nd Street with its own backstage musical, complete with ersatz Busby Berkeley choreography.

This one is "Dancing Lady," and she's young Joan Crawford costarring with Franchot Tone and Clark Gable. A dancer named Fred Astaire makes his official film debut, and Nelson Eddy pops in for a song.

Crawford is an ambitious dancer being pursued by a rich boyfriend (Tone), but she's blinded by the footlights of Broadway. He helps her out by getting her into a show directed by tough guy Gable, and when he sees her talent and perseverance, he gives her the "top spot" in the show. Of course, he's attracted to her, too, and she to him.

It's easy for all of them to be attracted to one another because they're all gorgeous. 30 years after this film, Franchot Tone would play a dying President in "Advise and Consent"...and look it. Here he's a smooth dazzler in his top hat, tails, brilliant smile and dimples.

Gable is muscular, sexy, and rough around the edges. Crawford sparkles with her athletic figure, beautiful legs, and surely a pair of the most spellbinding eyes ever in film. She is perfection in her Adrian outfits.

Though she does well in her big number with Astaire, Crawford really was from the Ruby Keeler School of Hoofing - lots of arms, big steps, and a ton of noise.

The musical itself - uh, "Dancing Lady" - is tuneful and pleasant, and its spectacular finale gives one the impression that Louis B screamed for the kitchen sink - Berkeley-type choreography, a Nelson Eddy solo, and Astaire.

It's wonderful to see these stars so young and energetic, and they are all great to watch. Look for an uncredited appearance by a blond Eve Arden and Lynn Bari somewhere in the chorus. Lots of fun from MGM.

Where else are you going to see Joan Crawford dancing to the accompaniment of The Three Stooges? Add to that Winnie Lightner with a Shirley Temple hairdo doing a striptease, Fred Astaire in his screen premiere and enough Art Deco to fill a warehouse.

However, for those used to the Warner Brothers musicals of that time, "Dancing Lady" does have its drawbacks. The pace is a good bit slower (over 90 minutes with only two complete musical numbers!) and the choreography has little of the saucy snap Berkeley was providing at the WB. Joan Crawford isn't as bad in the Terpsichore department as everyone has said, even holding her own against Astaire. The drawbacks are the songs which are putrid. The Astaire-Crawford number is "Let's Go Bavarian" as they sing about the glories of beer! One can only hope Hitler saw it and got indigestion. MGM does have one advantage over the more famous competition; Clark Gable, who brings a good bit more heat to the screen than Warner Baxter. One pre-code moment: in the last musical number historical figures march through an arch which turns them into modern characters. A knight in armor goes under and turns into a mincing handkerchief-waver!