A vaudeville star has to leave her daughter with her dead husband's stuffy Boston parents while she makes a living. But when the daughter shows some talent, the mother become a stage mother ... Read allA vaudeville star has to leave her daughter with her dead husband's stuffy Boston parents while she makes a living. But when the daughter shows some talent, the mother become a stage mother and pushes her daughter into becoming a Broadway star. The mother is a monster with a hear... Read allA vaudeville star has to leave her daughter with her dead husband's stuffy Boston parents while she makes a living. But when the daughter shows some talent, the mother become a stage mother and pushes her daughter into becoming a Broadway star. The mother is a monster with a heart of gold, and after breaking up the daughter's love affair, finally sees the error of her... Read all
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- 1 win total
- Dexter's Butler
- (uncredited)
- Hors D'Oeuvres Waiter
- (uncredited)
- Mr. Mark Thorne
- (uncredited)
- Mustached Man With Badge
- (uncredited)
- Nurse
- (uncredited)
- Music Store Customer
- (uncredited)
- Mr. Sterling - Dance Instructor
- (uncredited)
- Audience Member
- (uncredited)
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Featured reviews
Healy's Real-Life Parallels, Mommy Dearest, Tarzan's Jane and Larry Fine
The crazy life of a theater performer in the 1930s, is the main drive of the plot. The kid grows up to be Maureen O'Sullivan. Yes, that Maureen O'Sullivan. The one, who would go on to play Jane, in six of the Johnny Weissmuller, Tarzan films. After staying with her grand parents for a number of years, Shirley is reunited with her mother, Kitty. She is 16 years old and this is the point O'Sullivan steps in for her character. In fact, I was impressed with the way the filmmakers made-up 22 year old O'Sullivan, to age from 16 to her 30s. So, stage Mother wants her daughter to be a dancer. An idea, Shirley isn't to keen about, but accepts the direction her life is about to go in, thus setting up a possible Mommy Dearest scenario. Fortunately, Shirley will age to a point, that the Mommy Dearest phase doesn't fester.
When Shirley goes for her first try-out, the collection of kids routines were pretty funny. I did notice some bad edits in Stage Mother (1933), even by 1933 standards, but the camera work was really nice. 55 minutes into the film, Shirley breaks up sadly, with her man she is seeing and minutes later, does a great show, with some amazing sets, created for the dance numbers. Some may question moments of the acting in the movie, but I liked C. Henry Gordon as Ricco. The film ends kind of quickly and abruptly, plus there's a uneasy feeling, that things didn't go the way you thought they would. The happy music, playing out to the film's end, doesn't hide the real anguish behind Shirley's eyes. Did Mommy Dearest actually win? Stage Mother (1933), is still a cinematic artifact, from an earlier time. I thought it was cool. It's not a great film, but still, fairly good.
6.3 (D+ MyGrade) = 6 IMDB.
Zippy Little Precode Moves Along With Style
Move Over, Mamma Rose!
Co-screenwriter Bradford Ropes, who also wrote the novel on which "42nd Street" is based, knew this tawdry milieu intimately and wasn't afraid to expose its seamy sides; fortunately, the movie came just before the Production Code, so its portrayal of the shabbiness and moral compromises of the show biz doesn't pull its punches. It resembles "Gypsy" and the great early talkie "Applause," and in particular, its look at backstage and onstage vaudeville is historically fascinating. Its main shortcoming is a too-fast, too-tidy final reel that races unconvincingly toward a happy ending. Also, Maureen O'Sullivan, pretty and spirited as always, doesn't really convince as a young miss aiming to become the toast of Broadway. (She's dubbed, and that's clearly a double dancing in the long shots.) Till that rushed denouement, though, it's a brash and winning backstager, and Brady's uncompromising, unsympathetic performance stays with one for days.
Stage Mother falls on its face in the last act.
Stage Mom is Alice Brady's picture as she cajoles and plays hardball with all comers to advance her daughter's career including pimping her to a prominent politician causing things to get hot enough to blow town and head for Europe. Brady's raspy voice suits her hard bargaining style well as she negotiates with some pretty tough customers along the way. O'Sullivan's Shirley is sharp innocent counterpoint to a point of insipid. She dances poorly and remains naive and childlike most of the picture while her suitors (Franchot Tone and Phillip Holmes) can only wish they had a backbone like Kitty.
The dance scenes are flat and uninspired as director Charles Brabin does his best to mask O'Sullivan's abysmal hoofing abilities with close-ups while at the same time offering some pretty racy pre code enforcement shots of the chorus replete in diaphanous costume.
There are a handful of well played scenes (particularly with C. Henry Gordon) in Stage Mother as Brady brawls her way to the top with tough talk and a touch of extortion void of sentiment but in the end it depends on sentimental tug to bring the curtain down and the limpid denouement forcing Kitty to go meekly simply reinforces the films mediocrity.
Mom pushes daughter right into show biz
Did you know
- TriviaLarry Fine's only solo screen appearance without his partners in The Three Stooges.
- GoofsTap dancing is heard during the child contortionist's audition.
- Quotes
Kitty Lorraine: I'm going to Boston to Fred's people. They sent me a telegram.
Blonde: What, live in Boston? I'd hate to take a kid as young as that one to that town. It's liable to make her peculiar for life!
- ConnectionsReferenced in Fugitive Lovers (1934)
- SoundtracksAny Little Girl, That's a Nice Little Girl, Is the Right Little Girl for Me
Music by Fred Fisher
Lyrics by Thomas J. Gray
Sung by Alice Brady at the music store
Details
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- Sådan är hon!
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- Runtime
- 1h 25m(85 min)
- Color
- Aspect ratio
- 1.37 : 1







