Gold Diggers of 1935

Who cares if this plot has been seen before, and/or how many times? There is pure magic in this film, and the magic is the production number, "LULLABY OF Broadway". This picture deserves classic status for that number. It starts with the very affecting voice of a woman singing right to the audience. We are treated to an elderly Fred-and-Ginger type of dancing which, in spite of the ages of the dancers, is one of the smoothest, slickest, thrillingly romantic dance sequences you'll ever see. Then there is the tippy, tappy magic of ALL those dancers, tapping their way onto the screen. There is no better production number ever to appear in any movie. (I am allowed exaggeration; I am Sicilian). Do yourself a great favor and see this dance number.

"Golddiggers of 1935" stars Alice Brady as a cheapskate determined that her daughter will marry a wealthy older man as planned.

In order to make sure this happens, she gives her daughter a last wish as a single woman, which is to let her do what she wants (i.e., have fun) all summer at the resort where they're staying.

So mom hires the student doctor at the reception desk, Dick (Dick Powell) to escort her around. Oh, and then there's the show for the milk fund. And what a show!

The daughter in question is the beautiful Gloria Stuart, who a mere 60+ years later will receive an Oscar nomination for "Titanic" and make it at last! 96 at the time of this writing, Stuart today is completely recognizable as that dazzling blond of her youth. There's no mistaking those incredible eyes or wonderful voice. It was really a treat to see her in this.

The film is remarkable for its milk fund numbers only - the rest of it isn't much. Berkeley pulled out all the stops with a mesmerizing array of moving white pianos played by chorus girls in gowns, and follows it up with "Lullaby of Broadway."

Sensational - so imaginative, dark, and atmospheric, truly one of the best numbers in cinema. Its unusual beginning (also done at the end) will cue you in immediately that you're about to see something different.

The cast is first rate - Powell, Stuart, Brady, Hugh Herbert, Dorothy Dare, Glenda Farrell, and Adolphe Menjou. Parts of it are overacted, almost as if the actors were on stage, but you won't be sorry you saw Berkeley's work at its best.

The GOLD DIGGERS OF 1935 converge on a resort hotel and get involved in staging a lavish charity stage show.

With this film, Busby Berkeley, Warner Bros.' genius choreographer, produced another tuneful, eye-popping spectacle to beguile Depression audiences out of their spare change. With some gutsy performers unhampered by anything remotely resembling an intelligent plot, Berkeley provided plenty of laughs & glitz in this follow-up to his popular GOLD DIGGERS OF 1933.

The large cast is all attuned to the nonsensical merriment. Preppy Dick Powell is in excellent good voice as the hotel employee wooing rich girl Gloria Stuart, who only has to look lovely for the cameras. Alice Brady is properly shrill & strident as a miserly millionaire insistent on getting her own way in all things. Hugh Herbert is delightful as a daffy fellow interested only in his collection of snuff boxes.

Hilarious Adolphe Menjou steals his every scene as a penniless Russian impresario who is obviously slightly crazed. Bold & brassy, the marvelous Glenda Farrell gets to play the only true gold digger in the film. Frank McHugh is Brady's son, desperate to enjoy a forbidden romance. Grant Mitchell oozes unctuous charm as the somewhat smarmy hotel manager.

Movie mavens will recognize Nora Cecil as the head hotel housekeeper & E. E. Clive as Herbert's chauffeur, both uncredited.

While the cast is all shamelessly willing to entertain, it is the two production numbers near the film's climax which have given it its place in movie history. ‘The Words Are In My Heart,' with its gorgeous girls and hypnotically undulating white pianos, showcases Berkeley's love for regimented precision & choreography, engendered years before during his stint with the military. The seminal ‘Lullaby Of Broadway' is a perfect example of Berkeley's way of telling a story through music & dance--in this instance the tale of a Big City girl's ultimately horrific night. These two completely different numbers are tied together by the skein of Berkeley's genius and counterpoint each other beautifully.

Shot in crisp B&W with some lavishly designed sets and brilliant lighting techniques, the musical numbers in this film shine because of the sheer genius of Busby Berkeley's fantastic routines.

The story is thin and silly, but from start to finish it's an entertaining show with Dick Powell and Gloria Stuart in the romantic leads supported by such stalwarts among character actors as Alice Brady, Frank McHugh, Hugh Herbert and Adolphe Menjou. Dorothy Dare and Wini Shaw are added delights.

It's the typical boy meets girl story with Powell assigned to be a protective escort (as a business proposition posed by wealthy Alice Brady) whose daughter wants some excitement in her life before promising to marry stuffy Hugh Herbert.

But once the songs start spinning and the clever camera work gets going, the viewer will appreciate all the effort that went into this undertaking. Especially striking is the final musical sequence built around "Lullaby of Broadway," first the segment with the white pianos and then the actual dance routine choreographed brilliantly by both Busby and the Warner cameras.

Striking talent on display here, worth a peek if you're a fan of the old Warner Brothers musicals. Alice Brady is a riot as the world's stingiest wealthy woman always devising ways to do things on the cheap.

While I love the songs mentioned above, my favorite part of the entire show happens at the top when all the managers of the different departments of the hotel are explaining to their employees why they won't be receiving a salary or a wage -- because of the massive tips they'll be receiving from the clients -- oh, and that each manager gets a cut of the vails, of course, as they aren't going to be in contact with the guests.

The editing is really nice, as it moves from department to department in the hotel. The monologue begins with the hotel manager talking to the bell boys, then the editing takes us to housekeeping, the restaurant, the bar, etc. and each manager picks up the monologue, ending with the hotel manager summing up his expectations.

I think that sequence opens an interesting window on what hotel workers might have dealt with back then.