GOLD DIGGERS OF 1933 (Warner Brothers, 1933),based on the 1919 play by Avery Hopwood, is a worthy follow-up to the recent backstage musical success of "42nd Street" (1933). Previously filmed as a 1923 silent, then an early 1929 musical talkie, "The Golddiggers of Broadway". followed by sequels in name only, "Gold Diggers of 1935, 1937," and "IN Paris," the Hopwood plot was later reworked again by Warners in 1951 in western setting as "Painting the Clouds With Sunshine," with Dennis Morgan, but the 1933 edition, in the opinion of many, is the best of them all. It's one of the few 1930s musicals that can still be seen and appreciated today, thanks to choreographer Busby Berkeley's genius of inventing such remarkable production numbers, and director Mervyn LeRoy's fast-paced story-line.

The plot can be categorized in two parts. PART I: Roommate show girls, Carol (Joan Blondell),Trixie (Aline MacMahon),Polly (Ruby Keeler) and Fay (Ginger Rogers),give up their present jobs in order to appear in Barney Hopkins' (Ned Sparks) latest musical revue, FORGOTTEN MELODY. Barney wants to do a show about the Depression. In the meantime he is introduced to Brad (Dick Powell),an unknown composer, by Polly who loves him. Brad so happens to have the score Barney wants to use for the upcoming show. After rehearsals comes opening night. The juvenile leading man (Clarence Nordstrom) is unable to go on and Brad is chosen to take his place. After the show clicks, Brad and Polly become overnight stars. PART II: Millionaire snob J. Lawrence Bradford (Warren William),and his family attorney, Peabody (Guy Kibbee) arrive in New York from Boston in order to prevent Brad, J. Lawrence's younger brother, from disgracing the family name by appearing in the shows and getting himself mixed up with show girls, who have the reputation of being nothing but "chisslers, parasites and gold diggers." Because Brad wants a career in the theater and to now marry Polly, he refuses to listen to his brother. J. Lawrence decides to break up the relationship by meeting Polly and buying her off, but instead he meets Carol and mistakes her for Polly. Carol and Trixie decide to J. Lawrence and Peabody "for a ride" and "gold dig" their way into their wallets.

Beginning and ending with production numbers, the movie opens with "We're in the Money" sung by Ginger Rogers both in English and in Pig Latin; followed by Dick Powell crooning "The Shadow Waltz" to Ruby Keeler from across her apartment window. Powell then sings the beautiful tune, "I've Got to Sing a Torch Song" while auditioning for Sparks. That song is underscored during the film's love scenes and tender moments. The stage shows include the lively and racy "Pettin' in the Park," followed by chorus girls in hoop skirts playing neon violins to "The Shadow Waltz," ending with the Depression theme, "Remember My Forgotten Man" a dark and moody number with Joan Blondell (wearing tight blouse and skirt)/sung by black singer Etta Moten, underscored in serious tone presenting dough-boy soldiers fighting at the front during World War I, and returning home to the states finding themselves hit by the Depression, becoming homeless and unemployed. Only Berkeley could take a very lively movie and end it like this. Of the four show girls in the story, only Ginger Rogers has little to do. Aline MacMahon and Guy Kibbee make an excellent "odd couple." Powell and Keeler continue to delight with their innocent charm, while sassy Blondell and no nonsense William make go with their love/hate relationship.

While musicals have a reputation for having thin plots and strong production numbers, or visa versa, GOLD DIGGERS OF 1933 is strong on both counts and entertains throughout its full 96 minutes. Mistaken identity plot par excellence make this a breezy and merry affair. There are some Hollywood "in jokes" here that some viewers might not understand, with pre-production code risqué dialogue and scenes that will open many eyes before beginning to chuckle with amusement. Look for it. Excellent score by Harry Warren and Al Dubin, with choreography by Busby Berkeley, make this one movie musical of the 1930s highly recommended to be seen and enjoyed, if above all else. (****)

Though my favorite Busby Berkeley film is Footlight Parade, Gold Diggers of 1933 certainly has a lot to recommend it even for audiences today.

The Goldiggers in this case are three female room mates, Aline McMahon, Joan Blondell, and Ruby Keeler. Keeler has a big crush on a struggling songwriter across the hall from them who of course is Dick Powell. He writes some good songs, so good that he gets the invitation to write a whole musical show from producer Ned Sparks. But he refuses to sing and star in the show as well.

Come opening night and unlike 42nd Street where Ruby Keeler had to step in for an injured star, here it's Powell who reluctantly steps in on opening night after getting a lecture from Joan Blondell about what it means to all the company who will be once again out of work during the Great Depression.

Poverty isn't something that Powell readily grasps. He's really a trust fund baby from a prominent Boston blue blood family and they don't like the idea of one of them in show business. Powell's brother and head of the clan Warren William gets wind of what Powell's been doing and threatens to cut him off and cut off the budding romance with Keeler.

In step Blondell and McMahon who go after William and family lawyer Guy Kibbee. The situations they put these two in are pretty hilarious and quite a commentary on the prevailing morality of the day.

For the most part Gold Diggers of 1933 is the typical escapist fare that Warner Brothers musicals usually were. But unlike the other Gold Digger films this one takes a serious turn. More mention here is made of the Great Depression than in the others.

Also in that Remember My Forgotten Man finale that must have struck a resonant chord with the audience of 1933. A year before World War I veterans were dispersed from Washington where they had encamped demanding payment of a promised bonus with tear gas. That incident probably sealed the re-election chances of President Herbert Hoover who was on the rocks already. That imagery conveyed by Busby Berkeley of those marching men going clockwise and counterclockwise in a kaleidoscope is riveting today, I can only imagine what it was like for contemporary audiences.

Harry Warren and Al Dubin wrote a fine score with Remember My Forgotten Man sung by Joan Blondell, WE're in the Money sung by Ginger Rogers and a female chorus and Dick Powell singing I've Got to Sing a Torch Song, Shadow Waltz and Pettin' in the Park the last two with Ruby Keeler.

Powell also made records of his songs and We're in the Money. I've Got to Sing a Torch Song and Shadow Waltz were also recorded by up and coming radio and film crooner Bing Crosby. Bing's version of I've Got to Sing a Torch Song is one of his best early records.

The wonderful fantasy musical numbers of Busby Berkeley will never go out of style and some of the best are right here.

Wow, did this film have a stellar cast. Imagine a musical where Ginger Rogers is billed about 8th! Sure, it's early in her career, but she is just one of many shining Warner Brothers musical stars. While the film stars Ruby Keeler and Dick Powell, on hand are also Joan Blondell, Warren William, Guy Kibbee and Aline MacMahon. This is quite a cast as they not only featured some wonderful singers and dancers, but the non-musical cast members made the rest of the film memorable--even if you aren't a fan of musicals.

The film begins with a Broadway show being closed before it can even open. It seems that the Depression is hitting shows in a big way and they're closing right and left. As a result, lots of nice people are out of work and there's no end in sight until, out of the blue, Dick Powell comes to the rescue. At first, everyone is skeptical. After all, he wrote the songs for the show and lives in a normal New York flat-- how could he raise the money so quickly? Well, it seems he comes from a family that is loaded and once the family finds out he's involved with "show people", they panic. It's even worse when they hear that he's actually engaged to one of "them"! So, to save the family honor, it's up to his stodgy old brother (Warren William) to break up any chance at wedding bells. However, in a cute twist, he thinks that Powell's girl is Blondell--while it actually is Ruby Keeler. Blondell decides to play along to teach William a lesson and by the end of the picture, everything seems to (naturally) work itself out for everyone.

The film has some decent song and dance numbers choreographed by director Busby Berkeley and they are pretty typical of his style. There are a few notable things, such as the cool neon violins in one song and the very, very sexually suggestive "Petting in the Park" song. But, the inclusion of this song as well as a lot of cheesecake shots AND William thinking he'd slept with Blondell is all in keeping with the Pre-Code sensibilities of 1933.

One odd thing about the film is that it is one of the few films of the era that actually acknowledges the Depression. Not only does this cause problems with their finding jobs, but several of the dance numbers are also about this upheaval--including an odd tribute to the out of work WWI vets that comes at the end of the film. This routine came just months after the famed "Bonus Army" of out of work vets descended on Washington to demand early payment of financial bonuses to ex-servicemen.

Overall, a very fascinating historical curio and a decent story above and beyond all the Busby Berkeley hubbub. While my score of 9 might seem excessive, compared to other similar musicals of the era (such as 42ND STREET and FOOTLIGHT PARADE),this one stacks up very well. Just remember musicals of the early 30s were nothing like later ones, as they usually were like a Broadway stage production combined with a film. The usual "singing while working or at play" style of musicals would come a decade later.

A final note to viewers in the UK. Try to control yourself when Aline MacMahon says that she "loves Fanny". Even though this is, at times, a sexually suggestive movie, you know that is comment is NOT exactly what it sounds like, as this slang term is NOT one they use in the States. Most likely no gutter language was intended! Fanny is the name of Guy Kibbee's character and that's all! To you non-Brits, ask a British friend if you don't know what I am talking about here.