Lively, entertaining reviews of, and essays on, old and newer films and everything relating to them, written by professional author William Schoell.

Thursday, August 4, 2022

42ND STREET

Is this really a star? Ruby Keeler
42ND STREET (1933). Director: Lloyd Bacon. 

Julian Marsh (Warner Baxter), who has already had one nervous breakdown, is directing his new show, "Pretty Lady." His leading lady, Dorothy (Bebe Daniels), is carrying on with her former dance partner Pat (George Brent) behind the back of her supposed swain and chief angel, the ugly Abner, (Guy Kibbee). Peggy (Ruby Keeler), a show biz hopeful, is taken under the wing of both Pat, and hoofer Billy (Dick Powell). Tormented by her love for Pat, Dorothy drinks too much and has an accident -- but will Peggy be able to carry the whole show on her shoulders?

George Brent and Debe Daniels
The answer is no, judging from the final moments of 42nd Street. Although I got a favorable impression of Keeler in another film she did that year, Gold Diggers of 1933, and she is perfectly okay in the straight dramatic scenes, when she takes over from Dorothy in "Pretty Lady" she seems leaden-footed and the fact that she has a poor voice -- to put in mildly -- is even inserted into the script. Therefore these sequences are unintentionally comical, as it makes you wonder if, say, Al Capone made Baxter an offer he couldn't refuse. As for Baxter, he gives a fine, old-fashioned-type performance as a man who today we would deem bipolar. Brent is his usual charming self. Former silent movie star Bebe Daniels, who is effective as Dorothy, had only a few more credits after this film. Guy Kibbee is typically excellent, Powell is boyishly sweet, and Ed Nugent makes an impression as another handsome hoofer. 

The production numbers were put together by Busby Berkeley, and of these the most inventive is the title tune. Some of the songs have become standards: "You're Getting to Be a Habit" and "Shuffle Off to Buffalo;" in particular. "Young and Healthy" makes use of a Berkeley invention: creating a kaleidoscope effect of the dancers shot from high overhead. Ginger Rogers has a small role in this and is not photographed flatteringly. It's easy to see why Keeler never really became a major star. 

Verdict: Some great tunes, generally pleasant, but not really a classic. **1/2.

2 comments:

Neil A Russell said...

Keeler always danced like a horse. I suspect being married to Jolson helped in getting movie roles.
Susan Fleming (wife of Harpo Marx) while having a similar look, was a lot prettier than Keeler and was also a better actress and dancer.
I hate to be harsh on Ruby, but in at least one of those Berkeley films she vies with Joan Blondell for the attention of Dick Powell, and frankly that's less believable than the final production number in those movies.

William said...

Yes, I agree. Keeler was okay enough in supporting roles where she could shine in the right role, but when she plays the star she's biting off more than she can chew. I think the Jolson connection probably helped her a great deal! I think the career she had in middle-age on the stage was due to nostalgia.