42nd Street is one of those films that I had often heard about, yet failed to see until far too late in my cinematic journey. I am certainly glad that I finally indulged in 42nd Street because it's simply brilliant. Lloyd Bacon, not Busby Berkeley as I had incorrectly thought, directed 42nd Street in 1933. Lloyd Bacon was a true workhorse for Warner Brothers, directing over 100 films between 1920 and 1955. Bacon worked with such greats as Bette Davis, Charles Chaplin, Humphrey Bogart, and James Cagney, just to name a few. Bacon's body of work is massive, and though he is only responsible for a few classics, 42nd Street among them, he consistently created works that have spanned the decades and are standouts of those who starred in them. This isn't simply a Lloyd Bacon appreciation post, though he has more than earned one, but I felt it necessary to highlight the career of this largely forgotten director. I'm sure I'm not the only one to incorrectly attribute 42nd Street to Berkeley instead of Bacon, and Bacon deserves his due. Upon investigation, I had seen many more films by Lloyd Bacon than I ever realized, further cementing his status, in my mind anyway, that he is a stable director of classic Hollywood. 42nd Street, starring Warner Baxter and Bebe Daniels follows the plight of a Broadway film director pouring his heart into what could be his final production when the star must be replaced by a chorus girl at the last minute. It is no wonder why 42nd Street remains so revered today as it was at the time of its release, the plot is infused with wonderful chemistry between characters, and obviously sprinkled with brilliant dance numbers captured by genius overhead shots. 42nd Street is as much a feast for the eyes as it is for the soul.Julian Marsh (Warner Baxter), the most brilliant director of his time has been tasked with the production of a new show, despite his health. Unbeknownst to those around him, Julian has suffered a nervous breakdown and has been warned by his doctors to not take any shows on until he is better equipped to handle the immense stress that accompanies these productions. Despite this warning, Julian decides to proceed with the production, determined to deliver a promising display, even if it's his last. The show has been funded by a wealthy senior who is in love with its star, Dorothy Brock (Bebe Daniels). Dorothy has not responded to his advancements because she is still in love with her former dance partner, Pat Denning (George Brent). Dorothy is used to being in the spotlight and has developed quite an attitude of superiority, making her fall from grace all the harder when she breaks her ankle the night before the show is to premiere. Peggy Sawyer (Ruby Keeler) a chorus girl who has caught the eye of Billy Lawler another member of the production, is deemed the perfect replacement. With only a night to prepare, Peggy commits herself completely to rehearsals hoping to catapult the show, and her career, to greatness.The camera work of musicals from the 1930's is captivating no matter how many films of that era I've seen. The low angle shots and the overlays are sensational at immersing the audience in the performances. Bacon seems to place heavy reliance upon steady cam and tracking shots, an interesting choice that paid off ten-fold in creating a visual masterpiece. The camera acts as a guide for the audience, taking us on a journey through both the backstage antics and on-stage perfection seen in 42nd Street. All the dancing was incredible but that final dance number was a gift to us all. 42nd Street is a classic, and one that I am immensely thankful to have finally seen.

. . . in Warner Bros.' 1930s musical warning note to We People of America's Far Future, 42nd STREET. Widely dismissed in its day as fatuous fluff mixed with empty eye candy, 42nd STREET actually is a carefully crafted clarion call for the USA to reject the Siren Song of that broken-down, many times bankrupt scam artist sham, Donald J. Rump, represented here by Ruby\Kellyanne's "Pretty Lady" director "Julian Marsh." A tired old White guy, just like Rump, the worn-out Marsh simply wants to exploit the Youth around him to feather his own nest. Like Rump, Marsh has well-known ties to New York City mobsters. Like Rump, he expects the random women around him to be pleased as punch when he plants his pudgy geezer lips onto their mouths with no warning at all. Like Rump, Marsh faces even odds as to whether his dissolute womanizing career has left him with enough oomph in his geriatric carcass to even survive his Opening Night. As has been the case since Cassandra warbled her warnings to the Ancient Greeks, prophets always preach to Deaf Ears in their own Homelands. America ignored Warner's 42nd STREET Rump Warning, and now all of us are going to be stuck with the bill.

42nd Street (1933): Dir: Lloyd Bacon / Cast: Warner Baxter, Bebe Daniels, George Brent, Ruby Keeler, Ginger Rogers: Musicals were popular in this time and here we have the happening as well as the time and place. It is the production of Pretty Lady with Warner Baxter hired to direct with Bebe Daniels as the star player. It showcases the stress and anxiety of putting a play together but it also boils down to a predictable outcome that features the play in its entirety. The musical numbers are mostly corny and over the top but the setup and structure are detailed and payoff. Directed by Lloyd Bacon with Busby Berkeley handling the musical numbers. Some of these are visually effective while others are flat and look about as fetching as something out of a box of cereal. The cast is appealing. Baxter plays off the frustration of a director struggling to meet a dead line. Daniels plays Dorothy the star player who is involved in a relationship. George Brent plays an old partner and lover of Dorothy who pulls away. Ruby Keeler plays a new actress and dancer for the play who comes off as a tad naïve. Perhaps the biggest name to emerge from this film is the dancing star Ginger Rogers who will become a force within musicals. It is on par with The Broadway Melody but musicals have certainly improved. This is entertaining with its detailed view of staging such an event. Score: 7 / 10

I just saw this movie this weekend for the first time all the way through and really enjoyed it. I love classic movies but tended to shy away from the musicals until I read a few bios lately on various stars and directors of the genre and was glad when this one came so I could tape it and watch it.The story is basic, of course, but it moves quickly, seems realistic as far it goes, the acting is good without any noticeable overacting that often comes across when we watch these old movies 50+ years later. I really like Ruby Keeler and also Bebe Daniels in their roles. And it was funny to see Ginger Rogers in a such a small part.