Okay. I am 61 years old so this film is way way before me. However I am also a lifetime fan of movies and movie makers who never should be forgotten. Thirties musicals were never that fantastic with their stories, it was always an 'excuse' rather than a reason for dance routines. Boy met girl, boy lost girl, boy found girl again or boy/girl want to put a show on/or be in a show, they can't get in and by a twist of fate it all happens in the last 4 minutes! We know.... None of the Astaire/Rogers movies are remembered for their sparkling story and Dames is actually a little bit better than those. Whether you laugh (I did) at Hugh Herbert today is down to you. I find him hilarious and yes, the comedy is way over acted but so is today's (Will Ferrell anyone?)... I like the persona of Dick Powell, his voice and renditions of songs are not my cup of tea though again in the context of the film absolutely fine. Blondell is gorgeous as she was in those early Thirties films and Keller is well... Keeler....but the real star is the man you can't see. Yes you guessed it I am referring to Busby Berkeley. It does take a while before his magic gets on the screen but when it does it keeps on coming. The very end bit which goes from geometrically moving bodies to freeze frame to Dick Powell's head tearing it apart as if it were a wallpaper is so ahead of its times in terms of technical accomplishment I was dumbfounded. If you love cinema, you need to see a Busby Berkeley number (preferably in the film context) once in your life at least because THAT man changed the way images were made and we still see an impact of his amazing work today. Men like Berkeley are seldom mentioned now, people, if they remember anything, remember directors and a body of work. Though Berkeley did direct, he will always be the man who created those amazing routines at a time when CGI and computers were scifi. So yes, loving cinema as an art form needs a Berkeley vieweing and you could do a lot worse than watch Dames!

Some people talk about the big 3; "42nd st ", "Footlight parade ", and "Gold diggers 33", which I agree are great. But why are they leaving out "Dames" which has Ruby Keeler's very best number "I only have eyes for you"? I also love "Gold diggers 35" with the very nice Gloria Stewart. "The great 5" is what I call these films, not "the great 3".Busby did release a few more after that which weren't quite as good as the great 5, "Gold diggers 37", "Gold diggers Paris", "Varsity show", and "Hollywood hotel ". Those films came out between 1936 and 1939 which it seems was a slump in his career. Then between 1939 and 1943, he shined again with the wonderful Judy Garland backyard musicals. At least until 1943 during the filming of "Girl crazy" when he was pulled off the set for being abusive to Judy while filming the song "I got rhythm" (half that info I got from 2002's docufilm "Judy Garland, me and my shadows", and half I got from reading real life stories and articles on Busby). But "Girl crazy" was still a great film. "Dames" starts with Guy Kibby visiting an extremely wealthy relative (who has more security guards and security doors than any I've ever seen ) Huge Hubert tells Guy that he may be inheriting a fortune depending on whether he keeps his morals or else he'll "cut him off like a ripe banana". He points to picture of Dick Powell (James"bad fruit"Higgins) as an example of someone from the family tree who he's already cut off because he went into show business. I'm not sure how show business really makes someone immoral, but I know some people had a tighter system back then of what was or wasn't moral. Dick is romantically involved with the beautiful Ruby Keeler, who he believes is Dick's 13th cousin. Zazu Pitts is Huge's wife who I remember from "Meet the baron ". Zazu was good with her slightly surprised yet quiet "oh my" style of talk (sort of Olive Ole like) more so in "Meet the baron " than here, she only says "oh my" once here. I like Joan Blondell here too, first in the comical scene where she shows up in Guy's bed on the train knowing it's Guy's and throwing a little blackmail at him. It then leads to a "that sound is the water in the pipes" scene while Blondell is hiding in Hugh's house in Guy's bedroom threatening to scream if Guy won't go along with her. Ahh, more sweet blackmail. More great scenes in this film during rehearsals and numerous other great moments. Also very funny when Hugh couldn't get rid of his hiccups and got everyone all frantic trying to find him the very hard to get Golden Elexor (53% alcohol). When they finally get some to him, he drinks some, looks all happy and relieved saying "ahhh, that's the stuff", then hiccups again. Hilarious. The whole family searches everywhere making a lot of phone calls to find that bottle of Elexor (53% alcohol), but later on during their attendance at the show, they've managed to maintain numerous Elexor bottles for each of them, including a bottle of ultra strength Elexor (73% alcohol).Musicals in the second half of the 20th century usually didn't have the same touch anymore, not including the 1950s and 1960s that still had some great ones such as "Sound of music". One example of more recent ones not quite being the same anymore was "Evita" in the 90s. It was singing that whole film with no talking parts and I didn't care for that quite too much. Musicals in the 1930s through 1960s usually had a good story with a number of scenes with no music and pure dialogue, then they'd wow us with the wonderful musical scenes in the last third, or last quarter. "Dames" and all of Busby's films had that pattern too. During the musical section of "Dames", one of the four songs didn't have the same magic and intriguing elaborateness that made it look like it wasn't possible to shoot it on a stage, and very clearly showed it as a stage number. That was "Try to see it my way". It was still good though. I loved Blondell in "Girl with an ironing board", and the dancing and singing clothes on the lines. That whole number had such an old fashioned innocent sweetness. And I also liked the moment when Blondell does a Mae West "come up and see me sometime", then the swan pattern the girls made by the clothes line, then the birds chirping and the harp playing, etc. The third song was great too showing all the girls getting ready while singing ; getting out of bed, in the tubs (that's right, girls in bathtubs with water, soap and bubbles on the stage ), and powdering their noses. And then the fabulous Busby kaleidoscope patterns which were some of his most amazing ever. I can hardly imagine how much rehearsing and skills it must've taken to get those particular movements and patterns so well on the mark like that. Then the very best of all was wonderful Ruby Keeler and Powell in "Only got eyes for you ". Throughout this number Ruby was most amazing and beautiful here; her sweet voice and smile walking with Powell, the sweet way she closed her eyes still smiling while putting her head on Powell's shoulders on the subway while he dreamed of about 15- 20 pictures of Ruby's face dancing around in black background, then the wonderful part with 15- 20 Ruby Keelers in very nice white dresses all dancing around so beautifully with the beautiful singing at that point in the song and then after that some more neat kaleidoscope work by Busby. Ruby Keeler was so wonderful throughout that number. I love her. This film's fantastic.

Anybody who loved those three films, or anything involving Busby Berkeley, will find plenty to be delighted by in Dames. The plot is very slight and can be painfully contrived as well (not that that is a surprise, there are a lot of musicals where the story is the weak point) and Hugh Herbert was for me annoying, as another reviewer says he was an acquired taste. Dames is very well-made and still holds up beautifully now, the highlight being the kaleidoscopic photography in I've Only Got Eyes For You which has a real dream-like quality. Even when not at his best or most dazzling, like in My Forgotten Man from Gold Diggers of 1933 and By the Waterfall from Footlight Parade, Berkeley still delivers on the spectacle front. The costumes and sets are sumptuous to say the least. The songs are great, especially the infectious title number and the sublime I've Only Got Eyes For You, and the choreography has a lot of spirit and pizazz (in the case of I've Only Got Eyes For You it's imaginative too, where else would you find a whole chorus of Ruby Keelers?), so on the musical and choreographic front Dames is pretty sensational. The script has a lot of sparkling wit and the film has a lot of energy that rarely lulls. The direction is efficient and not too overblown or static, if more in the production numbers than the more dramatic parts. The cast mostly are great, especially from a terrifically funny Joan Blondell and a hilariously wacky ZaSu Pitts. Ruby Keeler may not have ever been the greatest dancer or actress(singer as well) and doesn't have a lot to do here, she also overdoes some of the drama at times, but she is still immensely charming and adorable with a smile that can make one's heart melt and brings a lot of enthusiasm to her role. Believe it or not, this film features some of her best dancing as well. Dick Powell is handsome and just as charming, he sings with a very pleasant tone too. On the whole, not Busby Berkeley at his best but still super fun and definitely well worth seeing. 8/10 Bethany Cox

Busby Berkeley has rightfully been lauded as a legendary dance director. But he was also a master of special effects -- and there's no better proof than "Dames." Back in the primitive days before computer generated imagery, he somehow fashioned a floating flotilla of Ruby Keeler faces, a high-kicking chorus of Keeler clones, a series of vanishing crowds (for "I Only Have Eyes for You") and a dance troupe that turned to paper through which Dick Powell suddenly burst. All came off as seamlessly as the dizzying kaleidoscopes that were his trademark. As for the rest of "Dames," it's not bad. There's some sprightly satire of blue noses, personified by Hugh Herbert as the whimsically named billionaire Ezra Ounce who wants to close down Broadway. But if that happened, you'd never get to see Ms. Keeler tap dance as if she was killing cockroaches or watch Joan Blondell perform a witty tribute to the passion of laundry day.