That's how William Powell's Emory Slade describes his reputation as a temperamental former star who becomes a Hollywood talent scout when 20th Century Fox plans a film version of the 1931 Broadway musical revue "The Band Wagon" (and which MGM later added a story and more of its songs to). Only a few of the Dietz and Schwartz songs are heard here before Fred Astaire and Cyd Charisse danced in the dark, and the storyline here is much darker, too.Powell plays an actor with many personal demons, very much unlike his most famous character of Nick Charles, and even darker than his Broadway mogul, Florenz Ziegfeld. Here, Powell is promoter, not producer, that role being given to the equally legendary Adolph Menjou, while Jean Hersholt (of the Oscar's Humanitarian Award) plays himself as the representative of the Motion Picture Aid Society determined to help the down on his luck but stubborn Powell.As for Betsy Drake as the young ingénue chosen for the lead in the musical, she is certainly lovely, but lacking in superstar magnetism. She is a fine singer and dancer, but I can't believe anybody would buy her as the next Judy Garland or Betty Grable (Cary Grant, maybe, but he married her...) The musical numbers are cut down to two separate segment "auditions"-one live ("New Sun in the Sky"), the other a filmed screen-test that is shown at the Chinese Grauman's where Drake sings and dances the title song and a bit of "I Love Louisa".As a musical, I recommend "The Band Wagon" far more than this, but this is a unique credit in Powell's career, one of his darker dramatic parts, and highly recommended for that. Mark Stevens seems out of place here as Drake's love interest, but there is an amusing cameo by future "Caged" matron Hope Emerson as Powell's gruff landlady.

A forerunner of "The Band Wagon", "Dancing In The Dark" is a flop. It is strictly for die-hard Wm. Powell fans, for whom their idol can do no wrong. This potboiler of a picture does a lot of wrong, however, and lacks the charm and vitality of its descendant.Sorely missed is the terrific score of Schwartz & Dietz and the songs that are included are mishandled. The storyline plods along as though the screenwriters struggled to stay awake. The picture is further sabotaged by the boy/girl leads, who are 'B' actors and lack charisma and glamor. Mark Stevens is colorless and Betsy Drake is a wallflower and detract from the overall effectiveness of the story.The only reason to watch it is for the always dapper and magnetic William Powell who carries the film, such as it is, and does the best he can in a thankless part. Adolph Menjou, Walter Catlett and other veteran character actors are on hand to lend whatever help they can give but the cause is a lost one.This is a picture to watch if you are sick in bed. Put the remote on top of the TV, and you will feel so much better when you get up to change the channel.

This was introduced as the 'rarely seen' Dancing in the Dark when it showed on the Turner Classic Movie channel - and after seeing the first half I knew the reason why. William Powell's character went from a totally self-absorbed PITA to a lovable, caring personality in a blink with little of import to cause that change. Mark Stevens, while a handsome man, is just a cardboard figure; but the absolute worst was Betsy Drake. There is not a single spark of life in her and it is totally unbelievable that any fellow actor could believe she would project on the screen and want to cast her as any part, let alone a lead. Whenever she speaks energy just drains off the screen and I gave up the movie just after the audition scene. Of course the songs are wonderful and I always wondered why the real Bandwagon only had truncated versions of such great songs. Try thinking of Betsy Drake singing on half the screen and Cyd Charisse on the other. The comparison is so one-sided that Betsy Drake might even be some strange unknown gender - human but with no gender-based allure.

It must the be the saddest thing in the world to have had it all and suddenly see oneself in circumstances below what one once new. This is the case for Emery Slade, the famous luminary of Hollywood we encounter eking out a life while trying to hold to his dignity. In another medium, the change would perhaps not have been the disgrace it presents this forgotten man, but in the fantasy world of the movies, Emery is a has been and his former nasty self stands in the way as others, more generous people, want to help him come out of poverty.Irving Reis, presents us a haughty Emery Slade, a man that is easily hated, as he prepares to redeem himself and make amends of his former life. By the kindness of Jean Hersholt, the famous humanitarian of Hollywood, he is connected to the head of the 20th Century Fox studio, who engages him as a talent scout that is sent to New York to audition possible candidates for the female lead of the upcoming "Brigadoon".Emery is assigned young Bill Davis, who immediately dislikes Slade and his methods. Davis wonders who could have given a job to this man that has no clue as to what has to be done. At the same time, he wants to introduce his former girlfriend, Julie, an aspiring actress and singer, to Slade. Well, he needed not to worry, as Slade meets the young woman on his own and falls under her spell. They both discover how much alike they are. Needless to say, Slade changes for the better in an about face that's hard to believe, but one roots for him and the young Julie.William Powell plays Emery Slade with bravado. He makes us see why this man is so much hated, until he comes to his senses. Mark Stevens is good as the studio handler. Betsy Drake has good chances as the young Julie Clarke. Adolph Menjou plays the studio head.While not one of the best William Powell's vehicles, the film is mildly pleasant. It offers tamed fun whenever Mr. Powell is around.