Set during The Great Depression, Gold Diggers Of 1933 is the third adaptation of a Broadway musical by Avery Hopwood (The Bat). It was directed by Mervyn LeRoy (Mister Roberts) and written by Erwin S. Gelsey (Swing Time), James Seymour (42nd Street), David Boehm (Always) and Ben Markson (What Price Hollywood?). It stars Dick Powell (The Bad And The Beautiful), Joan Blondell (Grease), Warren William (The Wolf Man), Aline MacMahon (The Man From Laramie), Guy Kibbee (Mr. Smith Goes To Washington), Ruby Keeler (42nd Street), Ned Sparks (42nd Street) and Ginger Rogers (Top Hat).
Three out-of-work actresses are cast in a new show which will get going only once funding his provided. One of the girls’ boyfriend, a gifted musician decides to produce the show, but refuses to perform in it despite his obvious talent. When he’s forced to go on stage at the premiere following an unexpected, his identity is revealed and it turns out he’s part of powerful rich family. Concerned, his brother and the family lawyer arrive to stop him from marrying a gold digging showgirl but they mistake one of the other actresses as the girlfriend in question. The girls decide to play along and comedy ensues. Trailer and review after the jump.
Don’t be put off by Gold Diggers Of 1933‘s age, as it holds up surprisingly well. There are plenty of downright hilarious moments, it moves along briskly and is simply very easy to watch. The actors are all very good, with special mention to Joan Blondell and Guy Kibbee and the musical setpieces, choreographed by the great Busby Berkeley (42nd Street) are amazing to behold to this day (especially the powerful Remember My Forgotten Man).
Really not much to say this time around. It’s a good movie and you should definitely check it out. Gold Diggers Of 1933 was huge success and Warner Bros quickly produced three sequels which didn’t follow the same characters and storyline, but two of them featured Dick Powell in different roles for some reason. The film was selected for preservation in the United States National Film Registry by the Library Of Congress in 2003, for being “culturally, historically, or aesthetically significant”.