DANCING LADY

US, 1933, 93 minutes, Black and white.
Joan Crawford, Clark Gable, Franchot Tone, May Robson, Fred Astaire, Robert Benchley, Nelson Eddy, Moe Howard.
Directed by Robert Z. Leonard.

A musical drama of the early thirties. It is very similar to many films made by Warner Bros at the same time, particularly Forty Second Street. The Warner Bros musicals had much more energy, if, at times, less polish.

This film, directed by Robert Z. Leonard - who was to make many Clark Gable vehicles and also such classics as Pride and Prejudice has the smooth and glossy M.G.M. production values. It is a Joan Crawford vehicle and she gets an opportunity to sing and dance as well as to rise from burlesque to stardom. Clark Gable is strong but much less forceful in the role of the hero.

The film is more interesting for its range of supporting talent. It introduced Fred Astaire to films - as himself doing dance routines with Joan Crawford. Nelson Eddy appears at the end to sing. Comedian and writer Robert Benchley has a comic role. The Three Stooges also feature prominently. The plot is the standard one about the rise of the starlet from obscurity to stardom and falling in love with the seemingly tyrannical director. Nothing new, but a star-filled version of the same.

1. The popularity of the behind-the-scenes in the theatre musicals and dramas of the early thirties? The perennial appeal (A Star Is Born and its many imitators and derivatives)? The parallel with the Warner Bros films of the same time, especially Forty Second Street? M.G.M. production values and style, gloss?

2. The film echoing the transition from silent to sound film? The transition from stage to films in popularity? The perennial popularity of films about the stage, backstage stories? The conventional material which was eventually to become cliche?

3. Black and white photography, choreography, singing? The cast, the leads? The introduction of talent which was to develop - in several directions: Fred Astaire. Nelson Eddy, Robert Benchley, The Three Stooges?

4. The film's presupposing acceptance of the conventions, the stereotype characters, the plausibilities and implausibilities of the plot? The authentic atmosphere of the stage with the contrived story?

5. Joan Crawford as a star of the thirties? Her forceful presence, her singing and dancing? Her presentation as a lady of burlesque, the leering of the crowds and her reaction, her friends? The uptown audience and the possibilities of influence? The arrest, the release? her being introduced into high society? The influence on producers and directors? Her earnestness in trying hard, her strenuous rehearsals? The clash with the director, exchange of barbs? Her falling in love with him? The two men in her life? her choices? The finale and her triumph? Stereotype - but with Joan Crawford vigour?

6. The presentation of the two leading men: Franchot Tone and his dapper presence, audience for the burlesque, influence of money on producers, his courting the heroine, his joy in her success? Stepping back for the hero? Clark Gable as the energetic director, no nonsense, reliance on advice of his friends, the show must go on, the clashes with the star, his suspicions of her, his appreciation of her talent, forcing her along? Falling in love? Happy ending?

7. The background of the burlesque world, her burlesque friends? Prison? Sharing apartments? Society types? Theatre types and the backstage personnel?

8. The Stooges and their comedy? The adviser to the director?

9. Nelson Eddy's singing contribution? The quality of Fred Astaire's cinema debut?

10. The musical numbers from burlesque to legitimate musicals? Choreography? The impact of the finale with the Berkley Busby type styles of the thirties? Joan Crawford and Fred Astaire and their dancing? An entertaining, if dated, film of the thirties?