GO INTO YOUR DANCE
US, 1935, 92 minutes, Black and white.
Al Jolson, Ruby Keeler, Glenda Farrell, Helen Morgan, Barton Mac Lane.
Directed by Archie Mayo.
One of the many Warner Brothers musicals of the early and mid-thirties. However, it was not directed by Busby Berkeley, but by Bobby Connelly (who has a number of the famous Berkeley touches).
The film is of interest as a star vehicle for Al Jolson, who had made his impact in sound films with The Jazz Singer and who had appeared in such musicals at Warner Bros. as The Odd Ball, Wunderbar. However, here he is teamed with his then wife, the very popular Warner Bros. dancer Ruby Keeler (42nd Street, Dames, Flirtation Walk). The make an unusual team. There are good supporting performances by the famous Helen Morgan as a singer, Patsy Kelly with a touch of comedy and Glenda Farrell as Jolson's tough sister.
The film has a number of pleasing musical sequences, especially Quarter to-Nine and Latin from Manhattan. Jolson has the opportunity to offer echoes of the songs for which he was famous and appears a number of times in Black Face - especially in the melodramatic final sequences. While the plot is the usual show biz story line of failure and success, a sub-plot is introduced about the kidnapping of the hero's sister with violent shooting at the end. Ruby Keeler, angelically dieing, is the victim.
Not a memorable musical, but significant in the history of the American musical film.
1. An entertaining musical? comedy? melodrama? the tradition of the Warner Bros, musicals?
2. Black and White photography, atmosphere of California, Chicago, Broadway, the nightclubs of the 30's, the lavish stage productions, the atmosphere of the 30's, the choreography - with the Berkeley touch?
3. The songs and there importance: the staging of a Quarter-to- Nine with its life and verve, the spectacle of Latin from Manhattan, the pathos of the finale with the title song ? the Jolson image and the songs from the South, his quoting his famous songs and famous lines, the dancing -choreography, Ruby Keeler's style, Helen Morgan and her contribution ?
4. The portrait of Al Howard - the irresponsibility, the hostility of the Broadway producers, the concern of Molly, finding him at the races in Mexico, his drinking, opting out, his Mexican song and dance ? the possibility of going in to team work ? the friendship with Dorothy after she rescues him at the stage door, the success of their act, his ignoring her, his concern for his sister, the plans for the singer to go in to the show ? the kidnapping of Molly ? melodramatics ? the final shooting ? his realisation of his love for Dorothy ? the Al Jolson personae and style ?
5. Ruby Keeler's simple style as Dorothy - in her original dance routines, the contrast with the. more fashionable dancers ? being seeing as "Kid" ? friendship with Molly, saving Al in the street, joining him in the dance routines, wanting to leave because he didn't notice her, the opening of the restaurant/club, the dangers for Molly, her giving her life for Al ? the sweet 30's heroine - giving herself for her man ?
6. Molly and her tough style with the producers, with Al, her plans, friendship with Dorothy, kidnap ? the other women and their contribution Helen Morgan and her associates, singing style ? the comedienne trying to do a song and dance act ?
7. Broadway producers, entrepreneurs, the risks taken, the hard lines, success ?
8. The background of show business in the 30's - and the other side of the depression ? the popularity of this kind of film in its time ? of historical interest ?
