The year after his greatest achievements in films by other directors, Berkeley sits down comfortably in the chair himself. But let's face it, these films aren't about the comedy or the direction at all; we're really waiting for the numbers (and, as is pointed out here, the stunning Dames). He excels with both kaleidoscopic choreography and optical camera effects once more and with his enormous ingenuity it would be very cheeky to call him a one-trick pony. Familiar or not, it's still impressive.

I was enthralled and delighted. The songs are nicely spread out, and the screwball comedy is quite amusing. Each of the three big production numbers is highly enjoyable. "I Only Have Eyes For You" and the title track are both really, really impressive, including some absolutely wild camera techniques, kaleidoscopic choreography, and a sea of Ruby Keeler's face. "The Girl at the Ironing Board" has some clever stuff too, like dancing longjohns. Really the whole thing is just charming.

The plot is tedious, and Hugh Herbert is irritating as usual. But Blondell is gorgeous, Powell and Keeler are ideal starry-eyed juveniles, and the Berkeley production numbers are up to the "Gold Digger" standard. The dancing/singing suits of long underwear in "The Girl at the Ironing Board" are cute and slightly perverse, "Dames" is the usual stunningly inventive Berkeley paean to female beauty, and the two "I Only Have Eyes For You" numbers show the early '30's musical at its best.

In the last of the grand budget-breaking spectacles before the "production code" came into being, distinguished choreographer Busby Berkeley took his imagination to the limit: watch for the dancing clothes on an ironing board and dancing girls with puzzle pieces on their backs which form the real Keeler.

The plot isn't as threadbare here as in other Berkeley pics, but is still a means to an end: dance choreography that doesn't insinuate so much as screams sexual innuendo and phalluses. "I Only Have Eyes for You" is a great cinema moment.