Gold Diggers of 1933

A real marvel of a film; completely embracing the Depression period while being as technically advanced as the best of this early sound era. The entire cast and script bring such a wit and life [MacMahon could be an exception, there's some charm missing when she's alongside the gals]. I could see this convincing a banker in the 30s to come down off the ledge.

A surprisingly entertaining hollywood musical. It takes place in the depression era, and while it does have the cheeriness you'd expect from a musical it does acknowledge the times it was made in and balance the mood accordingly. The opening and closing numbers are very good and in the middle you have a slightly above average 1930's comedy.

I don't really love screwball comedy, so a lot of this didn't really work for me. It's still very charming. The musical numbers are fantastic.

Successor to 42nd Street featuring much of the same cast, fun and impressive but not quite as charismatic as the previous film. But it is a blast: sexy, socially cognizant, and full of dazzling choreography.

This came out the same year as '42nd Street' and 'Footlight Parade', both of which feature far more impressive Busby Berkeley numbers ('Young and Healthy' and 'By a Waterfall', respectively) than this film - but there's still some good ones in there. And, as a romantic comedy, this is the more well-rounded flick.

Very impressive film. The dance numbers are incredible and the choreography is mind blowing. It's probably more famous for the opening "We're in the money" bit but the finale is really the highlight of the film. It seems to be a direct response to the jobless veterans of WWI who were promised money that they never received, very grim.

The musical numbers shine, and the effort to make this a socially-conscious musical is appreciated. The screwball elements dominate, which may have been necessary to even get the social commentary in there. Genuinely funny in places, and LeRoy directs those musical numbers (and a number of other scenes) with inventiveness and spark.

I was expecting great musical numbers and set pieces, but I also expected it to be just a vehicle for those things with some obnoxious screwball stuff in between. I was pleasantly surprised. The story is engaging and even though it does contain many screwball staples, they were played out perfectly, making for a really fun time, instead of irritation.

"Remember my Forgotten Man" is one of the most beautiful songs and sequences I've ever seen in cinema. Berkeley creates splendor, with Blondell and Motten complementing magnificently. The cinematography and the choreography of all the music sequences - especially towards the end - are sublime, possessing visuals and imagery which many contemporary films should be jealous of. Ruby Keeler and Dick Powell are as charismatic as the best of Hollywood in that era. Some pacing problems, but great.

Surprisingly witty, sexy, and sophisticated for 1933. The political statements of the musical numbers that bookend the movie are a huge part of what makes it hold up so well. Aline MacMahon's half-sexy, half-funny cynicism keeps the mood light and fun in between the big numbers.

# 692

Hilarious and wonderfully crafted. Berkeley’s choreography is nearly unmatched here.

881

The four musical sequences are absolutely astounding. Unfortunately, there is a big stretch of plot in the middle that isn't particularly exciting.

Very entertaining musical. The ladies, particularly Ms. Keeler and Ms. Rogers, could charm the birds right down from the trees. And those Busby Berkeley numbers are again outstanding

Classic Depression-era escapist entertainment, with some great, over-the-top Busby Berkeley numbers. It's really Dick Powell's picture (though wise-cracking Aline MacMahon gives him a run for his money)--the best tenor-songster of the 30s, romancing Ruby Keeler again (42nd Street was earlier that year). Amazing how he moved from the top of that game to those great films noirs of the 40s and 50s. It ends with the surprisingly sombre "Forgotten Man"--originally intended for earlier in the movie.

Rewatch. You're kidding, right? An essential film, one of the greatest ever made. I could write a book on this, and maybe will someday.

Star Rating: ★★★★★

The musical numbers are clearly the highlight, especially the last two.

Rapid fire dialogue and over the top musical numbers

wish there was more Ginger in this. Good, splashy fun. Apparently Berkeley was the main inspiration for McCartney's "Honey Pie".

"We're in the money, that sky is sunny / Old Man Depression you are through, you done us wrong / We never see a headline about breadlines today / And when we see the landlord we can look that guy right in the eye / We're in the money, come on, my honey / Let's lend it, spend it, send it rolling along!" 77 years past, a cure for today's ills.

Berkeley dance numbers are of course out of this world and nigh-religious experiences, and the surrounding film is rather amusing comedy of sex and manners.

A wild combination of screwball comedy and beautiful dance routines. Most surprising is not ending on the (somewhat hidden) happy ending to the comedy, but instead on the the powerful Forgotten Man sequence. I would have preferred a little more cohesion between the music and the rest of the story; even so, it's still an above-average film.

Sharp screwball comedy mixed with dazzling musical numbers. Berkeley exploits the medium to the fullest, transforming the stage productions to cinematic wonders. The songs and choreography are terrific. All the players are marvelous as well. This movie is sassy, sexy, witty, and full of smiles. The only thing I would change would be to swap the last two numbers. "Shadow Waltz" would have been a much better closer, especially with that perfect final image. Other than that, I loved it.

Cavadoras de Ouro estreava há 90 anos na Dinamarca. Jurava que Lullaby of Broadway era desse filme, mas é de 35, isso fez que eu diminuisse a nota geral do de 33 que é uma maravilha pre-code, mas que não tem um Busby Berkeley realmente de tirar o fôlego. YTS.

Cheap and vulgar!

This is everything you could ask for in a pre-code musical. It's racy, really funny and has Billy Barty playing a creepy baby. The wonderful "We're in the Money" opening number totally captures what this entire film will be like ... and Ginger Rogers sings a verse in Pig Latin for no clear reason.

It feels odd and unfocused, kind of like two separate movies pushed together with a few book-ending musical numbers (including the finale, which seems totally out of place). It's still a lot of fun, though, and it's bound to put a smile on your face.

928

Spectacular musical sequences and really good regular scenes, but they do not create a cohesive whole. Aline MacMahon is easily the standout.

Like most projects involving Busby Berkeley, the actual numbers are visually inventive and a lot of fun, but the stuff surrounding them is just okay. In particular here, there's a serious lack of ANY kind of serious conflict. It's a light comedy as it's intended to be, and you know how it'll end, but it seems like the kind of movie where there'd be at least SOME tension as to whether Blondell's plan will backfire, or where they'd do more with the bank robber idea as a misunderstanding. Still fun

Excellent comedy musical! We find a lot of the same cast as in 42nd Street (1933) and adds Warren William, Joan Blondell and Aline MacMahon for a close to perfect cast! And this one starts off with the classic "The Gold Diggers' Song (We're in the Money)" with Ginger Rogers' coin costume! Already there you knew this was gonna be a treat. And what numbers Busby Berkeley produced for this musical! The super sexy "Pettin' in the Park", the magical "Shadow Waltz" and "Remember My Forgotten Man".

#987