Footlight Parade (Warner Bros.) (1933)

R aves from Critics ee ) D AILY Saturday, Sept. 30, 1933. “Footlight Parade” Those who thought that Warners would not be able to turn out another musical equalling ‘42nd Street’’ and ‘‘Gold Diggers’’ are going to-be put to the inconvenience of having to change their minds For this footlight parade which was shown to an invited audience yesterday not only equals its predecessors, but surpasses them by generous miles, If there is anyone left who thinks the ‘screen can’t put on musical extravaganzas as effectively as the stage, this production will convince him that what Broadway producers have been putting on are just programmers compared to the latest Warner wonder. Aside from story, which is never important in spectacular affairs of this kind, the picture has just about everything that any other musical ever had and lots of surprises that none ever had. In fast action tempo, it unfurls wonder after wonder until even the customers who sit on their hands are forced to squirm out of it and burst into applause. For director Lloyd Bacon and dance director Busby Berkeley, the picture sets a standard that challenges competition. Of the cast, James Cagney, branching out as a nifty singer and dancer, takes top honors. He is tollowed by Ruby Keeler, Joan Blondell, Dick Powell, Frank McHugh and a host of other firstline performers. And palms are rated by the composers, Walter Donaldson and Gus Kahn; the authors, Manuel Seff and James Seymour; the cameraman, George Barnes, and all other cinemasmiths who had a hand in the production. It should be one of the season’s best money pictures. GILLETTE. “Koot'~ht Parade”’........ more about it later........plenty a pix nobody can afford to miss........ for everybody will be ‘ ng about it... ..the producers have decided to hold the trade showing simultaneously with the world premiere at the Strand next Wednesday nite........ Andy Smith and Grad Sears have wired district and branch managers to extend invitations to -exhibs to attend the New York opening........ as soon as we finish this kolumn........ we light out on an exploring expedition........ you won’t hear from us till we discover that Warner Waterfall of Busby Berkeley’s........ never saw such maidens bathing in any brook! ers, a MOTION PICTURE LY Saturday, September 30, 1933 Looking "Em Over “Footlight Parade” (Warners) It tops “42nd Street” and “The Gold Diggers of 1933,” does ‘“Footlight Parade,” third successive musical in what is now an established parade of Warner musical hits. Sounds like an exaggeration and a statement attributable to unbounded enthusiasm, but this reviewer stands by his guns. Like its predecessors, “Footlight Parade” will be talked about for its three swell musical numbers: “Honeymoon Hotel,” “By a, Waterfall” and “Shanghai Lil.” That would be enough to shoot this ’way over the line as a piece of celluloid to reckon with as a box-office draw. But where the first two had banalities in story, or so little story it had to be excused, the yarn in “Footlight Parade” turns out to be a harum-scarum, if somewhat slightly overemphasized, but kidding account, of an outfit that produces theatre prologues for a national circuit at the rate of one a week. Understandable enough at all points to give the public a kick, ‘“Footlight Parade’ becomes even more convincing for the lowdown on this cock-eyed business which it portrays. You get Jimmy Cagney as a musical comedy producer thrown out of a job by the advent of talkers. He conceives the idea of making stage prologues for a circuit on a pro-rata cost basis and so embarks on a dizzier career than ever could have been his in the comparative quietude of the musical comedy world. The climax, building into the prologue previews of three sample shows designed to cinch a contract with 40 de luxers, develops naturally and, what is much more important, gives the musical a chance to send its singingdancing principals, who include Ruby Keeler, Dick Powell and Cagney himself, through hotel corridors, under and above water and into a Chinese opium den atmosphere to end it all with a plug for Roosevelt, the NRA and the Blue Eagle. It’s all rousing entertainment, well-staged and very adroitly handled. How adroitly, the nation’s theatres will begin to prove almost immediately, for the picture goes into distribution pronto. KANN Page Two NOTE TO EXHIBITOR: — You can use these reviews for a lobby blow up, in ads and for publicity purposes. Newspaper Critics Hail “Footlight Parade” “ ,.. This Warner Bros. ieature is just about the biggest song, dance and story picture to date, and I would hesitate to name any in its class for spectacular numbers . . . Brilliantly spark-plugged in cast, it’s easy to figure this as a sensational hit.” EDWIN SHALLERT ... Los Angeles Times eS ** . . . Better than ‘42nd Street’ and much greater entertainment than ‘Gold Diggers.’ ... ” ROBIN COONS ... Associated Press ee ee “There isn’t a motion picture studio in town that won’t envy Warner Bros. this picture.” DAN THOMAS... N.E.A. (United Press) t-4 «& *. . A marvelous production. The ensembles surpass anything I ever imagined.” JESSIE HENDERSON ... Consolidated Press oe “Great. show—a real treat.” ROBERT WAGNER... Editor of Script * * * “It’s the greatest thing of its kind Pve ever seen! I> was so excited I crushed my hat which I was holding. It’s amazing.” DOROTHY WOOLRIDGE ... Syndicate Writer ne eee “ ,.. I didn’t think ‘42nd Street’ and ‘GoldDiggers’ could be topped, but ‘FOOTLIGHT PARADE’ surpasses both . . . It’s a swell picture.” BILL EDWARDS ... United Press Saturday, Sept. 30, 1933 “FOOTLIGHT PARADE” with James Cagney, Joan Blondell, Ruby ‘Keeler, Dick Powell Warners 1 hr. 40 mins. SMASH HIT EASILY TOPS EVERY MUSICAL TO DATE WITH LAST WORD IN GORGEOUS, SPECTACULAR NUMBERS. Warners definitely cinch their claim as the premier producers of spectacular musicals with this latest, which tops their “Gold Diggers” and “Forty-Second Street.” Chief honors go to Busby Berkeley for his genius in spectacular staging of three smash numbers. The story leading up to their presentation also has more of the human element than those other two named. Director Lloyd Bacon did a superb job in the fast tempo from the opening shot, having caught the spirit of the show world realistically. Some swell comedy lines and business with believable and human characterizations. But the three numbers ARE the picture. They're more than enough. “By A Waterfall” is unquestionably the most gorgeous and spectacular musical number ever screened. It leaves you breathless with its beauty, dazzle and flashing brilliance, and the ingeniousness of the clever dance formations done entirely in the water pool. A smash novelty in, of and by itself. Other two numbers click strong, ‘“Honeymoon Hotel” and “Shanghai Lil.” The four principals turn in ace performances. Exquisite camera work. A clean-up without a struggle.