Gold Diggers of 1933 (Warner Bros.) (1933)

THINGS TO REMEMBER In Setting Up the Picture You'll Never Forget! Of course you'll want to sell “Gold Diggers” as the super-successor of “42nd Street.” To do this with maximum success we believe the following points are important: ] wa Make sure the public understands that this new hit is from Warner Bros., the same company that gave them “42nd Street,” and not an imitation from another company. For this reason it is of vital box-office importance to you that Warner Bros.’ name be displayed prominently in all campaign material. Get over the additional fact that it has many of. the same stars and chorus beauties they enjoyed so much in “42nd Street,” and is the work of the same composers, artists, designers, etc. Don’t sell it as “another ‘42nd Street’, ’’ but get the “bigger and better” slant into all copy. The show backs you up in this absolutely. Three new stars have been added to the cast and there are more girls, more songs, more laughs, bigger spectacle. The fact that “Gold Diggers’ is actually a 1933-34 release can be developed into an interesting angle for THE STORY Carol, Polly and Trixie are show girls out of a job. When they learn that Barney, a producer, is putting on a show, they call up all their friends who are doing all sorts of odd jobs because there is nothing in the show line. All the girls promptly throw up their jobs only to find that “cvney has everything but the money “usmee the show. ‘rad, @ young song writer, who ate 7 in Meverwie Poly, Oilers up fiftecs thousand dallars. vy think be is .as poor as they-are abd at first refuse to believe him. The next day he shows up with the cash, however, and the show goes into work. Brad writes the music, but refused to make a personal appearance although he has an excellent voice. Polly reads of a bank cashier having absconded with $20,000 and believes the man is Brad, and that is why he daren’t appear in the show. She is terribly hurt, but the show must go on, so she says nothing about XG: On the night of the opening, the juvenile, who is to sing Brad’s songs with Polly, becomes ill. Everyone in the show puts it up to Brad that he must go on, in order to save the show. Polly finally persuades him by telling him they are all on the verge of starvation. The next morning the newspapers come out with scare heads announcing that Brad is really the scion of a very wealthy and stiff necked Boston Back Bay family. J. Lawrence Bradford, Brad’s older brother, and trustee of the estate, immediately rushes to New York with his attorney, Peabody. He tells Brad he will cut off his income unless he gives up the show business and Polly. Brad refuses, so J. Lawrence decides to buy Polly off. He goes to her apartment. Carol and Trixie are there hut. Palty is not at home. He mistakes Carol for Polly, and tries to giveehtr a check tn give-Pyad up. Carol is indignant. but Trixie decmmmes ic take Lawrence and *eauody over for «ouple of suckers. She makes an appotmtment to mect them at a speakeasy to talk matters over. J. Lawrence falls for Carol and Peabody for Trixie. The girls string them along for a couple of days, the two men falling more and more in love. J. Lawrence is eventually plied with liquor and wakes up in pajamas in Carol’s apartment. He gives Trixie a check for $10,000 to give Carol and fiees. In the meantime Trixie had taken Peabody to a friend’s apartment. She works the badger game on him, but finds she is in love with the lawyer and ean’t go through with it. Thev become engaged. J. Lawrence returns to Carol’s apartment, half in“love and half in anger, to upbraid her for taking the check. She has it framed and he sees she has no intention of cashing it. He then avows his real love for her. They go to the theatre where J. Lawrence discovers that Carol is not Polly after all. He gives the $10,000 check to Brad for a wedding present. BILLING OFFICIAL Warner Bros. Pictures, Inc. & The Vitaphone Corp. 25% presents ‘““GOLD DIGGERS OF 1933”’ 100% with Warren William—<Aline MacMahon 15% Joan Blondell—Ruby Keeler 75% Dick Powell—Guy Kibbee 75% Ned Sparks 40% Ginger Rogers gies 20% Directed by Mervyn LeRoy 20% A Warner Bros. and Vitaphone Produetion 40% IMPORTANT NOTE TO EXHIBITOR! Tell your operator—for best results move Fader up two points for the musical production numbers on “GOLD DIGGERS OF 1933” and also on the TRAILER. ce theatre copy. Various ways of handling this are suggested in the ad section. Your ability to follow “42nd Street’ so quickly with the second and most sensational triumph of the great musical revival, moni/is ahead of schedule release date, gives prestige to the showing which can not be over-valued. Give Ruby Keeler a special plug wherever possible. Fan mail and exhibitor reports indicate that millions are waiting to see her again on the strength of her “42nd Street” performance. Ads and other display material should not look too much like those on “42nd Street.”’ For this reason we recommend featuring the spectacle scenes as much as possible, since it is in this department particularly that “Gold Diggers’’ far outshines its predecessor. Pe erPEnCe se eee Gh SR oa Re Seek See tea SS Yr oe gti = as AOL REA goete BE PCCD 00 epee Ci he ee Res ode OTE ris tick ol cant MON Ss a sant ea eR eel Pe a a een EE ME CRAGRIG ET DOU a6. hei cis. CRA... 2 oe ee EB ies salsea Wis eae Warren William Te teed 2 a aid oe Joan Blondell b, Aciatin. sep at Aline MacMahon pee en Ruby Keele OM RPGC T ei Dick Powell Pr and gill. ok Sead: lea ee Guy Kibbee Re: os Hel hea eee Ned Sparks ESE I teeter ia Ginger Rogers Mew aaa Clarence Nordstrom Spi Se ome i PORE Robert Aynew WOE. feck ck eee Tammany Young SA GT RIS, Sterling Holloway | eNom Ferdinand Gottschalk SCREEN RECORDS WARREN WILLIAM—“Mind Reader,” “Employees’ Entrance,” “The Match King,” “Three on a Match,” “The Dark Horse,’ “The Mouthpiece.” JOAN BLONDELL—‘Blondie Johnson,” “Lawyer Man,” “Central Park,” “Three on a Match,” “Big City Blues,” “Miss Pinkerton,” “The Crowd Roars ” ALINE MAC MAHON—“The Life of Jimmy Dolan,” “Silver Dollar,” “One Way Passage,” “Life Begins,’ “Week End Marriage,” “The Heart of New York,’ “Five Star Final.” RUBY KEELER — “42nd Street” (famous musical comedy star of stage). DICK POWELL — “42nd Street,” “The King’s Vacation,” ‘Blessed Event,” “Too Busy to Work.” GUY KIBBEE — “Lilly Turner,” “The Silk Express,’ “Girl Missing,” “The Life of Jimmy Dolan,” DBL O A sh 5s hase aes Sorcen Fiae BY: eee MILOUR Belfer ea on eee Based on 0 Play BY... cps... Music and Lyrics By ...........0000.... PROCOGPAI TIE co. eis a Pan. BGGOr aio, Be Art: Diertmar one mil taitara haste a Oe hd Ge” sieht a aN te Secret Numbers created and staged by...... Vitaphone Orchestra Conducted By PRODUCTION STAFE GANEET Sak ON A aa: George Amy sha cae ete aM alte Tiron asks tad Orry-Kelly ashy alts Caan Menuet Busby Berkeley “42nd Street,’ “Scarleé Dawn,” “Central Park.” NED SPARKS — “42nd Street,” “Blessed Event,” “Big City Blues,” “The Miracle Man,” “Corsair,” “The Secret Call,” “Kept Husbands.” GINGER ROGERS—“42nd Street,” “You Said a Mouthful,” “The Tenderfoot,’ “Young Man From Manhattan,” “The Sap From Syracuse.” STERLING HOLLOWAY — “Blondie Johnson,” “Elmer the Great,” “Hard to Handle.” FERDINAND GOTTSCHALK — “The Keyhole,” “She Had to Say Yes,” “Grand Slam,” “Ex-Lady,” “Girl Missing.” MERVYN LEROY — (director) “Eimer the Great,’ “Hard to Handle,” “I Am a Fugitive from a Chain Gang,” “Three on a Match,” “Big City Blues.” Mervyn LeRoy Erwin Gelsey and James Seymour David Boehm and Ben Markson Dike eee Avery Hopwood Re) gk Harry Warren & Al Dubin Sol Polito Anton Grot Leo F. Forbstein