Gold Diggers of 1937 (Warner Bros.) (1936)

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. DIGGERS OF 1937 (Lead-Off Story) “Gold Diggers” Edition Of 1937 Comes To Strand ‘““Gold Diggers of 1937’’— fourth and most elaborate of the famed series of musical movies which began in 1929 with ‘‘Gold Diggers of Broadway,’’ and earried on with ‘‘Gold Diggers of 1933’? and ‘££1935’’—has_ been booked by the ............... Theatre, and will have its first local showNOs 5.5. ek csceticas Just like the perennial Ziegfeld ‘<Follies’’ and George White’s **Seandals,’’ these ‘‘Gold Diggers’’ of the Warner Bros. seem to have become a genuine Ameriean institution. Combining plenty of comedy, lots of hit songs, and no end of speedy and beautiful dancing by big choruses of lovely girls, they have all been tremendous successes. This 1937 edition co-stars those newlyweds, Dick Powell and Joan Blondell. It features Victor Moore, Lee Dixon, a_ sensational new dancer, Glenda Farrell, Osgood Perkins, Donald Meek, Rosalind Marquis, Irene Ware and other fun-makers, plus 200 dancing beauties trained by Busby Berkeley. Those who have seen previews of ‘‘Gold Diggers of 1937’’ proclaim it to be funnier and more tuneful than any of its predecessors, and especially are its settings of unusual size and beauty. The most elaborate set, upon which the entire company appears in several scenes, represents the Long Island estate of a New York theatrical producer — played by Victor Moore of ‘‘Of Thee I Sing’’ fame. Beginning at one end of the stage, on the porch of a threestory colonial type mansion, the camera was set on tracks enabling it to perambulate acress a long artificial lawn spotted with some twenty-five trees, through to a 40foot square swimming pool, 10 feet deep; across another lawn to a regulation-sized tennis court; through a bandstand pavilion and dining patio, and end up at the far end of the setting containing an atmospheric shrubbery background. Some 250 technicians worked three weeks to erect this unique set, which saved the company the expense and time involved in renting a less appropriate setting somewhere in the Los Angeles residential district. The tennis court served as a dance floor for lavish production numbers eonceived by Dance Director Berkeley. More than 300 extra players were employed daily during the filming of scenes in this one sequence. Other sets include the interior and exterior of a large railroad station, the interior of a Manhattan night club, the ballroom of an Atlantic City hotel, and the full interior of a theatre. The story, in brief, concerns Dick Powell, an unsuccessful insurance salesman, and Joan Blondell, stranded showgirl who becomes his secretary and who saves the day by landing him a million dollar application. Songs by E. Y. Harburg and Harold Arlen and Harry Warren and Al Dubin, are’ entwined throughout the picture, while Busby Berkeley ’s dance ensembles are featured at the climax which represents the presentation of a Broadway musical comedy. Lloyd Bacon directed the dramatic part of the picture. ‘“Gold Diggers of 19377’ is based on the play ‘‘Sweet Mystery ef Life,’’ by Richard Maibaum, Mike Wallach and George Haight. Warren Duff and Tom Reed wrote the screen play. It required approximately twelve weeks to film the story. Page Twenty-eight Sweethearts in the picture and newlyweds in real life, Dick Powell and Joan Blondell will come to the screen of. the Pee ey Theatre ONE ee ee » heading the all star cast of the 5th and biggest edition of what has become a national institution ‘‘Gold Diggers of 1937.’’ Mat No. 209—20c¢ ae Uses Yachting Cap As Star Bait A laborer assigned to net debris from a big swimming pool used in “Gold Diggers of 1937” appeared at his job with well-worn overalls and a brand new white yachting cap. “What’s the idea, Bill?’ asked Dick Powell, star of the show. “It’s my autograph album,” said Bill. “I knew you’d ask, and here’s my fountain pen.” Dick signed. So did Joan Blondell, Glenda Farrell, Victor Moore and all the rest of the cast. They had to, since Dick had walked into the trap. “Gold Diggers of 1937,” big First National musical, will come to the Theatre on Osgood Perkins Noted stage star who has an important role in support of Dick Powell and Joan Blondell in ‘*Gold Diggers of 1937,’’ the fifth and best edition of the famous Warner Bros.’ spectacle now playANG =U ONG os i crnetee gots ae Theatre. Mat No. 107—106 (Opening Day Story) “Gold Diggers”, Newest Musical, At Strand Today ‘*Gold Diggers of 1937,’? latest in the famous series of every-otheryear musical comedies made by Warner Bros., opens today at the tae RSE PS Theatre, with Dick Powell and Joan Blondell, the newlyweds, as its stars. It has, like its predecessors, a lot of fast-stepping, lovely-to-lookat dancing girls trained by Busby Berkeley (no less than 200 of them this time), and is interspersed with new hit songs by Harold Arlen and E. Y. Harburg, and Harry Warren and Al Dubin. Victor Moore, popular comedian of the New York musical comedy stage, helps support the PowellBlondell star combination. There is also Lee Dixon, noted eccentric dancer from Broadway, making his screen debut; a new and striking ‘torch-singer named Rosalind Mar quis, besides such familiar funmakers as Glenda Farrell, Osgood Perkins, Otin Howland, Irene Ware and Charles D. Brown. The story, it is said, has to do with Powell, who’s been a flop as a life insurance salesman, putting over a million-dollar policy on the life of Moore, who is a theatrical producer. Moore takes a faney to the lad and makes him head of his dramatic ventures. This gives an opportunity for the use of some immense settings, such as a big convention hall in Atlantie City, a whole theatre, and a great estate on Long Island. Joan Blondell and Glenda Farrell, as chorus girls out of a job, are said to hit a new high in funmaking, love-making, and moneymaking, outdoing all their previous performances as gold diggers. And there’s love interest a-plenty, with Joan and Dick romancing, and the brand-new comedy team of Farrell and Moore doing a Mr. and Mrs. at the end. The picture was directed by Lloyd Bacon. Those who saw early showings of ‘‘Gold Diggers of 1937’? proclaim it the best of the series, all of which have been highly successful. (Review) ‘Gold Diggers Of 1937’ Is Hailed As Best Of Series Dick Powell, Joan Blondell, Victor Moore, 200 Girls, Featured In Warner Bros.’ Musical Every two years there is presented to the movie-fans of the world, under the generic title of ‘‘Gold Diggers,’’ a big and merry melange of rich eomedy, songs that become hits, and pretty, fast-stepping dancing girls by the hundreds. Warner Bros. originated this idea and have carried it out with unfailing success. “Gold Diggers of 1937,’’ the current edition, had its local premiere yesterday at the S gunacabate Theatre, and sent a succession of highly-pleased audiences homeward with smiles on their faces and the hum of gay musi¢ on their lips. Dick Powell and Joan Blondell are the stars. It will be an unforgettable picture for both of them, because it was during the making of this big musical that their courtship was conducted. And it was on the day after their last scene together that they were married and started honeymooning. Both look very gay and happy in the picture. Dick sings as splendidly as ever, and Joan joins in with a pleasingly harmonious voice. “Speaking of the Weather” probably will be sung and whistled about town. So will “Let’s Put Our Heads Together,” “Hush Mah Mouth” and “Life Insurance.” The Warner studio team of Harold Arlen and E. Y. Harburg wrote these. A smashing military number ealled “All is Fair in Love and War” was done by another hitmaking team, Harry Warren and Al Dubin. This introduces 200 girls in amazing precision drills and dances with flags and drums — directed, of course, by the famed Busby Berkeley. A logical enough comedy-yarn is provided, upon which the songs and dances are strung. It has to do with Powell, as an unsuccessful life insurance salesman, selling a million dollar policy on the life of Victor Moore, a leading theatrical producer. Moore takes a fancy to him and makes him Lessons In Gold Digging head of his stage enterprises. Joan Blondell and Glenda Farrel, as chorus girls out of a job, continue the fast and funny gold-digging that they made famous in previous editions of the series. And with Joan and Dick romancing through the picture, and Glenda falling in love with Moore — whom she had set out to “take over” — there’s plenty of love interest. A new and sprightly eccentric dancer, a tall, lank youngster named Lee Dixon from the New York stage, makes his film debut in “Gold Diggers of 1937,” and surprises and delights audiences. Then there is the fresh and flippant Glenda Farrell, the peculiarly funny Osgood Perkins, Olin Howland, a pert brunette newcomer, Charles D. Brown, William Davidson and a dozen other wellknown comedians—and, of course, Busby Berkeley’s 200 dancing girls. The girls are slightly taller, slightly heavier, and less blonde, the statistics tell, than the girls of previous “Gold Diggers.” This show is the fourth of the series, the others being shown in 1935, 1933 and 1929. Lloyd Bacon directed the dramatic part of the current produc tion from a screen play by Warren Duff. The settings of the 1937 “Gold Diggers” are larger and more imposing than those of any previous one of the series. There’s an immense convention hall in Atlantie City, a vast estate on Long Island and a complete theatre in New York, among others. Glenda Farrell, once more forming a ‘‘gold digging’’ team with Joan Blondell, gives Victor Moore a lesson in the fine art of chiselling in ‘‘Gold Diggers of 1937’’ the First National musical comedy which opens Othe = TREOEC ON eA = Mat No. 212—206