42nd Street

The performances, writing, and musical numbers shine. Although, the musical numbers are only utilised near the end, which could be a disappointment for fans of Busby Berkeley's impeccable choreography.

42nd is a delightful early musical from Busby. The dialogue is witty and the choreography was simply amazing. 42nd street is a musical about putting on a musical, but somehow it felt more refreshing than other show business musicals. Recommended

Due to it being an old not everything lands as it originally did and it dosen't feel like a musical till near the end but there are some fun moments.

Entertaining drama comedy musical, l liked most the backstage details of putting on a show, And I enjoyed the impressive big show numbers at the end

Great dance numbers string together a fairly average showbiz plot, though I was a bit surprised by the ambiguousness of the ending.

1933 !! CLASSIC! Saw on TV 12.29.2021

This is a musical review with a silly, contrived plot. The singing and dancing of Ruby Keeler, the great production numbers of Bubsy Berkeley, and the wonderful songs are all top grade.

Come down to 42nd Street where you have fun musical numbers, beautiful sets and costumes plus a great group of characters that you can relate to

It's fine. Not amazing, but fine. Most of the pre-Code musicals seems to operate in the same arena - generic storylines told by inoffensive characters culminating in some large, technically impressive stage number. Here, it's an inexperienced chorus girl finding her way to stardom through a group of trope-laden individuals - the sassy, experienced performers, the passionate director, the rich financier interested only in the affections of a performer, but the film redeems itself for these stereotypes when you realize that in 1933, most of them hadn't been done before (or at least not put to screen). The music has largely fallen out of favor, with a relatively typical focus on the grandeur of show business, while the film has aged the best in terms of the collaboration between choreographer Busby Berkely and cinematographer Sol Polito, though they only get the chance to really shine in the final performance (the tracking shot between the legs is classic). Much of the actual musical that the film focuses on creating opts for grandeur rather than sense, a trait that the film shares with many of its contemporaries. It's fast-paced and has its moments, but probably won't shake you to your core. (3/5)

Great Busby Berkeley musical numbers and for once, a good story to go along with it.