42nd Street

Modern musicals start here, and Busby Berkeley's genius bursts into full flower.

This 1933 film is the best known of the Warner Brothers Depression-era musicals, though it doesn't compare in dash and extravagance to later entries in the cycle.

The liveliest and one of the most tuneful screen musical comedies that has come out of Hollywood.

Berkeley choreographs chorines and camera with mischievous dexterity.

The result is an absolute spectacular. Not to be missed.

The title tune remains memorable (as does the parting shot), but this pioneering product-of-its-time no longer possesses much filmic power.

A masterpiece, not merely for its racy dialogue and lavish costumes, or for its now-classic "newcomer goes on instead of indisposed star" plot, but also for affording kaleidoscope choreographer Busby Berkeley a chance to show off in such superb numbers.

Oddly enough, in 42nd Street, Warner Baxter is a rather convincing stage director, Bebe Daniels has a surprisingly good voice and a fair sense of comedy, and the dancing and song routines are introduced with some imagination.

Film benefits from great musical numbers and its portrait of the show's director, one of the few well-developed gay characters in a 1930's Hollywood film.