text: In 1933 Dick Powell and Ruby Keeler sang and danced their way through three Warner Brother musicals that offered Depression era audiences a momentary distraction from their woes. Gold Diggers of 1933, 42nd Street and Footlight Parade were all set in the world of Broadway Theatre with basically the same theme of the show must go on. In addition to Keeler and Powell the films featured the kaleidiscopic choreography of Busby Berkeley, show stopping tunes and many of the same supporting players.<br /><br />All are arguably classics of their genre but I must admit a clear preference for Footlight due to it's pace energy and lead James Cagney. Warren William in Gold Diggers and Warner Baxter in 42nd Street acquit themselves admirably as the shows production heads- particularly Baxter as the burned out Julian Marsh in search of one last box office smash. Both lack the infectious energy of Cagney however, who perfectly compliments the frenetic pace of putting on a Broadway musical. He is an absolute whirlwind as he deals with production numbers, unscrupulous partners and a gold digging girlfriend.<br /><br />Of course Cagney alone does not make Footlight the classic that it is. The script crackles with some sharp double entendres delivered by a superlative supporting cast featuring Frank McHugh, Hugh Herbert, Guy Kibbee and especially Joan Blondell who cuts everyone down to size. Busby Berkeley's dance numbers are surreal, suggestive and risqué and done just in the nick of time before the arrival of the Hollywood Code in 34. Sadly, the thirties and sometime beyond would never see such a richly made musical with the verve and sass of Footlight again. Gentility and morality made sure of it.
query: In 1933 Dick Powell and Ruby Keel
gen_review: er sang and danced their way through three Warner Brother musicals that offered Depression era audiences a momentary distraction from their woes. Gold Diggers of 1933, 42nd Street and Footlight Parade were all set in the world of Broadway Theatre with basically the same theme of the show must go on. In addition to Keeler and Powell the films featured the kaleidiscopic choreography of Busby Berkeley, show stopping tunes and many of the same supporting players.<br /><br />All are arguably classics of their genre but I must admit a clear preference for Footlight due to it's pace energy and lead James Cagney. Warren William in Gold Diggers and Warner Baxter in 42nd Street acquit themselves admirably as the shows production heads- particularly Baxter as the burned out Julian Marsh in search of one last box office smash. Both lack the infectious energy of Cagney however, who perfectly compliments the frenetic pace of putting on a Broadway musical. He is an absolute whirlwind as he deals with production numbers, unscrupulous partners and a gold digging girlfriend.<br /><br />Of course Cagney alone does not make Footlight the classic that it is. The script crackles with some sharp double entendres delivered by a superlative supporting cast featuring Frank McHugh, Hugh Herbert, Guy Kibbee and especially Joan Blondell who cuts everyone down to size. Busby Berkeley's dance numbers are surreal, suggestive and risqué and done just in the nick of time before the arrival of the Hollywood Code in 34. Sadly, the thirties and sometime beyond would never see such a richly made musical with the verve and sass of Footlight again. Gentility and morality made sure of it.
reference_response:  er sang and danced their way through three Warner Brother musicals that offered Depression era audiences a momentary distraction from their woes. Gold Diggers of 1933, 42nd Street and Footlight Parade were all set in the world of Broadway Theatre with basically the same theme of the show must go on. In addition to Keeler and Powell the films featured the kaleidiscopic choreography of Busby Berkeley, show stopping tunes and many of the same supporting players.<br /><br />All are arguably classics of their genre but I must admit a clear preference for Footlight due to it's pace energy and lead James Cagney. Warren William in Gold Diggers and Warner Baxter in 42nd Street acquit themselves admirably as the shows production heads- particularly Baxter as the burned out Julian Marsh in search of one last box office smash. Both lack the infectious energy of Cagney however, who perfectly compliments the frenetic pace of putting on a Broadway musical. He is an absolute whirlwind as he deals with production numbers, unscrupulous partners and a gold digging girlfriend.<br /><br />Of course Cagney alone does not make Footlight the classic that it is. The script crackles with some sharp double entendres delivered by a superlative supporting cast featuring Frank McHugh, Hugh Herbert, Guy Kibbee and especially Joan Blondell who cuts everyone down to size. Busby Berkeley's dance numbers are surreal, suggestive and risqué and done just in the nick of time before the arrival of the Hollywood Code in 34. Sadly, the thirties and sometime beyond would never see such a richly made musical with the verve and sass of Footlight again. Gentility and morality made sure of it.<|endoftext|>
query_reference_response: In 1933 Dick Powell and Ruby Keel er sang and danced their way through three Warner Brother musicals that offered Depression era audiences a momentary distraction from their woes. Gold Diggers of 1933, 42nd Street and Footlight Parade were all set in the world of Broadway Theatre with basically the same theme of the show must go on. In addition to Keeler and Powell the films featured the kaleidiscopic choreography of Busby Berkeley, show stopping tunes and many of the same supporting players.<br /><br />All are arguably classics of their genre but I must admit a clear preference for Footlight due to it's pace energy and lead James Cagney. Warren William in Gold Diggers and Warner Baxter in 42nd Street acquit themselves admirably as the shows production heads- particularly Baxter as the burned out Julian Marsh in search of one last box office smash. Both lack the infectious energy of Cagney however, who perfectly compliments the frenetic pace of putting on a Broadway musical. He is an absolute whirlwind as he deals with production numbers, unscrupulous partners and a gold digging girlfriend.<br /><br />Of course Cagney alone does not make Footlight the classic that it is. The script crackles with some sharp double entendres delivered by a superlative supporting cast featuring Frank McHugh, Hugh Herbert, Guy Kibbee and especially Joan Blondell who cuts everyone down to size. Busby Berkeley's dance numbers are surreal, suggestive and risqué and done just in the nick of time before the arrival of the Hollywood Code in 34. Sadly, the thirties and sometime beyond would never see such a richly made musical with the verve and sass of Footlight again. Gentility and morality made sure of it.<|endoftext|>