Busby Berkeley's name became synonymous with musical choreography in part because of his impressive three-film work in 1933. chlopinions writes on The Gold Diggers of 1933 and more as they turn 90:
differences in the narrative between the three, but just barely; in broad strokes, each is telling the same story.
Despite the relative homogeneity of these stories, there are enjoyable elements within the rigid format, usually to be found amongst the glittering casts. In, it’s the rapport between the glorious scheming showgirl trio of Keeler, Joan Blondell and Aline McMahon that gives the narrative its sparkle.
As these movies are 90 years old, it’s hard to fully appreciate how risqué they were, but the fact that they were made in the last full year before the production code clamped down on Hollywood is no coincidence.
Indeed, after his bountiful bonanza of 1933, Berkeley’s professional and personal worlds continued to spin off into all sorts of directions. 1934 saw the release of, another musical in the exact same vein as his 1933 trio. In 1935, he received sole directorial credit on three different movies–but he was also the culpable party in a drunk-driving accident that killed three people.
is a writer based in the UK. You can read her work at Culturefly, the BFI, Podcast Review, and Paste.
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