Gold Diggers of 1933 (1933)

Directed by Mervyn LeRoy. With Warren William, Joan Blondell, Aline MacMahon, Ruby Keeler. A wealthy composer rescues unemployed Broadway performers with a new play.

Gold Diggers of 1933 is a pre-Code Warner Bros. musical film directed by Mervyn LeRoy with songs by Harry Warren (music) and Al Dubin (lyrics), staged and choreographed by Busby Berkeley. It stars Warren William, Joan Blondell, Aline MacMahon, Ruby Keeler, and Dick Powell, and fe

The famous opening song from the film Gold Diggers of 1933, performed by Ginger Rogers. All musical scenes in the film, including this one, were choreographe...

Gold Diggers Of 1933 Trailer 1933 Director: Mervyn LeRoy Starring: Aline MacMahon, Dick Powell, Ginger Rogers, Joan Blondell, Ruby Keeler, Warren William Off...

In this version of Avery Hopwood's theatrical war-horse The Golddiggers of Broadway, showgirls Joan Blondell, Ruby Keeler, and Aline McMahon attempt to find financial backing for the new show planned by producer Ned Sparks. Songwriter Dick Powell, offers to put up the money, much to his brother's disgust.

Overview of Gold Diggers of 1933, 1933, directed by Mervyn LeRoy, with Warren William, Joan Blondell, Aline MacMahon, at Turner Classic Movies

Gold Diggers of 1933 summary of box office results, charts and release information and related links.

Four aspiring musical actresses are struggling to make a living on Broadway in the midst of the Great Depression. When producer Barney Hopkins has the idea of creating a show about the Depression, the girls team up with newly-discovered songwriter Brad Roberts to make it happen. But Brad is not who he seems.

The glittery undulations of Busby Berkeley’s opening number, “We’re in the Money” (featuring Ginger Rogers), and the stomping lamentations of his closer, “Remember My Forgotten Man” (with Joan Blondell), are high on scenographic complexity but short on sensual pleasure. For this geometric wizard, who both choreographs and directs the Depression-centered comedy’s musical sequences, sex depends on excess. The electric-light violins of “Shadow Waltz” engage in the world’s largest game of Spin the Bottle, and “Pettin’ in the Park” turns the pure superfluity of the city’s open land into an erotic riot. Starting with the natural pressures of the mating urge, Berkeley spins out a florid display of sport and fashion. The backstage-Broadway plot, about a daring producer (Ned Sparks), three struggling showgirls (Blondell, Ruby Keeler, and Aline MacMahon), a talented songwriter (Dick Powell) who’s a Boston blue blood in hiding, and his stuffy folks from home (Warren William and Guy Kibbee), is put through its clattery paces by the director, Mervyn LeRoy. But the movie thrives and survives on Berkeley’s genius; for all his spectacular theatrical flair, he’s a sociobiologist in rhythm.

The great Depression musical, produced by Warner Brothers as a follow-up to Forty-Second Street. If Forty-Second Street was an agreeable sketch, this one is the...