The Rough Guide to Film Musicals (Rough Guide Reference) by David Parkinson
By David Parkinson
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Morocco, 1930), “Hot Voodoo” (Blonde Venus, 1932) and “Awake In A Dream” (Desire, 1937) in demonstrating the seductive strength and sensuality that snared their men. Having failed in films like Coronado (1934) to turn Betty Burgess and Johnny Downs into its own Ruby Keeler and Dick Powell, Paramount concentrated on its successful Big Broadcast series and campus romps like College Humour (1933), College Rhythm (1934), College Holiday (1936) and College Swing (1938). These were essentially “putting on a show” pictures that also featured dances that the kids could copy on a Saturday night.
Fred’n’Ginger may have seemed to exist in a well-heeled world, but the music bound them to reality and they danced as an antidote to despair. However, many of their contemporaries sought simply to relieve the gloom by making resolutely upbeat pictures that traded shamelessly in sentiment, nostalgia and the feel-good factor. As the Depression bit, unemployment rose from four million in 1930 to eight million in 1931 and fifteen million by 1933, and the studios similarly felt the pinch. 5 million in 1931 and only MGM turned a profit the following year (of $8 million), while Warner Bros, Paramount and Fox lost $14 million, $16 million and $17 million respectively.
Headgear also figured prominently in “Stetson”, which introduced the chorine close-up that later became another Berkeley staple, and “Song Of The Setting Sun’, which culminated in a Ziegfeldian tableau that exhibited girls in skimpy Indian costumes and headdresses. These production numbers were largely irrelevant to the action, but they thrilled Depressionera audiences who eagerly returned for Palmy Days, in which the Goldwyn Girls used placards to form a train to transport Cantor away at the climax of the hit tune, “My Baby Said Yes, Yes”.