Too much of everything

This movie was so-so. It had it's moments, but wasn't the greatest.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

I had never seen Joan Crawford in shorts, never seen her 'gams' displayed in all their lengthy glory, never watched her dance. Hmmph. She's no Ginger Rogers, I can tell you that! She does have chemistry with Clark Gable. That makes up for her NOT being Ginger Rogers when she dances with Fred Astaire in this film.Crawford is beautiful, yes. The young Joan Crawford was never so beautiful as when she was young with those gorgeous luminous eyes, those heavy lush lashes, and surprisingly toothy smile.Clark Gable has a scene with Crawford in this film in which he performs some gymnastic moves, as part of his fitness regimen. It reminded me that this magnificent man was not only handsome and charismatic but also strong and slender and sexy! Move over, Tom Cruise - you with your fondness for doing your own daring stunts! Cary Grant, Randolph Scott, Charlie Chaplin, and now Clark Gable. These men were gymnastic athletes. Wow! And looked good in their clothes, of course.I often wished for Ginger to be dancing with Fred. This movie made me wish there was more, more, more, to the story. But what I could see and enjoy was a delicious appetizer even if not a feast.

"Dancing Lady" (1933), the fourth of no less than seven movies in which Clark Gable and Joan Crawford appeared together – is a variant on "42nd Street" with Gable as the harassed but vigorously energetic producer – much more energetic than Warner Baxter. In fact, Gable's Patch Gallagher even works out in a gym! In execution, however, the movie emerges as a Warner Brothers musical in reverse. This was not exactly what Metro-Goldwyn-Mayer had intended, but the problem is that instead of building to a spectacular musical climax, all the really invigorating numbers occur earlier on. Despite the presence of Fred Astaire and Nelson Eddy – the latter unable to mime or synchronize to his recorded voice very ably – Dancing Lady's musical climax is weak. And so is the predictable story's ending as well! Available on an excellent Warner Archive DVD.

Joan Crawford plays a struggling dancer in "Dancing Lady" who alternates between Broadway producer Clark Gable and Wall Street tycoon Franchot Tone in this fast-paced, amusing musical with lots of dance numbers. This Metro-Goldwyn-Mayer release features the antics of the Three Stooges while they were still second bananas with Ted Healy. The finale with Joan and Fred Astaire on a floating saucer that takes them to Bavaria exemplifies a bit of early cinematic surrealism. Nelson Eddy makes his debut along with Fred Astaire in this predictable but entertaining 1930's melodrama. Director Robert Z. Leonard keeps the action scooting along with one surprise after another. Janie Barlow (Joan Crawford) is a dancer who lives to dance, even if she must dance in a burlesque show. Wealthy Park Avenue investor Tod Newton (Franchot Tone of "Lives of a Bengal Lancer") attends her show the evening that the police raid the theater and arrest Janie and his counterparts for indecent performances. Janie tells the judge that she is a social worker. He fines her $30 or 30 days, and the gallant Tod antes up the loot. Tod wines and dines Janie, but she remains focused on dancing, the art of dancing. In fact, she decides to quit burlesque and pursue Patch Gallagher for the chance of a big break. Tod provides the introduction to a stage producer, Jasper Bradley, Sr. (Grant Mitchell) and Patch's assistant Steve (Ted Healy) and the Three Stooges decide to give her "the brush off." Nevertheless, Steve is impressed by Janie's ability and urges a reluctant Patch to consider her. Patch berates Pinky (Sterling Holloway), the author of the play that the show is based on, because it is Spanish American War era relic. Indeed, Patch has dreams of staging a different show. No sooner has Patch got the show underway than the bottom falls out. It seems that Janie has to assure Tod that if the show bombs, she will marry him. The treacherous Tod pulls his money from the show and the Bradleys have to close it. Patch is left high and dry, while a clueless Janie accompanies Tod to Cuba. Meantime, Patch decides to put himself into hock to finance the show. Imagine Janie's shock when she learns about Tod's underhanded scheme to shut down the show. She goes back to do the show for Patch. Of course, everything works in the end. "Dancing Lady" provides Crawford with a good, strong role.

Dancing Lady (1933)There are so many reasons to love this film above and beyond the dance numbers, which are only dazzling filler starring Fred Astaire. Yes, I mean to say that there is a lot going on here that is unsuspected and moving, beautiful and hilarious.Start with Joan Crawford. By now a star in her own right, she gets to reprise some of the routines, and personal history, that led to headlining a major movie like this MGM spectacle. Or start with Clark Gable, also a great star, and a year before It Happened One Night (which is surely a better film, but a more restrained one). Gable is held down a little by his role, which is meant to be secondary to the pretty and charming Franchot Tone, the other leading man, except that Gable has twice the screen presence, and of course has the underdog part.Add the music, which I can take or leave in many musicals, and which is more or less forgettable here, but which is so integral to the plot it works just fine. Related to this are the many amazing sets, including the sets within the sets when shooting rehearsals and performances, all of which are great Deco showcases. And finally, the brilliant, unrelentingly stunning photography by Oliver T. Marsh (see also another Crawford film, The Women). This is no small feat.Did I mention Fred Astaire? With little fanfare, arriving on stage with Crawford but under his own name, he dances, and sings! A perfect element for authenticity and flair, and it's his Hollywood debut. Oh, and we may as well mention the well placed, often used, never overused threesome known elsewhere as the Three Stooges, who appear and reappear with their usual comic zaniness. This was their debut year, doing cameos in several features with MGM. Yeah, all of this is in one film.For those wondering, the director, Robert Z. Leonard, did do a range of films over several decades, including some other musicals, and dramas worth seeing like the notable 1940 Pride and Prejudice (the one with Olivier). I suppose it was the producer who corralled such a terrific cast, but the director made them integrate with amazing fluidity. And there are some camera effects, too, that are first rate--virtuosic and fun, like the fast blur-pans (sideways and vertically) and a sequence or fast motion walking legs on the sidewalk as Crawford pursues Gable.Someone might say, hey wait a minute, the plot is contrived (it is only a little) or the overall tone is one of bald entertainment, not real drama. And the reply is, of course, of course! Just like any other Fred Astaire movie, or An American in Paris, or any number of serious dramas. No, there is little holding back Dancing Lady. You have to see it.