I like the storyline of this show,it attract me so much

It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

This is a must-see and one of the best documentaries - and films - of this year.

I have to disagree with many of the posters here. I had seen Golddiggers of 1933 a month or so earlier and was enthused to see this one. I am disappointed. I know the story is not the main point of a musical, but still, the story here is silly. The one in 1933 is far more interesting. Worse, there are only two decent Busby Berkeley numbers here, The Words Are In My Heart and Lullaby of Broadway. The first has interesting white pianos, but the tune itself is only fair. The second is good, yes, but the many more in 1933 are far superior. Also, 1933 has a stunning Joan Blondell, a gorgeous Ruby Keeler, and a fascinating Ginger Rogers. Sorry Titanic fans, but Gloria Stuart was a big letdown here. The male secondary characters in 1933 were much better than those here, who just ham it up. This movie has nothing like the fantastic concluding number in 1933.Oh well, I guess I'll try "Dames" next.-henry

Among the films Busby Berkeley was associated with, Golddiggers of 1935 is a standout. Other viewers have noted the astonishing "Lullaby of Broadway" sequence, which, yes, is everything they say it is. And the dreamy "white piano" sequence is pretty amazing, too.But you know, there's more to it. And I think you just have to chalk this up to Berkeley's drill-team background. The sequences come off with such precision.There's the crisp editing at the beginning, when the hotel managers are explaining the financial arrangements at the hotel to their employees. No pay, just tips, and make sure the managers are cut in. It's a funny bit, of course, but the way the film is assembled here accentuates the humor in a way you just don't see in your typical movie of 1935.The part that really is memorable, though, is the sequence at the beginning where Dick Powell escorts his young lovely through the hotel lobby. I guess I really ought to go back and time it, but I think it runs for something like three minutes without a cut. And all the while, hundreds of extras are rushing back and forth, and you can tell the crew must have been dashing in and moving things that were just out of camera range. You know how much work that must have took? You know how everyone on the set must have been sweating at the 2 1/2 minute-mark, worrying that someone might trip and they'd have to start all over again? I have to wonder -- how many takes were required? It's a scene every bit as complicated as the celebrated opening shot of "Touch of Evil," and maybe more so, certainly a dozen times more tricky than anything in "Rope" -- and yet this one doesn't seem to be noted anywhere in the annals of Hollywood.So let's just say that this film is one of Berkeley's most inventive and technically interesting offerings. And you know what else? It's a fun movie, too.

Seventy-three years have elapsed since this Gold Diggers movie was released, and it is well worth remembering that for many Americans The Great Depression was still fairly well depressing. Two years into the first administration of Franklin D. Roosevelt, the overall level of unemployment was dropping, but entirely too many people were what we would now call "underemployed." They were working -- like the hotel staff in the fictional resort where all of the events in this movie occur -- "for tips." Not only that, they were required to pay their managers 'a tithe' of whatever they collected. All of that is laid out in the first sequences of this incredible film.In a very real way, this movie was an employment bonanza all its own.The extraordinary dancing sequences in "Lullaby Of Broadway" clearly required about a hundred dancers and the musicians: this means that there were also dozens of supporting personnel required for the task of doing rehearsals ( including musicians ). Perhaps it wasn't the best pay-day for most of these people but it was a pay-day in Hollywood.Busby Berkeley has received many accolades for his work in 42nd Street, which is quite possibly one of the greatest American films ever made. But the energy and style and the enthusiasm which is on display in the dancing routines for "Lullaby" was not faked. Maybe this movie has all the intellectual 'nutrients' of cotton candy and maybe that's a valid criticism, but it was work and honest work at that. This is a greatly entertaining film built out of the flimsiest of dramatic components, yet one thing remains true, it's a hell of an entertaining ride.The comedic elements were clearly drawn comic-book style, and I do not find that objectionable in the least, for the goofiness of the lead comic actors is still charming all these decades later. OK, it is true that many millions of modern film fans may not have the slightest idea what 'snuff' is -- finely powdered tobacco -- but funny is funny, and the obsession of the screwball expert who is collecting them is still really funny !! If it wasn't funny, then why are 'nerds' still getting laughs in movies today ?? It's the same basic kind of humor.The rating of 8 for this film does take into account the tissue-thin plot for this second "Gold Diggers" episode, but it remains one of my personal favorites and that is said after having given it several viewings. Look back on this as an historical document. See how people behaved before being constantly tethered to their cell phones, before being obsessed with 'global warming' or the price of gasoline.Oh, and Gloria Stuart is so incredibly beautiful that she stops the action in almost every scene she's in, as does Wini Shaw's singing.A great film for a cozy Saturday night, and it is also certified as being 100 % zombie-free.

Three production numbers with the finale being the apotheosis of group tap dancing. The 'Lullaby of Broadway' production number will probably never be duplicated. If one considers the time when this musical was produced, the effect of the Winifred Shaw special(Dick Powell actually finishes off the song)is a wonderful example of encapsulating the fast paced life of the Broadway of the 30's. "I'm Going Shopping With You" is a catchy tune but not of classic standards. Still the production of this number is entertaining."The Words Are In My Heart" does not start out well when first introduced by Dick Powell while sitting in the parked speedboat. Notice the strain on his voice in the line '. . .the moon above makes the mu-sic'. Very strident. He improves on this when he gets an opportunity to sing it again. '. . mu-sic' is much less strained. The production of this number with the pianos, however, is extremely enjoyable. The pianos seem to glide effortlessly across the floor and manage to mesh perfectly. Remember, this was done before computers and much hydraulic equipment. So how was this accomplished? If one looks closely under the pianos nearest the screen, unmistakably you will see a pair of black trousered legs propelling the outline of each piano as it glides into place. Imagine the hours of preparation and drill it took to perform this feat to produce the effect seen on the screen. That's how it was in the Depression 30's. This writer must confess that the visibility of the trousers was not noticeable until pointed out on a program discussing the film within the last couple of years. It certainly was not noticeable to the 12-year old who was fortunate enough to view this classic when it first appeared in the middle of the Depression 30's. These musicals helped to make the Depression bearable.