After the success of 42nd Street, Warner Brothers rushed headlong into production schedules that put the movie musicals on the map. Warren and Dubin were busy for the next 5 years at the studio, turning out several song scores per year. This film capitolized on the success of the 42nd Street magic: Stars, songs, backstage gossip and romantic entanglements keep this plot on the move.
The team of Mervyn le Roy ( Stage Director) and Busby Berkeley (Choreographer) are back teamed with Warren and Dubin. Some of Warner's greatest American Standards come out of this picture, and still remain today as big money makers: "We're in the Money" and "Shadow Waltz" along with the extraordinary "Remember my Forgotten Man" a military showstopper.
Here's the plot: Three pairs of lovers are all tangled up in the financing a musical of budding songwriter (Dick Powell) who is determined to get into showbusiness. Naturally, like all 1930's musicals, someone is always an upperclass swell. Dick, of course, represents that upper class guy who is slumming with the theatricals. Ruby Keeler, a sweet broadway chorine, is his love interest. But, Dick is not without scruples; he gets his older brother and lawyer tricked into supporting the show, and in the end, the love birds get together despite their class differences.
Busby and Director Le Roy showed in this film, that the "stage musical" was a limitless space for self-expression. Camera work and cinematography were now a major "player" in these filmed dance sequences. The "recording" of a scene was not the concept anymore for a camera crew; instead, the camera became like a dancer itself, giving the audience a point of view it had never enjoyed. Scenes were shot from above, behind, beneath and all around as the bevy of girls danced in their scanty costumes to the sounds of these popular songs.
For the first time, the musical film was re-invented and Warner's led the way. Busby, for his time, was a leader in special effects camera work that remains today as standard practices.
The film had three big production numbers: "Pettin in the Park" was a titilating and slightly brazen scene with dozens of young men and their girl friends acting out the song's title.
For the "Shadow Waltz", Busby called a group of girls holding lighted neon violins. Shot in the dark, their formations created a dreamy number that forever etched this song into America's memories. (Today, you can visit the museum at the Warner's Studio, to see the violins on display). "Shadow Waltz" was later revived by its inclusion in the stage version of 42nd Street that debuted in the 1970s on Broadway.
The most memorable musical number was one that played on the post war sentiments of the audience. " Remember My Forgotten Man" told the story of serviceman, who returns from the front and need employment at home.
