42nd Street (1933) was a Comedy - Musical Film directed by Lloyd Bacon and produced by Darryl F. Zanuck.
42nd Street was inducted into the National Film Registry in 1998.
Academy Awards 1932/33 --- Ceremony Number 6 (source: AMPAS)
|Best Picture||Warner Bros.||Nominated|
42nd Street (1933)By 4 Star Film Fan on Mar 24, 2019 From 4 Star Films
“Sawyer, you’re going out a youngster but you’ve got to come back a star!” – Warner Baxter to Ruby Keeler 42nd Street essentially feels like hallowed ground even today because it single-handedly gave an entire generation of films plentiful ammunition for tropes while ju... Read full article
Re-watching 42nd Street (1933)By Carol Martinheira on Jan 24, 2018 From The Old Hollywood Garden
Re-watching 42nd Street (1933) On January 24, 2018 By CarolIn Uncategorized So, I?ve been trying to re-watch a lot of films lately. And for some?reason, this was one?of those films that I kept forgetting to re-watch. I saw it millions of years ago, probably 2009 or 201... Read full article
Pre-Code Crazy: 42nd Street (1933)By shadowsandsatin on Feb 7, 2017 From Shadows and Satin
Okay, y?all. By now, you probably know that I?m not the world?s biggest fan of musicals. But there are some musicals that I simply adore, and I have to admit that 42nd Street is one of them. In fact, until I popped in my DVD to watch the film for this post, I?d actually forgotten just how much I lov... Read full article
Warner Archive: 42nd Street (1933) Sparkles on Blu-rayBy KC on May 6, 2015 From Classic Movies
The Warner Archive Blu-ray edition of 42nd Street glimmers from the first frame. Even the title card looks magnificent. The credit "Silks by the Cheney Brothers" never looked more glamorous. To see the film that I watched dozens of times as a teenager on a VHS copy recorded from TV this way is almos... Read full article
TCM Classic Film Festival Day 3: WHY BE GOOD? 42nd STREET, EARTHQUAKE!By Lara on Mar 30, 2015 From Backlots
Day 3 was one filled with favorites and laughs. I started off the day with Why Be Good? (1929), a movie I had seen a few months ago when a new restoration was screened at the Los Angeles County Museum of Art. This same restoration was shown here, and I loved the movie so much the first time that I h... Read full article
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Dorothy Brock: Now go out there and be so swell that you'll make me hate you!
Slim Murphy: Hey got a match?
Pat Denning: Yep... why I guess so... yeah.
Slim Murphy: Don't happen to know a guy named Pat Denning do ya?
Pat Denning: Why yes.
Slim Murphy: We got a message for him. This guy Pat Denning's a pretty wise mug but he ain't wise enough and if he don't lay off that Dorothy Brock dame, it's gonna be just too bad... for Denning, get me?
Pat Denning: Alright I'll tell him.
Slim Murphy: Yeah well...
[punches Pat in the mouth and Pat falls down]
Slim Murphy: that's so ya don't forget.
Mug with Murphy: Yeah
[He and Slim kick Pat then run off]
Peggy Sawyer: Ohhhhh Pat... Pat... Pat... who were they?
Pat Denning: Friends... with good advice.
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At the end of the "42nd Street" number, Billy and Peggy pull down a curtain or shade with the word "Asbestos" written on it. This can be a confusing reference to 21st-century viewers, who may only be familiar with asbestos as a mineral composite which is now known to cause the lung cancer mesothelioma, but during the first part of the 20th century, asbestos was an often-used flame-retardant component in building materials. It also would have been a reference familiar to theater people, since live-performance theaters were at the time required to have a curtain made of asbestos that would separate the stage from the audience in the event of an on-stage fire. In that context, the presence of the curtain in the film is the movie's way of implying that whatever Billy and Peggy are going to do behind the curtain, it will surely be "hot."
This film, released on March 9, 1933, single-handedly rescued the movie musical, which had been considered a money losing proposition since mid-1930. Early "all talking, all dancing" musicals typically suffered from severe camera restrictions coupled with poor musical staging, soured the public on the genre in general (Universal's huge losses from the lively King of Jazz had put an unofficial moratorium on the musical) and no other studio wanted to risk producing one. Warners, at the time of the film's release, had Gold Diggers of 1933 nearing completion and pre-production plans were well underway for Footlight Parade, all utilizing the talents of Busby Berkeley. The success of this film would convince Radio Pictures to produce Flying Down to Rio (released that December). Other major studios would continue to shy away from musicals throughout 1933, although Paramount would proceed with plans to produce the lavish Murder at the Vanities toward the end of the year.
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