Conclusion of the Warren and Dubin showstopper, sung by Wini Shaw, and designed by Busby Berkeley. Check out my Comic Spirit blog for thoughts about classic Hollywood comedies at comicspiritblog.wordpress.com/
Perhaps the most terrifying moment in 30's cinema. 2:20 when she says "Why don't you come and get me" it is the moment of Dionysian surrender to chaos, a 'yes' to demonic possession that carries her along in a river of beautiful young dancers - to her death fall. Did Busby Berkeley have ANY IDEA how sublime this sequence was, how totally transcendent!
@poetcomic1 -- great highlight Yes he did! No question a cinematic and choreographic great -- who was equally at home with the ebullient Judy Garland-Mickey Rooney Musicals of the thirties as he was with conveying tragic inevitability: (watch his "Remember my Forgotten Man" number in Gold Diggers of 1933 here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-fzNcT7wfHj4.html ), Berkley was confident in his incredible abilities. In the case of "Lullaby of Broadway", he knew it was great, because he was inspired by similar shots, choreography, images, and the sense of danger in many of the incredible scenes in an earlier film, Fritz Lang's 1927 Masterpiece -- Metropolis. So much so, and as Lang , after fleeing the Nazis in his native Germany, was a contemporary of Berkley in Hollywood, that the Lullaby Of Broadway sequence was Berkley's warning to America. Regarding the symbolism you speak of using Classical references, the 1927 Metroplolis used Judeo-Christian Allegory -- there are references to -- and reconstructions of The Tower of Babel, as well as Revelations of St John, the WHore of Babylon, and the 7 Deadly Sins, with one of the most famous portrayals of "Lust" ever filmed. There are many familiar elements in "Lullaby", Berkley's homage to Lang-- the crane shots, the crowds running across the frame-- the siren leading crowds to ruin-- Berkley had wanted to symbolize Fascism spreading across Europe. If anyone is interested in seeing the complete Metropolis, it's available on Amazon with its stunning original score -- you will see iconic images you were always aware of, but never knew who came up with them first. I won't spoil it, but since you were stricken by the effectiveness of Medium and Message, and interpreted it so well, I think Metropolis will blow your mind. Only see the 143 minute restored version w Original score. Anything else is a desecration. Let us know how you liked it!
@@amylumet8365 On a cheerier note, I have never understood how anyone can NOT get up and dance around like an idiot while watching the incredible La Conga number@
These movies were incredible in the intricacy of their choreography, the plot, was simple but the showmanship and staging was (and is) legendary. However, you can't forget their purpose was escapism for their audiences, for a few hours, from the "Great Depression," As my grandfather once pointed out, "There were thousands of starving 'scarecrows' in the 'dustbowl,' picking s__ with the chickens, and grateful for any 'scratch!''' These movies gave them hope, and lifted their spirits when they needed it the most.
Busby Berkeley had such an entertaining way to go to the dark side at the end of many of his movies. The Forgotten Man is another one, incredibly poignant!
Right Emma I watched this maybe 6 years ago. Till this day I don’t follow nor stand in a crowd, and I don’t get tempted to party all night long. Poor Kitty kat, I’m glad the Hays code help change some of the content. “Three On A Match”. 1932 was another good but very dark movie the ending gave me chills just a horrible ending but good.
Does anyone here think that one of the 3 male solo dancers resemble Spider from Goodfellas? It obviously isn’t him but I always thought he has strong resemblance. 🙂
🌠🌎🌠 Hey Comic Spirit,...is there any way that y’all can upload the complete full movies of Busby Berkeley’s Gold Diggers of 1933-1937 collection??? 🌠🌎🌠 Oh please,... pretty-pretty please???
