42nd Street (film): Difference between revisions
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{{tropelist}} |
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* [[Adaptation Distillation]]: The book was full of extraneous characters and tons of subplots (many of a controversial nature), most of which were either changed or cut entirely from the movie. The film was in all likelihood improved by the streamlining of the story, but one can't help but wonder what would have happened had the film been made in a more permissive era. (True, there was no [[ |
* [[Adaptation Distillation]]: The book was full of extraneous characters and tons of subplots (many of a controversial nature), most of which were either changed or cut entirely from the movie. The film was in all likelihood improved by the streamlining of the story, but one can't help but wonder what would have happened had the film been made in a more permissive era. (True, there was no [[Hays Code]] yet, but there was no way [[Ho Yay|Julian and Billy being a couple]] was going to make it to the silver screen in the early 1930s.) |
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* [[Busby Berkeley Number]] |
* [[Busby Berkeley Number]] |
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* [[Creator Cameo]]: Songwriters Warren and Dubin show up in a scene being criticized by Julian Marsh after a particularly ([[Stylistic Suck|intentionally]]) awful musical number. |
* [[Creator Cameo]]: Songwriters Warren and Dubin show up in a scene being criticized by Julian Marsh after a particularly ([[Stylistic Suck|intentionally]]) awful musical number. |
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* [[Love Is a Drug]]: "You're Getting To Be A Habit With Me" |
* [[Love Is a Drug]]: "You're Getting To Be A Habit With Me" |
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* [[Pimped-Out Dress]]: Or technically a pimped out skirt, wrap, and fur muff. Her torso [[Bare Your Midriff|was bare save for the wrap]]. |
* [[Pimped-Out Dress]]: Or technically a pimped out skirt, wrap, and fur muff. Her torso [[Bare Your Midriff|was bare save for the wrap]]. |
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* [[Pretty in Mink]] |
* [[Pretty in Mink]]: Bordering on [[Naked in Mink]] for the outfits in some of the numbers. |
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* [[Screen to Stage Adaptation]]: Received the Broadway treatment in 1980 and proceeded to become a Tony award winning smash hit. |
* [[Screen to Stage Adaptation]]: Received the Broadway treatment in 1980 and proceeded to become a Tony award winning smash hit. |
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* [[Show Within a Show]] |
* [[Show Within a Show]] |
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Revision as of 00:36, 24 March 2016
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Sawyer, you're going out a youngster, but you've got to come back a star! |
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A 1933 Warner Bros. musical with songs by Harry Warren and Al Dubin. It stars Dick Powell as Billy Lawlor, and Ruby Keeler as Peggy Sawyer, a young actress struggling to make it big on Broadway. Also features Warner Baxter as Julian Marsh, the show's stressed-out director.
One of the earlier "show-within-a-show" movie musicals, it still holds up very well by today's standards.
Features tons of bizarre Busby Berkeley choreography, as well as a number of numbers that would literally be impossible to stage on...well, an actual stage. This set the precedent for Gold Diggers of 1933, Footlight Parade, and the other Warner musicals that immediately followed, made even more obvious by the fact that they all contained many of the same actors reprising similar roles.
Was adapted into a successful Broadway musical in 1980, with a revival in 2001.
Tropes used in 42nd Street (film) include:
- Adaptation Distillation: The book was full of extraneous characters and tons of subplots (many of a controversial nature), most of which were either changed or cut entirely from the movie. The film was in all likelihood improved by the streamlining of the story, but one can't help but wonder what would have happened had the film been made in a more permissive era. (True, there was no Hays Code yet, but there was no way Julian and Billy being a couple was going to make it to the silver screen in the early 1930s.)
- Busby Berkeley Number
- Creator Cameo: Songwriters Warren and Dubin show up in a scene being criticized by Julian Marsh after a particularly (intentionally) awful musical number.
- The Ingenue: Peggy is one, of the particularly dewy-eyed and naive variety.
- Love Is a Drug: "You're Getting To Be A Habit With Me"
- Pimped-Out Dress: Or technically a pimped out skirt, wrap, and fur muff. Her torso was bare save for the wrap.
- Pretty in Mink: Bordering on Naked in Mink for the outfits in some of the numbers.
- Screen to Stage Adaptation: Received the Broadway treatment in 1980 and proceeded to become a Tony award winning smash hit.
- Show Within a Show
- Workaholic: Julian Marsh