Often, when revisiting classic films, especially musicals from the 1930s, modern audiences can be quick to dismiss them as cliché-ridden or outdated. However, with “42nd Street 1933,” such criticisms miss a crucial point: this film didn’t follow clichés; it invented them. To label its tropes as tired is to ignore its pivotal role in shaping the very landscape of the movie musical genre. It’s akin to criticizing Shakespeare for using common phrases – many phrases became common because of Shakespeare. “42nd Street” isn’t just a film; it’s a cornerstone of cinematic history, a brilliant piece of entertainment that has echoed through decades of filmmaking.
The genius of “42nd Street 1933” lies not in its predictable plot – the underdog chorus girl rising to stardom – but in its masterful execution and groundbreaking techniques. While Ruby Keeler’s tap dancing might not represent the pinnacle of technical skill, her charm and everywoman appeal perfectly embody the role of the ingénue. The narrative, though seemingly simple now due to countless imitations, was revolutionary for its time, tightly constructed to build suspense and deliver genuine emotional impact. Furthermore, the film sparkles with witty dialogue and comedic moments, even if some slang and cultural references are now relics of a bygone era, adding a layer of historical charm.
Busby Berkeley’s Visionary Spectacle: Beyond the Stage
One frequent critique leveled against “42nd Street 1933” and other Busby Berkeley musicals is the supposed impossibility of staging his elaborate dance numbers in a real theater. This, however, fundamentally misunderstands the medium. Film is not theater, and Berkeley brilliantly exploited the unique capabilities of cinema. His kaleidoscopic dance sequences, with their overhead shots and morphing sets, were designed for the camera, creating a visual spectacle that transcends the limitations of the stage. To complain about the fantastical elements in a Berkeley production is like questioning the size of King Kong – it’s missing the point of cinematic artistry. The film utilizes techniques like close-ups and dynamic camera movements, elements simply unavailable in live stage performances, to enhance the storytelling and visual impact of the musical numbers.
“42nd Street 1933” and the Legacy of the Musical
“42nd Street 1933” stands as a monumental achievement, not just within the 1930s musical genre but in the broader history of Hollywood cinema. While later musicals like “Singin’ in the Rain” are often lauded, it’s essential to recognize their debt to predecessors like “42nd Street,” “Dames,” “Top Hat,” and “Swing Time.” “Singin’ in the Rain,” while a masterpiece in its own right, is arguably an homage to the innovations pioneered in these earlier films, borrowing heavily from their established tropes and styles. The vibrant Technicolor and improved sound of “Singin’ in the Rain” certainly contribute to its modern appeal, but understanding its brilliance requires acknowledging the groundbreaking work of “42nd Street 1933.” Just as understanding “Pulp Fiction” benefits from familiarity with Hong Kong action cinema and blaxploitation films, appreciating the evolution of the musical genre necessitates experiencing the original spark of films like “42nd Street.”
In conclusion, dismissing “42nd Street 1933” due to its age or perceived clichés is a disservice to a film that fundamentally shaped the musical genre. Approach “42nd Street” with an open mind, recognizing it not just as an old movie, but as a vital piece of film history crafted by exceptionally talented individuals. Its enduring appeal and lasting influence are testaments to its brilliance and its position as a true classic.
