King of Burlesque (1936)

People forget that "King of Burlesque" was made BEFORE those other movies that used the same plot which other reviewers have referred to. So what was becoming "run of the mill" by 1938 or 1943 was still reasonably "original" in 1935/1936. Also, the plot isn't as hokey (for me at least) when it's a musical COMEDY rather than musical DRAMA/MELODRAMA as it was in those later movies. Hey, it's not to be taken too seriously ... and I still enjoyed watching Mona Barrie "giving it to" that upstart social climber Warner Baxter.Actually, I searched for this movie because I vaguely remembered seeing Fats Waller in it when it was shown on TV decades ago. So I was surprised how much I enjoyed Dixie Dunbar's tap dancing routine when I finally got to see it.

Entertaining Fox musical, reminiscent of the great Warners backstage musicals of the early 30's. It even features Warner Baxter in the title role. He, of course, played the production manager in "42nd Street," probably the best known of those Warners musicals. Some favorite moments: Alice Faye singing a brief "Whose Big Baby Are You?" in a rather brief outfit; The "Shooting High" number, with the group around a piano, has a pleasingly impromptu feel about it; Cute little Dixie Dunbar's great tap dancing, in a number featuring Fats Waller. Alice Faye was a wonderful performer who isn't as well known today as many stars from the golden age of Hollywood. You can catch this and other Alice Faye musicals if you have Fox Movie Channel.

It seems many other contributing members are hypercritical of older films. Most films made in the 1930s and 1940s weren't meant to be memorable, just enjoyed for a brief time and then to be forgotten. Now television has resurrected them so people can look at them again.This film is typical of the era in which it was made. I did notice that it has some plot devices which re-appear in later 20th Century-Fox films (some of which also featured Alice Faye): The low-class man aspiring to high society and "a dame with class" repeated in "Hello Frisco Hello" and "Nob Hill", and Faye's getting passed up for another woman, then going off to London to be a big success on the stage there. Never let it be said that Darryl Zanuck didn't get mileage out of his story lines.Here we see Faye early in her career as a Jean Harlow knock-off, with platinum blonde hair and pencil-thin eyebrows. Not too long after this film, her appearance was normalized and she began singing in a lower key which made her voice so much richer. I think she was responsible for a whole new trend for female singers. Gone was the high-pitched, nasal sound, popular in the 1920s and early 30s.For fans of tap dancing, you can watch Dixie Dunbar, whose career never amounted to much, and also there is a nice performance by juvenile Gareth Joplin, on a level equal to that of any adult performer, but who evidently did not have much of a film career either.

Fox tries to imitate Warner Bros. in this slow-moving backstage romp that stars Alice Faye, Jack Oakie, and Warner Baxter, and directed by Sidney Lanfield. Baxter is the "King of Burlesque" who moves from a burlesque to a legitimate theatre and marries a socialite played by Mona Barrie. Alice Faye, in the typical role of an aspiring actress, looks appropriate for her part, though her presence struck me as cold and unmemorable, compared to her other Fox musicals. The film comes into full view in the last twenty minutes where we see a dazzling display of production numbers that recall those of Busby Berkeley. The film's choreography and songs were nominated for an Oscar. There is fun and frolic and the best songs/numbers are "Shooting High", "Too Good To Be True", "Whose Big Baby Are You" and "Lovely Lady".