The Frame

Gold Diggers is both more explicit about and less infused with the Depression than 42nd Street. It begins with Ginger Rogers singing “We’re in the Money” (which includes lines like “Old Man Depression you are through, you done us wrong” and “we never see a headline about a breadline today”), but it turns out to be a rehearsal that gets interrupted by creditors shutting down the show for lack of payment for the theatre.

42nd Street works because it has a vitality and freshness that actually revitalized the musical as a cinematic form. It works because choreographer Busby Berkeley is a genius of some sort. And it works because of its inspired mix of cynicism and optimism that could perhaps only come out of the Depression.

I think what I’m reaching for is that it’s calculating and manipulative and predictable, but saying that feels like raining on some kid’s birthday.

Basically, though, Burton’s direction and the gorgeous art design were the real stars for me.

It’s very powerful on a narrative level, but even better, it’s the best opportunity many of us will have to see Fosse choreography performed under his supervision, and to see his long-time partner Ann Reinking dance.