Meanwhile, Dick Powell and his huffy patron have little to do. Ruby Keeler is hidden behind a pair of specks to play up unwarranted stereotypes in a generally uninteresting role. Apolinaris, who, despite ongoing indigestion, is a generally agreeable audience. In the end, Chester smells a rat and puts the studio on lockdown as they race against the clock to churn out the three numbers they need to showcase to their potential backer, Mr. With the wolves primed to devour him, she’s just as feisty, out to protect his interests (and hers as well). The one person who stands by him through everything is his loyal and lovestruck secretary Nan Prescott (Joan Blondell), who nevertheless uses her acumen and street smarts to keep the utter insanity of his current work life tolerable. It’s no small coincidence that Chester’s longtime assistant jumps ship and conveniently leaves behind another parasite to swipe ideas. It’s a good idea but their closest rival Gladstone has already jumped on the wagon.
#CAST OF FOOTLIGHT PARADE 1933 MOVIE#
He pitches it to his two boob bosses and they bite on his vision to develop live “prologues” that can then be showcased in movie theaters all around, making them lots of money. However, Cagney’s able to capitalize on his newest doozie of an idea that comes to him after a mundane visit to his local drugstore. His galling wife isn’t too understanding calling for a divorce rather than wait around for him to be completely destitute. With the changing industry goes Chester’s livelihood. Silent pictures are totally on the way out and this new attraction will grab audiences away from the stage. John Wayne makes a picture-within-a-picture cameo in The Telegraph Trail which is shown to Chester as a demonstration of the imminent reality. Above all, he’s Jimmy Cagney, through and through. Because he wanted to prove that he was more than a thug and boy was he ever, even if the picture never really stretches him. gangsters first chance to hoof on screen. Now we have James Cagney, of course, and what makes Footlight Parade deserving of a special side note is the fact that it would serve as the Warner Bros. As far as stories go, this one is pretty much on par with its predecessors ( 42nd Street and Gold Diggers of 1933) though, rather surprisingly, the cast doesn’t run as deep. meant they got longer, which wasn’t necessarily all that advantageous. Likewise, a bigger bankroll for the movies at Warner Bros.
Of course, many audiences will be far more acquainted with Singin’ in the Rain (1952), which arguably did much the same and even a better job in its homage than this effort. Because, in a sense, it’s a period piece even if that period is only a few years prior when talking pictures were taking the world by storm.
Though it still came out in the middle of The Depression, there is a sense that Footlight Parade does not confront the contemporary issues head-on and maybe that causes it to lose some potential power.
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