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Gold Diggers of 1935 (1935)

Romantic antics abound among the guests at a luxury hotel, including a stage director, an eccentric millionaire, and the daughter of a financial backer.

Director:

Busby Berkeley

Writers:

Manuel Seff (screen play), Peter Milne (screen play) | 2 more credits »
Reviews
Won 1 Oscar. Another 1 nomination. See more awards »

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Cast

Complete credited cast:
Dick Powell ... Dick Curtis
Adolphe Menjou ... Nicolai Nicoleff
Gloria Stuart ... Ann Prentiss
Alice Brady ... Mrs. Prentiss
Hugh Herbert ... T. Mosley Thorpe
Glenda Farrell ... Betty Hawes
Frank McHugh ... Humbolt Prentiss
Joseph Cawthorn ... Schultz
Grant Mitchell ... Louis Lamson
Dorothy Dare ... Arline Davis
Wini Shaw ... Winny Shaw (as Winifred Shaw)
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Storyline

In a luxury hotel stage director Nicoleff stages a show to get the money to pay his bills. Mrs. Prentiss, who is backing the show wants her daughter Ann to marry the millionaire T. Mosely Thorpe, but Ann falls in love with Dick Curtis, while Dick's girl friend marries Ann's brother Humbolt. But the hotel secretary Betty knows a way to avoid dificulties with old Mrs. Prentiss. Written by Stephan Eichenberg <eichenbe@fak-cbg.tu-muenchen.de>

Plot Summary | Add Synopsis

Genres:

Comedy | Musical

Certificate:

See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

15 March 1935 (USA) See more »

Also Known As:

Aranyásók 1935-ben See more »

Company Credits

Production Co:

First National Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

About half way through the production piece "The Words Are in My Heart," one can see men's legs underneath the pianos, explaining how the pianos are moving. See more »

Goofs

In the scene where many people pay 25 dollars each for tickets to the charity musical (59:10 into the film) the money being paid is very clearly in pesos. In fact, each of the top bills clearly states 'Vente Pesos' and are obviously not American bills. Yet, all the dialog keeps referring to 'dollars' and there is no indication that Lake Waxapahachie, where the resort is located, is anything but an American resort. See more »

Quotes

Nicoleff: This place is very good for my liver.
See more »

Connections

Referenced in The Nine Lives of Fritz the Cat (1974) See more »

Soundtracks

The Gold Diggers' Song (We're in the Money)
(1933) (uncredited)
Music by Harry Warren
Lyrics by Al Dubin
Sung briefly by Glenda Farrell
See more »

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User Reviews

 
Berkeley Brings Home The Bacon
23 March 2004 | by Ron OliverSee all my reviews

The GOLD DIGGERS OF 1935 converge on a resort hotel and get involved in staging a lavish charity stage show.

With this film, Busby Berkeley, Warner Bros.' genius choreographer, produced another tuneful, eye-popping spectacle to beguile Depression audiences out of their spare change. With some gutsy performers unhampered by anything remotely resembling an intelligent plot, Berkeley provided plenty of laughs & glitz in this follow-up to his popular GOLD DIGGERS OF 1933.

The large cast is all attuned to the nonsensical merriment. Preppy Dick Powell is in excellent good voice as the hotel employee wooing rich girl Gloria Stuart, who only has to look lovely for the cameras. Alice Brady is properly shrill & strident as a miserly millionaire insistent on getting her own way in all things. Hugh Herbert is delightful as a daffy fellow interested only in his collection of snuff boxes.

Hilarious Adolphe Menjou steals his every scene as a penniless Russian impresario who is obviously slightly crazed. Bold & brassy, the marvelous Glenda Farrell gets to play the only true gold digger in the film. Frank McHugh is Brady's son, desperate to enjoy a forbidden romance. Grant Mitchell oozes unctuous charm as the somewhat smarmy hotel manager.

Movie mavens will recognize Nora Cecil as the head hotel housekeeper & E. E. Clive as Herbert's chauffeur, both uncredited.

While the cast is all shamelessly willing to entertain, it is the two production numbers near the film's climax which have given it its place in movie history. ‘The Words Are In My Heart,' with its gorgeous girls and hypnotically undulating white pianos, showcases Berkeley's love for regimented precision & choreography, engendered years before during his stint with the military. The seminal ‘Lullaby Of Broadway' is a perfect example of Berkeley's way of telling a story through music & dance--in this instance the tale of a Big City girl's ultimately horrific night. These two completely different numbers are tied together by the skein of Berkeley's genius and counterpoint each other beautifully.


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