CALIFICACIÓN DE IMDb
7.0/10
2.6 k
TU CALIFICACIÓN
Un multimillonario decide boicotear formas de entretenimiento «sucias», como los espectáculos de Broadway.Un multimillonario decide boicotear formas de entretenimiento «sucias», como los espectáculos de Broadway.Un multimillonario decide boicotear formas de entretenimiento «sucias», como los espectáculos de Broadway.
- Dirección
- Guionistas
- Elenco
- Premios
- 1 premio ganado en total
Avis Adair
- Chorus Girl
- (sin créditos)
Marvelle Andre
- Chorus Girl
- (sin créditos)
Loretta Andrews
- Chorus Girl
- (sin créditos)
Cecil Arden
- Chorus Girl
- (sin créditos)
Opiniones destacadas
Busby fans have to wait until the last part for their guy to do his stuff. But then it's a real eye-popper. The dames keep comin' at yah one after another, blondes, brunettes, and in- betweens. What a line-up of 30's cuties. Then there's Berkeley's trademark: feminine geometry. That's enough to give Freud analytic overload and others x-rated dreams. Good thing those fluid figures were too abstract for the censors to erase. Speaking of blue- noses, '34 was the first year of Code enforcement. So, wouldn't be surprised the plot was jabbing at our watchdogs of public morality. After all, ridding the city of stage shows is the millionaire's (Hugh Herbert) favorite hobby. It's a winning cast, even if Powell mugs it up faster than a Ferrari's RPM's. True, Keeler's hoofing may be on the clunky side, still she's got the sweetest smile this side of Hollywood and Vine. Too bad the real dame, Blondell, was hobbled by six months of motherly gestation. Working her camera angles must have been a real challenge. I know a lot of folks don't especially like these antique concoctions. But in my book, they're inspired combinations of artistry, pizazz, and sheer Hollywood hokum.
A wonderful musical comedy, fitting in well with 42nd Street, Golddiggers of 1933, Footlight Parade, and Golddiggers of 1935. Of the five, I would place this one tied for second, behind Golddiggers of 1933, equal to Footlight Parade, and just a hair better than 42nd Street. If you have seen none of them it would be good to start with this one. Then I would go to 42nd Street, Footlight Parade, saving the masterpiece Golddiggers of 33 for last. (Golddiggers of 1935 is quite a bit inferior.)
The first strong point is the excellent comedic plot, better than that in 42nd Street, about the same as Footlght Parade. Guy Kibbe is wonderful as always, Hugh Herbert and Zasu Pitts are great. The three of them really steal the show, at least as far as acting and plot go. The jokes come quickly and can easily be missed. I would hazard a guess that some viewers will no longer get the joke in the name of Hugh Herbert's character, "Ezra Ounce."
Joan Blondell is gorgeous and smart as always. Dick Powell is the same as in all the movies - which is absolutely fine! I love his voice.
I find Ruby Keeler a delight to look at and watch. It's true, as others have commented, that she really doesn't do a heck of a lot in this one, though she is on screen quite a lot. Some people seem to love to put down her acting or dancing. OK, so she's not going to star in King Lear or Antigone. So what? Get over it! That's not the point. She is very appealing. Similarly, I like seeing her dance. She doesn't have to be as good as Cyd Charisse. Get over it!
The real appeal of all five of the movies I've mentioned here, and the real star, is Busby Berkeley. It is amazing to read one or two of the reviews written here in the last decade by people who, I suppose, are rather young and set in their ways. How anyone with half a brain can watch this movie and not be absolutely blown away is unbelievable to me. Truly, such a person is blind. Maybe not in the sense of passing the eye test for a driver's license, but blind nonetheless. Surely Busby Berkeley was the most unexpected creative genius in the history of film.
Let me echo something another poster has written. Though I was born long after the great depression ended, it was still a living reality in the minds of my parents, and something I absorbed somehow when growing up. Maybe a byproduct of the difficult economic times we are living through now will be a greater sensitivity on the part of some people to those times and the culture produced in those times. It does seem that some of the negative reviewers here need to broaden and deepen their appreciation, not just of movies, but of humanity.
But I digress. This is a wonderful, fun, eye-popping movie, full of great songs and fantastic choreography. Enjoy.
The first strong point is the excellent comedic plot, better than that in 42nd Street, about the same as Footlght Parade. Guy Kibbe is wonderful as always, Hugh Herbert and Zasu Pitts are great. The three of them really steal the show, at least as far as acting and plot go. The jokes come quickly and can easily be missed. I would hazard a guess that some viewers will no longer get the joke in the name of Hugh Herbert's character, "Ezra Ounce."
Joan Blondell is gorgeous and smart as always. Dick Powell is the same as in all the movies - which is absolutely fine! I love his voice.
I find Ruby Keeler a delight to look at and watch. It's true, as others have commented, that she really doesn't do a heck of a lot in this one, though she is on screen quite a lot. Some people seem to love to put down her acting or dancing. OK, so she's not going to star in King Lear or Antigone. So what? Get over it! That's not the point. She is very appealing. Similarly, I like seeing her dance. She doesn't have to be as good as Cyd Charisse. Get over it!
The real appeal of all five of the movies I've mentioned here, and the real star, is Busby Berkeley. It is amazing to read one or two of the reviews written here in the last decade by people who, I suppose, are rather young and set in their ways. How anyone with half a brain can watch this movie and not be absolutely blown away is unbelievable to me. Truly, such a person is blind. Maybe not in the sense of passing the eye test for a driver's license, but blind nonetheless. Surely Busby Berkeley was the most unexpected creative genius in the history of film.
Let me echo something another poster has written. Though I was born long after the great depression ended, it was still a living reality in the minds of my parents, and something I absorbed somehow when growing up. Maybe a byproduct of the difficult economic times we are living through now will be a greater sensitivity on the part of some people to those times and the culture produced in those times. It does seem that some of the negative reviewers here need to broaden and deepen their appreciation, not just of movies, but of humanity.
But I digress. This is a wonderful, fun, eye-popping movie, full of great songs and fantastic choreography. Enjoy.
- henry
Dick Powell and the music of Warren and Dubin is reason enough to watch this otherwise average musical. Busby Berkley's choreography is an aquired taste - I prefer the elegance of Hermes Pan/Fred Astaire and the expert tapping of George Murphy and Eleanor Powell, or even the highly entertaining Bill "Bojangles" Robinson and Shirley Temple duets. But these all came later than DAMES and Berkley's eye-candy style is highly entertaining and, sometimes, memorable.
I never thought Ruby Keeler was terribly talented and her lack of acting ability does show, especially in the company of such accomplished players as Joan Blondell, Powell, Hugh Herbert, and Guy Kibbee. Keeler's acting is passable, if a bit clumsy, and I find her dancing adequate. (She was called, in some 1930s circles, "The Stomper" for her heavy-footed tapping.)
What makes this film a winner is the music. The title song is wonderful and the splendid "I Only Have Eyes For You" is one of the best songs ever written for a movie. That song is fully performed twice, once about midway into the film and, differently, near the end. The later performance is fine, the former one of the screen's greatest musical numbers. Powell sings it with his beautiful high tenor and Berkley provides probably his best ever production. I dare the viewer to not get goose bumps when watching this.
Take away the music and Busby Berkley and you're left with not much except a (mostly) great cast. I give "DAMES" my highest rating for the music and production numbers and a solid middle ranking for the plot. One could do a lot worse than spend 90 minutes with DAMES.
I never thought Ruby Keeler was terribly talented and her lack of acting ability does show, especially in the company of such accomplished players as Joan Blondell, Powell, Hugh Herbert, and Guy Kibbee. Keeler's acting is passable, if a bit clumsy, and I find her dancing adequate. (She was called, in some 1930s circles, "The Stomper" for her heavy-footed tapping.)
What makes this film a winner is the music. The title song is wonderful and the splendid "I Only Have Eyes For You" is one of the best songs ever written for a movie. That song is fully performed twice, once about midway into the film and, differently, near the end. The later performance is fine, the former one of the screen's greatest musical numbers. Powell sings it with his beautiful high tenor and Berkley provides probably his best ever production. I dare the viewer to not get goose bumps when watching this.
Take away the music and Busby Berkley and you're left with not much except a (mostly) great cast. I give "DAMES" my highest rating for the music and production numbers and a solid middle ranking for the plot. One could do a lot worse than spend 90 minutes with DAMES.
Advertised by Warners as Gold Diggers for '34, it's another film in that backstage cycle that traces the efforts of youth restless with creativity to seduce with love cynical hearts hardened by money and rigid morals. It is again a film about the makings of a show, the show we're meant to be watching.
So very much in line with Gold Diggers '33 and Footlight Parade, except a little less wondrous this time, a little less seductive in all the circumstances surrounding the stage, the burlesque of trials and tribulations in fighting to stage a vision.
But it is again Busby Berkeley who is staging the vision that we have come to see. So once more an astonishing panorama of Hollywood dazzle, but with all the frill and gaudiness of the musical working beneath the dazzle to address the circumstances of its making; so we have a number where a woman romances empty shirts on a hangwire but which are animated by invisible strings from above, implying the fates that seem to be in control, another number with the author of the whole thing singing about the face that inspired the vision with the ardor of love, and the final number addressing us from our position as viewers. Of course we have come to be seduced by the dames, nothing else mattered.
The show is so intoxicating that those cynical hearts watching from the balcony are completely soused by the end of it!
So what was from the outset seemingly controlled by the fates, by a woman chancing to sleep on the wrong bed in a train compartment, is gradually revealed to have been shaped all this time around a center with clearly reflected purpose; the author's effort to announce his passion for music and this woman he sings about, and so approach within his art the face behind the cardboard image of social appearances, as the middle number reveals.
As with the other films in this cycle, even if a little less accomplished, it is overall more than potent stuff on the ardor of a loving heart to transform anxieties of a chaotic modern life that we also know into a pattern that seduces love out of both participants and viewers.
It is enjoyable to watch, brisk with dance, the disposition dreamy, but with the small hint of a shadow at the heart of this dream. The choreography maps to the contours of that internal heart wishing to beat truthfully.
So very much in line with Gold Diggers '33 and Footlight Parade, except a little less wondrous this time, a little less seductive in all the circumstances surrounding the stage, the burlesque of trials and tribulations in fighting to stage a vision.
But it is again Busby Berkeley who is staging the vision that we have come to see. So once more an astonishing panorama of Hollywood dazzle, but with all the frill and gaudiness of the musical working beneath the dazzle to address the circumstances of its making; so we have a number where a woman romances empty shirts on a hangwire but which are animated by invisible strings from above, implying the fates that seem to be in control, another number with the author of the whole thing singing about the face that inspired the vision with the ardor of love, and the final number addressing us from our position as viewers. Of course we have come to be seduced by the dames, nothing else mattered.
The show is so intoxicating that those cynical hearts watching from the balcony are completely soused by the end of it!
So what was from the outset seemingly controlled by the fates, by a woman chancing to sleep on the wrong bed in a train compartment, is gradually revealed to have been shaped all this time around a center with clearly reflected purpose; the author's effort to announce his passion for music and this woman he sings about, and so approach within his art the face behind the cardboard image of social appearances, as the middle number reveals.
As with the other films in this cycle, even if a little less accomplished, it is overall more than potent stuff on the ardor of a loving heart to transform anxieties of a chaotic modern life that we also know into a pattern that seduces love out of both participants and viewers.
It is enjoyable to watch, brisk with dance, the disposition dreamy, but with the small hint of a shadow at the heart of this dream. The choreography maps to the contours of that internal heart wishing to beat truthfully.
One of the nice things about those Warner Brothers Depression musicals is that you can forget some of the sillier aspects of the plot and just enjoy the wonderful nonsense created.
Dames certainly classifies as wonderful nonsense. A wacky millionaire who's a sideline puritan is going to leave a bequest to a cousin and her family providing that they are of good moral character by his ideas. The wacky millionaire is Hugh Herbert and the cousin is Zasu Pitts, her husband Guy Kibbee and her daughter Ruby Keeler. There's another distant cousin Dick Powell who's already out of the will because he's an actor.
Back then theatrical folk were held in some disdain by polite society, though that's hard to believe now. Also some eyebrows might have been raised with Dick's involvement with Ruby. But then again the president of the United States was married to his fifth cousin. I'm sure the brothers Warner knew that full well when Dames was released.
Dames of course is remembered for those wonderful Busby Berkeley numbers and one of the biggest movie songs ever in I Only Have Eyes For You. Introduced by Dick Powell it was never commercially recorded by him though dozens of our best singers have done so. It's a favorite of mine for sure.
Last but not least Dames features the always captivating Joan Blondell who's not above a little blackmail to achieve her ends. A girl's gotta do what a girl's gotta do. She's featured in the Girl at the Ironing Board number, a great piece of Berkeley magic.
We can't forget the title song because as Dick Powell sings, it's what you see the show for. And in that finale they're sure enough of them to satisfy any red blooded male.
Dames certainly classifies as wonderful nonsense. A wacky millionaire who's a sideline puritan is going to leave a bequest to a cousin and her family providing that they are of good moral character by his ideas. The wacky millionaire is Hugh Herbert and the cousin is Zasu Pitts, her husband Guy Kibbee and her daughter Ruby Keeler. There's another distant cousin Dick Powell who's already out of the will because he's an actor.
Back then theatrical folk were held in some disdain by polite society, though that's hard to believe now. Also some eyebrows might have been raised with Dick's involvement with Ruby. But then again the president of the United States was married to his fifth cousin. I'm sure the brothers Warner knew that full well when Dames was released.
Dames of course is remembered for those wonderful Busby Berkeley numbers and one of the biggest movie songs ever in I Only Have Eyes For You. Introduced by Dick Powell it was never commercially recorded by him though dozens of our best singers have done so. It's a favorite of mine for sure.
Last but not least Dames features the always captivating Joan Blondell who's not above a little blackmail to achieve her ends. A girl's gotta do what a girl's gotta do. She's featured in the Girl at the Ironing Board number, a great piece of Berkeley magic.
We can't forget the title song because as Dick Powell sings, it's what you see the show for. And in that finale they're sure enough of them to satisfy any red blooded male.
¿Sabías que…?
- TriviaIn the "Dames" number, Dick Powell as a Broadway producer doesn't want to see composer George Gershwin, but when asked by his secretary about seeing Miss Dubin, Miss Warren and Miss Kelly, he lets them enter his office. This is an inside joke, referring to Al Dubin and Harry Warren, who wrote the music for this film, and Orry-Kelly, who was the costume designer.
- ErroresWhile Joan Blondell is singing "The Girl at the Ironing Board", a stage hand is seen in the background hanging a clothesline.
- ConexionesEdited into Musical Memories (1946)
- Bandas sonorasDames
(1934) (uncredited)
Music by Harry Warren
Lyrics by Al Dubin
Danced by Ruby Keeler at rehearsal
Sung by Dick Powell and chorus in the show
Played as background music often
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Detalles
Taquilla
- Presupuesto
- USD 779,000 (estimado)
- Tiempo de ejecución1 hora 31 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.37 : 1
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By what name was Dames (1934) officially released in India in English?
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