As Good As It Gets

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

More Over-Rated Mediocrity. I liked it though. This was only shortly after the silent era. I liked this one because it was well produced and edited and had a really good, energetic flow. It has the flow, movement and rhythm of a swing-time musical. As far as character study there is not really any of that, just generic characters. As far as meaning or expression (art, symbolism etc etc.) there wasn't really much. This piece seemed to be produced for a secondary reason aside from art or story such as to make money by showing off technology or production value.5.5

This classic old movie talks about people working on a play. The first half of this movie isn't great as it just features them preparing for the play. It's not bad. We do some good character build up and it probably makes the second half all the more rewarding. The second half is them actually showing us the play in its entirety, more or less. The buildup is so good it's what makes the overall movie great. We get to see all the great sets, song numbers and wonderful camera angles. Would it have worked better if the whole movie was the play? Maybe.You get more anticipation this way and the payoff is great. There were a lot of these musicals made in the early 1930's and I'm glad to see one of the most well known. Wait, 42nd Street? So that's where Douglas Adams got the number 42 from! I admit I was afraid they'd get more into the outside plot at the end, but it actually ended right there. I'm glad, because it's great to see a movie that's so well organized. I appreciate it for setting up future musicals too. ***1/2

This has it's a lot of fun moments, including 15 minutes worth of terrific, over-the-top Busby Berkeley dance numbers, some snappy, sexy pre-code dialogue, and impressive early use of crane shots.Yes, it's mostly awkwardly acted. And the whole thing is a string of clichés from start to finish. But, this film helped establish those clichés, and is pretty darn enjoyable in a corny, silly way.Many critics consider it a classic, and it is indeed important in Hollywood history.That said, I can't quite bring myself to say "classic", but I did smile a lot, especially on 2nd viewing.

Suffering from the Great Depression and a bad ticker, Broadway director Warner Baxter (as Julian Marsh) desperately needs "Pretty Lady" to be a hit musical. When leading actress Bebe Daniels (as Dorothy Brock) gets tipsy and twists her ankle, newcomer Ruby Keeler (as Peggy Sawyer) must step into the starring role. "You're going out a youngster, but you've got to come back a star!" demands Mr. Baxter. This fresh look at an old story made Ms. Keeler a star and likewise advanced young Dick Powell (as Billy Lawler). Much has been said of Busby Berkeley's brilliantly staged production numbers. They are spectacular. It should also be noted that Lloyd Bacon's direction and Sol Polito's photography shine throughout. The cast is delightful, the songs are perfect, and pretty legs are celebrated like nobody's business.********* 42nd Street (3/8/33) Lloyd Bacon ~ Warner Baxter, Ruby Keeler, Dick Powell, Bebe Daniels