This is the grandfather of large-scale movie musicals. For better or worse, this movie set a standard for huge dance numbers, outsized budgets, and star-studded casts. It advertised 14 stars and 200 girls; while I didn't count, I have no reason to doubt these figures. It was pretty entertaining, but it isn't my favorite of supersized 1930s musicals; my favorite is Gold Diggers of 1935, which features the single best large-scale dance number in movie history, "Lullabye of Broadway." This one's biggest dance number was flawed by being set to a crappy song, but I'll get to that later.

The plot will sound familiar, since it's the basic plot of about half of all musicals: a behind-the-scenes depiction of a cast and crew desperately trying to get a big show together in time for opening night. It is so popular because it works so well. You have backstage intrigue, power struggles, plenty of opportunities for romance, and ample inspiration for musical numbers. This plot is timeless and universal: Robert Altman used it most recently for his wonderful ballet film The Company. The standard plot is beefed up with plenty of big stars and racy 1930s dialog; since the film was made before the Production Code was really enforced, there are plenty of sexual double entendres, references to adultery and homosexuality, and assorted risque stuff. To give you an idea of what they were getting away with, one character remarks about another, "Anytime Annie? Who could forget her? She only said no once, and that was when she didn't hear the question." This might seem tame to modern viewers, but you'll find it absent from films made after 1934.

Maybe I misread that thing about 14 stars. There are only 13 credited. Anyway, Julian Marsh (Warner Baxter) is the best musical director in New York, but he's on the verge of a nervous breakdown. Despite this, producer Thomas Berry (Ned Sparks) hires him to direct the biggest musical the city has ever seen (aren't they all?), Pretty Lady, which is being financed by absent-minded kiddie-car millionaire Abner Dillon (Guy Kibbee, in a part he did a hundred times). There's one condition: Dorothy Brock (Bebe Daniels), Dillon's new flame, must star. Production begins, but it is threatened when it becomes apparent that Dorothy is still seeing her old flame Pat Denning (George Brent), who is having a hard time with his career. Back on the set, bright-eyed and young Peggy Sawyer (Ruby Keeler) gets a part in the chorus line; she's being wooed by "juvenile" Billy Lawler (Dick Powell, who was 29 at the time), but she also attracts the eye of Denning. Meanwhile, two jaded chorus girls, Lolly Fleming (Una Merkel) and "Anytime Annie" Lowell (Ginger Rogers), offer a running commentary on the whole production. The production is imperiled by the whims of Mr. Kiddie Car and the vagaries of bad fortune, but is anyone really surprised that it all comes off without a hitch?

The most interesting character in the film is actually the big star, Ruby Keeler as Peggy. If I sound surprised, it is because in most of these gigantic musicals, there are lesser characters who are more engaging than the one you're supposed to concentrate on. Ruby Keeler's wide-eyed innocence, which only seems halfway feigned, is captivating. She's also one of the better singers in the cast that consists mostly of singers, and it doesn't hurt that she gets to belt out one of the best musical numbers in the history of musicals, the titular "42nd Street." Una Merkel and Ginger Rogers are enjoyably sassy as the Greek chorus of the production. I didn't particularly like Warner Baxter as Marsh, and not just because he played an annoying character.

The strength of a musical is its songs, and this film had a mixed bag. I mentioned that I think "42nd Street" is one of the best musical numbers in film history, but this film also contains one of the worst songs: "Young and Healthy," sung here by Dick Powell, ruins the film's big dance number. "You're Getting to be a Habit with Me" is another memorable song, but it's canceled out by "Shuffle Off to Buffalo," which is a decent song marred by Clarence Nordstrom's creepy delivery. For a Busby Berkeley-choreographed large-scale musical, I can't say I was all that impressed by the dance numbers in this film. My objections to the "Young and Healthy" number notwithstanding (it was still a fine piece of choreography), there wasn't a lot else going on in the film in terms of dance. Of course, the "Young and Healthy" number did inspire one of the funniest dance numbers in history, Jeff Bridges's fantasy bowling dance with Julianne Moore in The Big Lebowski.

The film was nominated for Best Picture, which it lost to Cavalcade, and Best Sound Recording, which it lost to A Farewell to Arms. On the continuum of Best Picture nominees from 1933, this ranks fourth, after I Am a Fugitive from a Chain Gang, She Done Him Wrong, and A Farewell to Arms.