42nd Street isn't really a musical but it earns the dubious distinction of being labeled one because it features a musical (titled "Pretty Lady") within the movie. "Pretty Lady" gets performed partially during the rehearsals and at the opening night which is played out towards the end of the movie. The title "42nd Street" is derived from the title of one song in "Pretty Lady".

The idea of a show within a show has been repeated in several other screen musicals such as Kiss Me Kate, A Chorus Line and, to a lesser extent, South Pacific. Unfortunately, unlike these other musicals, none of the characters in 42nd Street actually sing when not performing in their "show within the show" -- "Pretty Lady". This is disappointing because the songs written by Harry Warren are by no means mediocre tunes. Some, like the title tune - 42nd Street - have aged remarkably well since this black-and-white movie was screened in 1933. What is disappointing is that without adequate screen time devoted to what "Pretty Lady" is about, the meaning of most of the songs seem incoherent when staged or sung out of context to what is happening in the main movie. Nevertheless, this did not prevent 42nd Street from becoming a musical classic and a production is still being performed on Broadway today.

The main story in 42nd Street provides the backstage drama entirely consistent with what one would expect (or perhaps erroneously mistaken?) show business to be. Interestingly, all the main characters' relationships with one another can be linked in a linear way. Julian Marsh (Warner Baxter) is the ailing director of the staged musical comedy "Pretty Lady" who is intent on making it big with his last stab at show business after years of watching his actors and actresses revel in glory, recognition and financial success from his past productions. Abner Dillon (Guy Kibbee) is the wealthy investor who has promised to bankroll Marsh's "Pretty Lady". Dorothy Brock (Bebe Daniels) is the leading actress of "Pretty Lady" who Dillon has an obsession with. Pat Dennings (George Brent) is a less successful actor who is in a relationship with Dorothy. Peggy Sawyer (Ruby Keeler) plays the inexperienced performer who Dennings helps overcome her chorus girl debut jitters. Billy Lawler (Dick Powell) is one of the leading actors in "Pretty Lady" who sings a couple of songs and is insinuated to be the upcoming beau of Sawyer.

Sawyer fortuitously gets cast in the chorus of  "Pretty Lady" despite getting knocked out during the audition stages only because she lingered in the theatre at the precise time when the director realized that they were one person short. In some way, Sawyer's fortune serves as a reminder to aspiring actresses how patience and perseverance (even when one is merely conveniently sleeping in the theater after a failed audition) can reap their rightful rewards. Alternately, one could just cuss how some people just get all the darn luck.

At times, the plot seems to be filled with scenes and incidences whose sole purpose seems to be to expand the storyline. Marsh realizes that public knowledge of Brock and Dennings' relationship would severely diminish Dillon's interest in financially backing his new production so he sends people to threaten Dennings and warn him against continuing to see Brock. This is irrelevant since Brock upsets Dillon anyway when she throws him out of her hotel suite and Dillon threatens to pull out his sizeable investment from the production if Brock remains in the show. Needless to say, this point becomes irrelevant since Brock breaks her foot and cannot perform. This too is irrelevant since Sawyer, who steps in for the leading actress, does such an outstanding job in a role she barely had five hours to rehearse for that she probably was a better choice than Brock in the first place.

42nd Street does have certain weaknesses in its storyline but one of the main reasons why it remains beloved by many is because it captured the hearts and imagination of many in 1933 in the post-Depression era. Here was a Cinderellaesque tale of an inexperienced chorus girl who made it by chance into the cast of a highly anticipated stage show, stepped into the leading role under fortuitous circumstances yet again and later won critical acclaim. In more modern times, this scenario actually replicated itself for the 2001 London Production of My Fair Lady with Martine McCutcheon being forced out of the leading role on numerous occasions because of a severe streptococcal throat infection and her precocious understudy, Alexandra Jay, doing an excellent job to replace her. In 42nd Street, Keeler, in her debut movie, stands out in particular as the understudy and she turns out a remarkable performance in the finale.

42nd Street was the movie which revitalized the genre of movie musicals and revived the fortunes of Warner Brothers. Along with it came ebullient songs like "Young And Healthy" (sung by Powell) which sought to create much needed optimism for dispirited and depressed Americans. In this sense, this movie will continue to remain iconic because of its key roles many decades back but as time passes and memories fade, it remains to be seen how 42nd Street can hold out against other musicals with a stronger book, score and better choreographed dance routines.

Perhaps a modern-day revival of this classic movie needs to be in store.

Reviewed on 25 December 2004