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Busby Berkeley Collection, The (10-Pack)
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| Genre | Musicals, Romance, Anime & Manga |
| Format | Multiple Formats, Box set, Black & White, NTSC, Subtitled |
| Language | English |
| Studio | Warner Home Video |
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Product Description
9 Magical Musicals Showcasing the Berkeley Touch of All-Singing, All-Dancing Amazements. Extensive Special Features on Each Movie Plus the BONUS BUSBY BERKELEY DISC: A Compilation of 21 Astonishing Musical Sequences.
42ND STREET • 3 Featurettes: Harry Warren: America's Foremost Composer, Hollywood Newsreel and A Trip Through a Hollywood Studio • Notes on Busby Berkeley
GOLD DIGGERS OF 1933 • 5 Featurettes: 42nd Street: From Book to Stage to Screen, The 42nd Street Special, Gold Diggers: FDR's New Deal…Broadway Bound, Rambling 'Round Radio Row #2 and Seasoned Greetings • 3 Classic Cartoons: I've Got to Sing a Torch Song, Pettin' in the Park and We're in the Money • Busby Berkeley Musicals Trailer Gallery
FOOTLIGHT PARADE • 3 Featurettes: Footlight Parade: Music for the Decades, Rambling 'Round Radio Row #8 and Vaudeville Reel #1 • 2 Classic Cartoons: Honeymoon Hotel and Young and Healthy • Theatrical Trailer
DAMES • 4 Featurettes: And She Learned About Dames, Busby Berkeley's Kaleidoscopic Eyes, Good Morning, Eve and Melody Master: Don Redman and His Orchestra • 2 Classic Cartoons: I Only Have Eyes for You and Those Beautiful Dames • Audio-Only Bonus: Direct from Hollywood Radio Promo • Theatrical Trailer
GOLD DIGGERS OF 1935 • 2 Featurettes: (buz'be bur'kle) n. A Study in Style and Double Exposure • 2 Classic Cartoons: Gold Diggers of '49 and Shuffle Off to Buffalo • Audio-Only Bonus: Direct from Hollywood Radio Promo • Gold Diggers Trailer Gallery
GOLD DIGGERS OF 1937 • Historical Short The Romance of Louisiana • Classic Cartoons Plenty of Money and You and Speaking of the Weather • 2 Excerpts from 1929's Gold Diggers of Broadway
VARSITY SHOW • Edgar Bergen/Charlie McCarthy Comedy Short A Neckin' Party • Classic Cartoon Have You Got Any Castles
HOLLYWOOD HOTEL • Historical Short The Romance of Robert Burns • Edgar Bergen/Charlie McCarthy Comedy Short Double Talk • Classic Cartoon Porky's Five & Ten
GOLD DIGGERS IN PARIS • Broadway Brevities Musical Short The Candid Kid • 2 Classic Cartoons: Cinderella Meets a Fella and Love and Curses
THE BUSBY BERKELEY DISC • From 42nd Street: Young and Healthy, Shuffle off to Buffalo and 42nd Street • From Gold Diggers of 1933: We're in the Money, Pettin' in the Park, Shadow Waltz and Remember My Forgotten Man • From Footlight Parade: Sittin' on a Backyard Fence, Ah, the Moon Is Here, Honeymoon Hotel, Shanghai Lil and By a Waterfall • From Fashions of 1934: Spin a Little Web of Dreams • From Wonder Bar: Don't Say Goodnight • From Dames: The Girl at the Ironing Board, I Only Have Eyes for You and Dames • From Gold Diggers of 1935: The Words Are in My Heart and Lullaby of Broadway • From In Caliente: The Lady in Red • From Gold Diggers of 1937: All Is Fair in Love and War • All Music by Harry Warren and Lyrics by Al Dubin Except By a Waterfall, with Music by Sammy Fain, Lyrics by Irving Kahal
ON EACH MOVIE: • Subtitles: English, Français & Español (No Español on 42nd Street) (Main Feature. Bonus Material/Trailer May Not Be Subtitled).
Product details
- Is Discontinued By Manufacturer : No
- MPAA rating : Unrated (Not Rated)
- Product Dimensions : 7.5 x 0.7 x 5.4 inches; 12 Ounces
- Media Format : Multiple Formats, Box set, Black & White, NTSC, Subtitled
- Release date : October 12, 2010
- Subtitles: : English, French, Spanish
- Language : Unqualified
- Studio : WarnerBrothers
- ASIN : B004132I6Q
- Number of discs : 10
- Best Sellers Rank: #125,827 in Movies & TV (See Top 100 in Movies & TV)
- #1,720 in Musicals (Movies & TV)
- #2,723 in Anime (Movies & TV)
- #4,854 in Romance (Movies & TV)
- Customer Reviews:
Customer reviews
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Learn more how customers reviews work on AmazonReviewed in the United States on November 5, 2021
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I’d seen some excerpts from his dance numbers (and scenes inspired by his intricate choreography in everything from The Big Lebowski to The Simpsons). But this is my first time watching one of his full-length features.
And, having watched it, I’m glad I did. And what can I say, other than Boy, was I wrong!
Gold Diggers of 1933 isn’t so much bent on distracting people from the troubles of the Depression (or the hangover from the Great War) as it is with the harder task of making art and comedy from the harrowing (while never making light of the twin tragedies of war and poverty).
The film stars Lawrence J. Bradford as a man of great resources, who volunteers fifteen grand to fund a big musical review on the Great White Way. This is bully for Carol, Trixie, and Polly, three roommates who are so hard-up for cash they’ve devised a tool to steal milk from the windows of adjacent apartments.
What follows is a comedy of errors, exceptionally frank in its depiction of sexuality for its time, even for a pre-Hays Code talkie. Having said that, though, the movie’s core is not just wholesome, but inspiring. The bad times aren’t quite over yet, but the light at the end of the tenebrous tunnel can be seen. This is a movie about America when it was confident, but not overly so, barreling toward what everyone thought was a bright future.
And even in the midst of the hardship there’s dance, song, a spot of champagne, and the bright lights of the Big City. The movie’s central musical number—We’re in the Money—has become a cultural touchstone almost on a par with the National Anthem. My personal favorite, though, is the downbeat sort of ragtime number that closes the picture, featuring various women holding torch for the men who are still literally in their midst, but whose minds and souls were taxed sometimes beyond the breaking point by the Great War followed by the Great Depression.
I’m not a big fan of movies with a lot of dance numbers or breaks for song, but every rule has its exception. Here’s mine. Highest recommendation.
With the earliest sound films coming at the same time as the Great Depression and with little interference from censors, studios and their directors felt free to explore controversial topics and new ideas. Most of the principals responsible for this film knew the underside of life from the bottom up. The director, Mervyn Leroy, watched his Father waste away after his business was lost in the San Francisco earthquake. He fought for choice street corners as a newsboy and scrambled for low-paying entertainment jobs as a teenager. The choreographer, Busby Berkeley, developed his skills planning military parade routines for soldiers as an army lieutenant and spent several years taking odd jobs while out of work in the early twenties before bluffing his way to success with dancers in New York. He kept about a dozen dancers called the “Berkeley Girls” under personal contract. They established a standard for all others who might work for him in their ability to perform with a bright smile on their faces after long hours of rehearsal in uncomfortable and heavy costumes, neck deep in water, or practicing uncomfortable stunts.
The earlier Warner musical 42nd Street set a realistic tone depicting an exhausted theatrical director recovering from a nervous breakdown pushing his bone-tired chorines through long rehearsals all for the chance to build a success on stage, for a lucky break turning an ingénue into a star. This dream of stardom kept the overworked Berkeley Girls content despite the conditions. Though it was played for laughs in the Gold Diggers of 1933, the handful of girls stealing milk from next door, sharing one apartment with the rent past due and with one good dress between them for the occasional job interview was close to the reality on the street. Leroy’s film pushes for social reform, a decent chance at a job for those in need, and contempt for those withholding their money, because they only saw greedy opportunists among the poor.
Berkeley developed his musical routines separate from the movie script. There were just placeholders for his routines in Gold Diggers of 1933 when the remarkable success of 42nd Street and his powerful “Remember My Forgotten Man” number induced the director to change the order of the routines, moving it to the end in place of a replay of “We’re in the Money.” A young Joan Blondell set the tone for the piece in a short introductory skit, but the young African American singer Etta Moten Barnett sold the heart of it sitting in a window singing the chorus about her forgotten man. Calling to mind the Bonus army of WWI vets brutally rousted from their 1932 protest in Hoover’s Washington, the Roosevelt administration made the forgotten man their rallying cry. Barnett became the first black woman to sing in the White house when Eleanor Roosevelt invited her to sing “Forgotten Man” at the president’s birthday in 1934.
(a review I wrote as part of a city film series I ran 12 years ago)
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If you are into these old movies this is a steal at the price all in english language as default .










