![]() Kent’s only relief is his secretary, Nan (Joan Blondell). It’s a job that demands constant creativity and an absolutely maddening workload for Kent, much to the delight of his embezzling bosses (who include Guy Kibbee, shaking like a bowlful of maniacal glee). Seeing an opportunity insomuch that live action staged prologues are still going strong, Kent dreams up the idea of creating a large rotating troupe of performers who travel to different cities to dance before showings, replacing each other week after week. He’s playing Chester Kent, a theatrical producer who’s looking at his job drying up as talking pictures storm their way into the American conscious. Up until then, we have the story of a man luckily it’s James Cagney so we know we’re in for a treat. It has some of the most deliriously dazzling choreography and feats of visual bravado you may ever see in a motion picture, with enough moments of over-the-top excess that you can sometimes hardly believe you’re seeing it.īut, of course, they save that until the last thirty minutes of the picture.
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