Kailansorac Clever, believable, and super fun to watch. It totally has replay value.

Kinley This movie feels like it was made purely to piss off people who want good shows

Cheryl A clunky actioner with a handful of cool moments.

Dana An old-fashioned movie made with new-fashioned finesse.

mark.waltz The hijinks of 14th Street move to mid-town in this delightful musical which takes "42nd Street's" Julian Marsh (Warner Baxter) to Broadway and into society after his easy money off of Union Square gives him the means to tackle Times Square. Only the first ten minutes of this movie shows him actually working in Burlesque; His girly-show revues with low-down comedy (a la "Sugar Babies" and "The Nance") become more elaborate and mainstream on Broadway, and very soon, he's the most prominent producer of musical revues on the "Gay White Way". His attendance at the auction of broke socialite Mona Barrie gives him an introduction to society even though their initial meetings does not leave her with a good impression of him. But a broke socialite needs a rich man to keep her in furs, and when he suggests a marriage of convenience to her to get his name in the society columns, she jumps at the chance, even though she's in love with a boorish opera singer. Standing in the background is the tough but love-lorn Alice Faye whom he considers to be "one of the boys", not realizing the extent of her affections. Of course, the relationship between Baxter and Barrie comes to a sudden end, and it is up to Faye & Baxter's assistant (Jack Oakie) to come to his aid to bring him back to the top of Broadway once again.There are so many great moments in this film that it is difficult to single out individual scenes, but I have to give a special thumbs up to the inclusion of "Fats" Waller as the elevator man who gets to do his specialty in the finale of the finger-snapping "I've got my Fingers Crossed", making you wish all the more that he had another big number. The glorious "I'm Shooting High" is the other big production number, performed with gusto by Miss Faye and later repeated on Broadway in the burlesque musical "Sugar Babies" with equal aplomb by the legendary Ann Miller. With her Jean Harlow like platinum blonde hair and husky voice, Alice has a natural screen presence, a combination of sweet and sassy, and at times, she really just comes across so easy-going that the fact that she doesn't seem to be even acting makes her all the more likable. Dixie Dunbar is adorable as Baxter's secretary. All the archetypes of the Broadway scene are present, with a few gay references thrown in that the Hays code didn't pick up on. I wanted to see more of the comic burlesque routines that sometimes really cut close to the border of good taste, but then again, good taste was something that burlesque never tried to emulate. As Baxter himself learns after taking wife Barrie's advice and producing something more sophisticated, he falls flat on his face and must return to the tried and true method of entertainment: scantily clad females singing and dancing, low down comic routines, and those fun little blackouts that usually ended with the orchestra playing the quick little "tah-dah" notes that indicated to the audience that they could laugh and applaud with the usually corny but often funny punch line.

MartinHafer If you've watched many musicals (particularly Fox musicals), then you'll have a strong sense of déjà vu when you watch it. In other words, the script is the exact same script that you've seen before and will see again if you watch any more musicals from this era it's . Without even searching IMDb, I recall having seen the exact same script (with very minor changes) in "Alexander's Ragtime Band". And, considering that Warner Baxter stars in the film, it can be compared in many ways to "42nd Street".Here is the clichéd story outline. Baxter is super-successful at what he does best--Burlesque-inspired musicals for the masses. However, he meets a highbrow society dame and loses his focus--trying to make sophisticated shows instead of his usual fare. Naturally, they flop. In addition, he has another woman who adores him but he just doesn't see it. Late in the film, this woman (Alice Faye) returns and unknown to him finances his comeback. Only then, when he's back on top, does he realize that he's loved her all along--and the film ends with them in the clinch.Unfortunately, this one has relatively bland songs and a terribly muted performance from Baxter. Regardless why, it's just a rather well made but dull musical with nothing distinguished to offer. I did appreciate, however, that the two female dancing leads were a bit chunky--a nice acknowledgment that not all ladies are size 4!

F Gwynplaine MacIntyre It's interesting how different roles played by the same actor can form a continuum. The master showman played by Warner Baxter here in 'King of Burlesque' could arguably be the same master showman played by Baxter in 'Stand Up and Cheer' and (so memorably) in '42nd Street', if only they all had the same name. If the three films depict the same character at three stages in his life, then 'King of Burlesque' would have to be chronologically first ... because here we see Baxter's showman in his early scuffling days as a burlesque impresario, working his way up to Broadway with laughable ease in an impressive montage.I wish that the money which 20th Century-Fox had spent on that montage had been spent on some better scriptwriters. The story here is deepest cliché. Alice Faye is secretly in love with Baxter, but he's only got eyes for the posh society dame played by ice-cold Mona Barrie. Will Baxter come to his senses before the projectionist starts the second feature?Fortunately, 'King of Burlesque' doesn't have to rely on its plot to be enjoyable. There are some goodish musical performances here, notably the great Fats Waller warbling my favourite of his standards: "I've Got My Fingers Crossed". Waller also has a good comedy scene with Baxter, playing the black servant who forgets to 'yassuh' de massah. Less impressive is Dixie Dunbar, a pint-sized tap dancer whose style seems to be midway between Ruby Keeler and Eleanor Powell, but without Powell's virtuoso skill and sex appeal.I've always found Alice Faye very sexy, and she's sexier than usual here in two extremely kinky costumes: playing a (not very convincing) underage girl in a burlesque blackout, and then later performing a novelty number in full riding habit ... but with tights instead of jodhpurs! Faye is joined for this number by Herbert Mundin, who could have become one of the great Hollywood character actors if not for his untimely accidental death. Elsewhere, Gregory Ratoff brings genuine poignancy to a comedy role as a cod millionaire.There's also some weird adagio dancing from Nick Long Jnr (who?), jumping over some chorus girls, and some rapid buck-and-winging from boy dancer Gareth Joplin (again, who?). Joplin's dance number here is an excellent showcase for him, and I'm sure that he thought this film would be his big break ... but, from here his next stop was oblivion.I was surprised to learn that this film was Oscar-nominated for its dance direction. Frankly, none of the musical numbers (except Waller's) are staged especially well. Early on, while the characters played by Baxter and Faye are still in burlesque, I was impressed by one dance number which is staged badly on purpose: Faye and the Paxton Sisters attempt a dance in unison, but they're only vaguely dancing the same steps ... a very appropriate staging for a number that takes place in a working-class burlesque theatre.'King of Burlesque' doesn't stand up to analysis. Even its title is sucker bait, as very little of this film takes place in burlesque. For all its faults, this is an excellent example of the sort of B-budget musical that was routinely ground out during Hollywood's golden era; I wish that modern Hollywood could routinely grind out musicals as "bad" as this one (meaning, as GOOD as this one) nowadays. My rating: 7 out of 10, mostly for Waller's number and Faye's incredibly sexy performance. Skip the plot, and fast-forward to the musical numbers.

jpickerel Contains a cast of veteran (by then) actors and actresses, whose combined presence would normally be counted on to produce a top notch musical, but is somehow lacking the punch to put it completely over the top. The writing isn't really crisp, either; Jack Oakie could have phoned this one in. Neither is the music itself memorable, although the closer, "Who's Big Baby are You?" might have had you humming on the way out of the theater. Bright spots were few, but a Fats Waller number is something to look for, and Mona Barrie is fine as the calculating Broadway socialite. Perhaps this is one that would really benefit from being seen on the big screen. Television doesn't do it justice, maybe.