Like the other studios, MGM wasted no time cashing in on the success of 42nd Street with its own backstage musical, complete with ersatz Busby Berkeley choreography. This one is Dancing Lady, and she’s young Joan Crawford costarring with Franchot Tone and Clark Gable. A dancer named Fred Astaire makes his official film debut, and Nelson Eddy pops in for a song.
Crawford is an ambitious dancer being pursued by a rich boyfriend (Tone), but she’s blinded by the footlights of Broadway. He helps her out by getting her into a show directed by tough guy Gable, and when he sees her talent and perseverance, he gives her the “top spot” in the show. Of course, he’s attracted to her, too, and she to him.
It’s easy for all of them to be attracted to one another because they’re all gorgeous. 30 years after this film, Franchot Tone would play a dying President in Advise and Consent... and look it. Here he’s a smooth dazzler in his top hat, tails, brilliant smile and dimples. Gable is muscular, sexy, and rough around the edges. Crawford sparkles with her athletic figure, beautiful legs, and surely a pair of the most spellbinding eyes ever in film. She is perfection in her Adrian outfits. Though she does well in her big number with Astaire, Crawford really was from the Ruby Keeler School of Hoofing – lots of arms, big steps, and a ton of noise.
Dancing Lady was a box office hit upon its release and drew mostly positive reviews from critics. Mordaunt Hall in The New York Times wrote, “It is for the most part quite a lively affair... The dancing of Fred Astaire and Miss Crawford is most graceful and charming. The photographic effects of their scenes are an impressive achievement... Miss Crawford takes her role with no little seriousness.”
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