Author: thehorsesheadblog

#270) Punch Drunks (1934)

OR “Million Dollar Curly”

Directed by Lou Breslow

Written by Moe Howard, Larry Fine, Jerry Howard and Jack Cluett

Class of 2002

A quick preview

The Plot: Boxing manager Moe (Moe Howard) is in need of a new fighter. While having lunch with his associates, he witnesses his waiter Curly (Curly Howard) go into a violent trance when violinist Larry (Larry Fine) plays “Pop Goes the Weasel”. Under the name “K.O. Stradivarius”, Curly goes undefeated leading up to the Championship match with Killer Kilduff (Al Hill). But on the day of the big match, Curly accidentally breaks Larry’s violin. What hilarious, violent hijinks will the Stooges get into now? Oh, and there’s a woman (Dorothy Granger), because there’s always a woman.

Why It Matters: The NFR gives some historical background, incorrectly states that this short is “scripted solely by the trio”, and praises the short’s boxing backdrop as perfect for “the Stooges’ trademark super violent, cartoonlike slapstick.”

But Does It Really?: Well it took long enough to get the Stooges on the Registry. Like the “Popeye” short on this list, “Punch Drunks” checks all the boxes you want from a Stooges short: eye-pokes, Curly noises; the only thing missing is a wrench to the nose. The slapstick is a bit excessive, but “Punch Drunks” is still fun and never takes itself seriously, which is the primary reason for the Stooges’ longevity. A Three Stooges short isn’t the first film that springs to mind for preservation, but no film history would be complete without one, and “Punch Drunks” is the perfect representation of Larry, Moe, & Curly.

Everybody Gets One: From 1922 to 1933, Moses Horwitz (Moe Howard) and his brother Samuel (Shemp) were the comic foils in the vaudeville act “Ted Healy and His Stooges”. Louis Feinberg (Larry Fine) joined the group in 1928, and the trio perfected their comedy routines on the stage. When the Stooges signed with MGM in 1933, Shemp left the group and was replaced by his brother Jerry (Curly). When their yearlong contract expired, the Stooges parted ways with the consistently difficult Ted Healy and were almost immediately snatched up by Columbia. “Punch Drunks” was the Three Stooges’ second short with the studio.

Wow, That’s Dated: This thing is very Movie ‘30s; people talking fast and calling each other “mugs”. Speaking of, who knew “toots” was gender neutral?

Seriously, Oscars?: Only one Three Stooges short was ever nominated for an Academy Award: 1934’s “Men in Black” (No, not that one, but there’s an idea!) After that, Columbia head Harry Cohn downplayed the Stooges’ popularity so that he wouldn’t have to renegotiate their contracts, and I suspect the Stooges never re-entered the Oscar race for that reason. The Comedy Short winner of 1934 was “La Cucaracha”, which probably won because it was in color and more expensive than the average two-reeler.

Other notes

• Despite the opening credits, the screenplay was entirely by contract writer Jack Cluett. Moe submitted the initial story, and credited the other two Stooges in the interest of fairness. What a guy.
• Look out; the Columbia lady has a sparkler!
• Ah yes, back in the days when you could slap your employee. This union just ain’t cutting it.
• We have an eye poke! Followed immediately by some Curly noises! It’s an embarrassment of riches!
• This is the first of the Stooge shorts where Curly claims to be “a victim of soycumstances!”
• I know I’ve seen the Three Stooges before, but man are these things violent. No wonder parents were up in arms.
• Speaking of, shoutout to whoever did the Foley on these shorts. How much meat was slapped to get those punching noises?
• The women in these shorts are always some pleasant young blondes that didn’t do anything before or after their work with the Stooges. Just once I want to see Katharine Hepburn or Marlene Dietrich get mixed up with these guys.
• This short repeats the age-old adage, “_________ and women don’t mix.”
• When you rear project your background extras, it just looks like they’re trapped in an alternate dimension.
• One of the extras flips off the camera. He was the “Guy who exposes himself in ‘Teen Wolf’” of his day.

• A radio station is playing “Pop Goes the Weasel”? Man, it was a lot easier to entertain back in the ‘30s. I guess that was the first pop station. Thank you!
• Have you ever actually thought about the lyrics to “Pop Goes the Weasel”? Why is that monkey chasing a weasel around a cobbler’s bench? And why did the weasel go pop? Did it internally combust? Whatever the reason, I blame “America Sings”.
• You know, before “Raging Bull” came along, “Punch Drunks” was the definitive boxing movie.

Legacy

• In total the Stooges made 190 shorts for Columbia from 1933 to 1957. After Curly left the group in 1946 following a stroke, Shemp returned and stayed until his death in 1955. The series ended with Joe Besser as the third Stooge, but by then the group found a second life in TV reruns. They’ve never been off the air since.
• Curly’s “woop-woop-woop-woop” heard in this film was reused in several subsequent Stooges shorts.

• “Punch Drunks” was remade in 1945 as “A Hit with a Miss”, with Shemp taking over Curly’s role.

• After the deaths of Moe and Larry (both in 1975), the Stooges lived on in new incarnations. Follow-ups have included several animated series (including one where the Stooges are robots?), a video game, a TV movie documenting their behind-the-scenes struggles, and a full-length movie that just…why?

• Did you know there’s a Three Stooges museum? Founded by Larry Fine’s grandnephew-in-law, the Stoogeum (yep) is in Spring House, Pennsylvania. Road trip, anyone?

• And now, for your viewing pleasure, The Curly Shuffle.

#269) Jaws (1975)

OR “Shark From Adversity”

Directed by Steven Spielberg

Written by Peter Benchley and Carl Gottlieb. Based on the novel by Benchley.

Class of 2001

The Plot: The sleepy New England town of Amity Island is suddenly a hive of activity when a great white shark (Bruce) starts eating people along the beach. The town’s new police chief, city-transplant Martin Brody (Roy Scheider) wants to close the beaches, but is overruled by Mayor Vaughn (Murray Hamilton) who fears a beach closure will damage Amity’s profitable summer tourism. With the help of oceanographer Matt Hooper (Richard Dreyfuss) and eccentric shark hunter Quint (Robert Shaw), Brody is determined to prove the shark’s existence, find it, and kill it. And behind the camera, a young director is second-guessing his decision to film on location.

Why It Matters: The NFR calls the film a “now-classic thriller”, and praises John Williams’ score. They do, however, go on to state that the film is “expertly, if manipulatively, crafted” by Spielberg. Did the NFR include “Jaws” just to get that dig in?

But Does It Really?: It may have ruined movies forever and killed New Hollywood, but “Jaws” is still one of the best crafted action movies ever made and a landmark in film history. Like Hitchcock before him, Spielberg knows that simplicity (whether intentional or not) is key. The film preys on a primal fear, strips the novel down to its core elements, and is presented in Spielberg’s trademark “simple-yet-effective” filmmaking style. In the hands of a lesser director, “Jaws” would have been cheesy and formulaic, but a young Spielberg showcases his masterful storytelling, as well as his ability to roll with the punches whenever Mother Nature fights back. You may find Spielberg and his movies overrated, but you cannot deny the long-lasting impact and sheer entertainment value of “Jaws”.

Shout Outs: I can’t confirm that this movie’s iconic dolly zoom shot is an intentional “Vertigo” reference, but I can’t not confirm it either.

Everybody Gets One: Actor Lorraine Gary (as well as the countless Martha’s Vineyard citizens cast in bit parts), screenwriters Benchley and Gottlieb, and of course, Bruce.

Wow, That’s Dated: This film as a whole has that mellow post-Vietnam, post-Watergate vibe of the mid-‘70s. Plus we’re in the era when you had to specify you wanted a “color TV”.

Take a Shot: No one says “jaws”, but everyone just assumes it’s the name of the shark.

Seriously, Oscars?: The biggest hit of 1975 (or any year up to that point), “Jaws” was nominated for four Oscars, including Best Picture -which ended up being the only category it didn’t win (This was the year of the “One Flew Over the Cuckoo’s Nest” sweep). “Jaws” took home the prizes for its Score, Sound, and Editing, but Spielberg in particular was pissed that the film wasn’t nominated in any other categories.

Other notes

• Let’s acknowledge the great white shark in the room: this film’s chaotic production is as legendary as the film itself. The script was constantly being re-written, Shaw and Dreyfuss were regularly butting heads, and Spielberg’s insistence on filming in the actual ocean caused delay after delay; to say nothing of how often the mechanical sharks broke down.
• Chrissie picked a lovely day-for-night to go skinny dipping.

• You know what never gets the praise it deserves in this film? The cinematography. There are some lovely compositions that never detract from the film. Hats off to Bill Butler, plus the live shark footage of Ron and Valerie Taylor.
• Shoutout to Robert Shaw, whose Quint not only gets one of the best intros of any film character, but also two of the best film monologues.

• This movie is a lot quieter than I remember it being. There are still plenty of “volume up, volume down” moments, but for the most part there’s a lot of silence. Nice restraint, Spielberg and Williams.
• What happened to the mayor’s anchor jacket? Does the Smithsonian have it?
• “Peter Benchley, Channel 5 News, Amity.”
• The production setbacks really were a blessing. You can’t imagine the shark appearing before it finally does.
• I knew it was coming, but that first overhead shot of the shark underwater always gives me chills. Seriously, during this viewing I went from the edge of my bed to the wall in a matter of seconds.

• The one shot that baffles me is the shot in the estuary where the camera glides towards Michael. Is it from the fin’s POV or is the shark flying?
• Typically when a movie spawns a famous line, everyone involved tries to take credit, but by all accounts, “You’re gonna need a bigger boat” belongs to Roy Scheider.

• How did the actual survivors of the USS Indianapolis feel about their tragedy being used in this movie? Especially considering how many of the facts Quint gets wrong, including the date of the actual sinking.
• Oooh, a shooting star! I bet everyone wished for production to wrap soon!
• Jeez, that ending is brutal. It’s a wonder the PG-13 rating wasn’t created right then and there.

Legacy

• In a bold marketing strategy, “Jaws” opened on over 450 screens on opening day (films typically opened in a handful of major venues before “rolling out” to the rest of the country), and spent most of its advertising budget on TV ads (another unheard-of move). The gambit worked, “Jaws” was a smash, and thus the summer blockbuster was born.
• Sequels. So many sequels. But no matter how many they made, the shark still looked fake.

• Knock-offs. So many knock-offs. “Orca” and “Piranha” being the most notorious culprits.

• A “Jaws” inspired shark attack is still part of the Universal Studios Hollywood tram tour. The Orlando park expanded this sequence into a full ride, but encountered just as many technical difficulties as the original film. The ride still exists, however, at Universal Studios Japan.

• John Williams’ score is responsible for every jerk that’s ever hummed those two notes in a swimming pool. It’s not funny, Jeremy!
• “That’s some bad hat, Harry.”

• Jeffrey Voorhees and Lee Fierro (Alex and Mrs. Kintner, respectively) still live on Martha’s Vineyard. Voorhees manages a pub called “The Wharf”; try the Alex Kitner Burger!
• But perhaps the film’s largest influence: people are terrified of sharks, even though less than 1% of all sharks are actually harmful to humans. It makes the argument for their preservation as a species a lot harder.

Further Viewing: The other great recut trailer of the mid-‘00s: the romantic comedy “Must Love Jaws”.

#268) A Star is Born (1954)

OR “Judy, Judy, Judy”

Directed by George Cukor

Written by Moss Hart. Based on the 1937 film: screenplay by Dorothy Parker & Alan Campbell & Robert Carson, story by Carson and William A. Wellman.

Class of 2000

Note: The only readily available version of “A Star is Born” is a 1983 restoration of the original premiere runtime. About 30 minutes of footage is reinstated, forming an inarguably stronger picture. For scenes where only the audio survived, still photos and outtake footage are used.

The Plot: At a Hollywood benefit, over-the-hill movie star Norman Maine (James Mason) meets struggling singer Esther Blodgett (Judy Garland). Maine is bowled over by Blodgett’s talent and uses his clout to get her a screen test. After some initial setback, Esther – now “Vicki Lester” – lands the lead in a big Hollywood musical. The film is a hit, and a star is…christened. But as Esther’s star begins to rise, her now-husband Norman’s free-falls into decline, leading to his relapse into alcoholism. It’s the ultimate Hollywood tragedy, and the rare time a film remake is superior to its original.

Why It Matters: The NFR praises Judy, director Cukor, and the song score by Harold Arlen and Ira Gershwin.

But Does It Really?: As a film, “A Star is Born” is entertaining, albeit a bit bloated. But any flaws this film possesses are instantly forgiven by Judy Garland’s performance. Quite simply, this is the role Judy was born to play. You can see her pouring everything into Esther, to the point where it gets difficult differentiating character from actor. She is grounded by James Mason’s wonderful work, as well as by George Cukor’s intelligent direction. This is Judy’s movie, but she is surrounded by the best of the best, and “A Star is Born” is more than worthy of preservation.

Shout Outs: Norman references “An American in Paris” while discussing Vicki’s “Someone to Love” number.

Everybody Gets One: Producer Sidney Luft was the third Mr. Judy Garland and father of Lorna and Joey.

Wow, That’s Dated: So much cultural appropriation in this film. Exhibit A: [Deep Exhale] “Swanee”.

Seriously, Oscars?: “A Star is Born” failed to receive a Best Picture or Director nod, and lost all of its six nominations. Most egregious: In what Groucho Marx called “the greatest robbery since Brink’s”, Judy Garland lost the Best Actress Oscar to Grace Kelly in “The Country Girl”.

Other notes

• Since this film is one of the rare remakes to make the NFR before its predecessor, I screened the 1937 “A Star is Born” along with the 1954 version. It’s no contest: 1954 wins hands-down. The remake retains the same story, but is far less melodramatic and makes smarter overall choices in its directing and acting.

• This material really doesn’t need the expansive CinemaScope format, but cinematographer Sam Leavitt makes the film spacious without seeming epic. It feels like a standard widescreen film with some breathing room. And on top of that, most scenes are comprised of long single takes. I’m always down for that.
• Movies are moments. Our memories of films erode to one or two moments: a scene, a line, a performance, etc. Few movies are perfect from beginning to end, but many have at least one of those perfect moments captured on film. “The Man That Got Away” is a prime example.

• One of my favorite choices is having Esther already somewhat jaded when we meet her. The 1937 film has Janet Gaynor fresh off the farm and 100% optimistic. It loses steam fast, while with Judy you see the continuous struggle between her dreams and her reality. It’s the stronger choice.
• Don’t let Judy’s work eclipse James Mason. You’re only as good as your scene partner, and Mason crafts a wonderful character arc while simultaneously setting Garland up for success. Any of the countless stars that turned down Norman (from Cary Grant to Frank Sinatra) couldn’t have done it better than Mason.
• There’s a lengthy deleted sequence early on that is reconstructed using audio and photos. It’s a huge chunk to cut so early in your film, and its removal hurts Norman’s characterization a bit. I’m just glad someone took all those photos.
• This movie blesses us with the Wilhelm Scream. Twice!
• “Born in the Trunk” is this movie’s “Broadway Melody”: it serves no plot purpose but boy is it great to look at. And for those of you taking notes: that’s a flashback within a movie within a movie.

• What a weird place to put your intermission. It’s immediately after “Born in the Trunk”, which is not a climactic moment. I would have put it after “It’s a New World”; a number with more weight to it, plus you get a better sense of Esther and Norman’s impending woes.
• Once we hit the second half of the film, there are several scenes in which the dialogue from the 1937 version is left almost entirely intact. If it ain’t broke…
• “Someone to Love” is the number responsible for “the Judy hands”, as immortalized on the poster. Side note: Why is she dressed like Elaine Stritch in this scene?

• Oh the sad irony of Judy winning an Oscar in this movie.
• They cut “Lose That Long Face”? No wonder Judy lost the Oscar: they cut the character’s heart out!
• Here’s another one for my “Die Hard” Not-Christmas list!
• Whoops, the ocean rear projection just looped. That’s gonna mess up the tides real bad.
• Tommy Noonan is not up for the dramatic weight he has to carry in his big scene. Unsurprisingly, Judy wipes the floor with him.
• “Hello everybody. This is Mrs. Norman Maine”. God that stings.

Legacy

• Thanks to studio interference, “A Star is Born” wasn’t the comeback vehicle Judy wanted it to be. She focused on live performances and stayed away from the movies until 1961’s “Judgment at Nuremberg”.

• “A Star is Born” has been remade two more times: the 1976 Barbra Streisand vanity project, and the Bradley Cooper/Lady Gaga update that’s being released this week! I swear I did not time it out this way.

Further Viewing: Anything that needs to be said about the Garland/Kelly Oscar race is summed up in this expertly researched video from “Be Kind Rewind”. A must-view for any Oscar buff.

Listen to This: Seven years after “A Star is Born”,  “Judy at Carnegie Hall” covered Garland’s debut at the iconic venue in what has been described as “the greatest night in show business history”. After years of scandal and heartbreak, “Judy at Carnegie Hall” is the apex of an unparalleled show business career.

#267) Master Hands (1936)

OR “Chevy-Handed”

Directed by Jam Handy

Class of 1999

The Plot: Sponsored by General Motors, “Master Hands” is a documentary-style look at the manufacturing of a Chevrolet automobile. From the casting of the chassis from raw material, to the ignition of the final product, the creation of your Chevrolet is documented with an emphasis on the assembly worker as a crafter, a true artist and definitely not someone working in an extremely hazardous work environment. But hey never mind all that, isn’t the cinematography impressive?

Why It Matters: The NFR cites Jam Handy’s influence over the promotional short genre, and singles out composer Samuel Benavie and cinematographer Gordon Avril. There’s also an essay by Professors Richard Marback and Jim Brown, who devote a lot of the write-up to a project/discussion they ran about the film. Way to pat yourselves on the back.

But Does It Really?: I give “Master Hands” a pass for its representation of not only Jam Handy Productions, but also for the automobile assembly line of the early ‘30s. Plus I’m a sucker for a good promotional short.

Everybody Gets One: Henry Jamison “Jam” Handy started off as an Olympic swimmer, winning the bronze at the 1904 and 1924 games. After stints in journalism and advertising, Handy became interested in what motivated people to buy products. He founded Jam Handy Productions and helped oversee the creation of over 7,000 educational and industrial shorts.

Wow, That’s Dated: A pre-union assembly line. Somewhere Henry Ford is smiling.

Take a Shot: The opening text praises “the skilled craftsmen whose master hands command the great machinery of production.”

Seriously, Oscars?: It’s a safe bet that educational shorts weren’t eligible for Oscars. If “Master Hands” had competed, it would have lost to a gritty crime short called “The Public Pays”.

Other notes

• “Master Hands” sounds like it should have been the working title for “Manos”, doesn’t it?
• The opening text says that there are 25 million drivers in America. Modern statistics show that that number has increased tenfold.
• For a brief moment, we have a narrator. I can’t find a definite credit for who it is, but he sounds like Criswell in “Plan 9 from Outer Space”.
• I am so lost. I know nothing about cars; I couldn’t even tell you which part of the car is being made at any given moment.
• That score sounds like “Flight of the Bumblebee” is going to start at any moment.
• Did Benevie only compose five minutes of music that they played on an endless loop? I suppose it’s meant to represent the monotony of an assembly line, but jeez Louise did it drive me nuts. Okay, I’ll talk, just stop playing that music!
• My god, the work accidents that must have happened on that assembly line. If these walls could talk, am I right?
• To the best of my knowledge, that car in the final shot is a 1936 four-door Master Sedan.

Legacy

• The good news: They made a sequel. The bad news: It’s “Roger & Me”.

Further Viewing: So many Jam Handy shorts to choose from, but I’m of course naturally drawn to the ones featured on MST3K. Jam Handy did a short on how to sell Chevrolets called “Hired!”, and gave us the definitive look at a world with no springs.

#266) 42^nd Street (1933)

OR “The Deuce is Loose!”

Directed by Lloyd Bacon. Musical numbers staged by Busby Berkeley.

Written by Rian James and James Seymour. Songs by Al Dubin & Harry Warren. Based on the novel by Bradford Ropes.

Class of 1998

The Plot: “Pretty Lady” is the latest Broadway musical from director Julian Marsh (Warner Baxter), who is putting his financial standing and physical health on the line to make this show a smash. There are further complications when the show’s lead actress, Dorothy Brock (Bebe Daniels) is cheating on producer Abner Dillon (Guy Kibbee) with her old dance partner Pat Denning (George Brent). Denning is also involved with fresh-faced chorus girl Peggy Sawyer (Ruby Keeler) who’s been flirting with juvenile lead Billy Lawler (Dick Powell). To make matters worse, Dorothy breaks her ankle the night before the show’s out-of-town opening, and Julian chooses Peggy to take her place. That’s a lot of plot resting on a handful of musical numbers.

Why It Matters: The NFR calls it “a fast-moving picture that crackles with great dialogue” and goes on to praise Busby Berkeley and the song score. Weirdly, the only actor who gets a superlative is the “adorable” Toby Wing, who has a non-speaking part in one number.

But Does It Really?: I had never seen “42^nd Street” prior to this viewing, and I got to say I was a bit underwhelmed. For the first “backstage musical” this one hits the “backstage” part a lot harder than the “musical”. There are only five songs, and most of them are at the end. The film is justifiably iconic and entertaining enough, but I think “Gold Diggers of 1933” does everything this movie does more successfully. “42^nd Street” is on the NFR for its historical significance more than its entertainment value.

Everybody Gets One: Oscar winner Warner Baxter, and Bebe Daniels who, while mostly forgotten today, had her heyday in the silent era. Unfortunately, most of her films have been deemed lost. Check your attics.

Wow, That’s Dated: Lots of Depression talk in this one, plus attitudes towards women in the theater that would not survive the #MeToo environment.

Take a Shot: We get easily one of the top five title numbers of all time. It’s just a shame you have to sit through the rest of the movie to get to it.

Seriously, Oscars?: A hit that helped Warner Bros. get through the Depression, “42^nd Street” received two Oscar nominations: Best Picture (losing to “Cavalcade”) and Sound Recording (losing to “A Farewell to Arms”). There was no Best Song category yet, but Warren & Dubin would win in 1935 for “Lullaby of Broadway”.

Other notes

• The film was originally slated to be directed by Mervyn LeRoy, but delays in “I Am a Fugitive From a Chain Gang” caused him to be replaced by Lloyd Bacon. LeRoy did, however, get one of his casting choices into the final film: his then-girlfriend Ginger Rogers.
• I don’t know if you’ve heard, but Jones and Barry are doing a show.
• Boy the exposition in this movie is not subtle. Surely even Depression era audiences could put two and two together on their own.
• Ginger Rogers’ character is “Anytime Annie”? I guess the writers were having one last hurrah before the Production Code got implemented.
• Best line in the movie: “Must’ve been tough on your mother not having any children.”
• Although many sources state this is Ruby Keeler’s film debut, she has a cameo in 1930’s “Showgirl in Hollywood” alongside her real-life husband Al Jolson.
• As shown in the film, “It Must Be June” was cut during rehearsals, to be replaced with something about Joan?
• Oh Ned Sparks, how I’ve missed you and your deadpan demeanor.
• My god, this is one intense rehearsal process. “They Shoot Horses, Don’t They?” was more humane to its dancers.
• Ah the gentle punching of 1930s cinema. Just lightly tap your opponent’s face with your fist and we’ll Foley in the rest later.
• So much talking. More musical numbers, please!
• Well, I got my wish with “You’re Getting to Be a Habit With Me”, but is the guy at the end supposed to be dressed like Gandhi? BROWNFACE WARNING, everyone!

• Andy looks like he should be starring in “The Young Walt Disney Chronicles”.
• Tap-dancing in heels will never not be impressive. Get it, Ruby Keeler!
• Claudette Colbert: THAT’S who Bebe Daniels reminds me of! It’s been driving me crazy this whole movie!
• Did “Pretty Lady” not have a tech rehearsal before opening night?
• “Sawyer, you’re going out a youngster, but you’ve got to come back a star! But no pressure, just remember to have fun out there!”

• The first Busby Berkeley trademark overhead shot doesn’t happen until 83 minutes into the movie. It’s worth the wait.
• The title number finale is lively and rightly remembered, but once again I must ask how any of this would fit on a real theater stage. Now Busby, we’ve talked about this.

• Did we need the final scene of Marsh sulking by the stage door? We couldn’t have ended on a literal high note?

Legacy

• “42^nd Street” launched a series of backstage musicals, many of them featuring Busby Berkeley’s innovative choreography. “Gold Diggers of 1933” was already in production when “42^nd Street” was released, but does feature many of the same cast and creatives. The success of “42^nd Street” did, however, help increase the budget on Warner Bros.’ next backstage musical: “Footlight Parade”.

• After seeing his work on “42^nd Street”, Warner Bros. hired Busby Berkeley full-time. His influence on the movie musical can still be felt 85 years later.

• Cashing in on the ‘20s and ‘30s nostalgia craze Broadway was experiencing throughout the ‘70s, David Merrick produced a stage version of “42^nd Street” in 1980 that was a runaway hit. The show incorporated many songs from the…oh my god, Gower Champion died!

• The “legs shot” from the “Young and Healthy” number has been spoofed over the years, most memorably in “The Big Lebowski”.

• Cool, I can reference “The Drew Carey Show”!

• Many performers have had their own “42^nd Street” moment where they were plucked from the chorus to play the lead and became a star overnight. Catherine Zeta-Jones had her moment during a production of…“42^nd Street”!