Such a frustrating disappointment

Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

With plenty of legs, lingerie, and even a few smacks on the behind, there is plenty of eye candy 1933-style early on in this movie, and it's clearly pre-Code. Joan Blondell plays an up-and-coming chorus girl with a complicated love life, being secretly married and having male admirers. Her glowering husband, played well in increasingly dark tones by Allen Vincent, is led to believe she has a lover, and leaves her. The notoriety in the press helps fuel her rise to the top, and as years go by, she's famous while he finds himself in debt. The movie then takes on the feel of a drama, with him pressuring her for money, and when he finds out she has a child, he tries to use that as leverage. The movie isn't a work of art or anything (and isn't particularly well preserved compared to others from the time), but it was interesting to see Blondell in a strong role, sexually free and standing up for herself amidst a courtroom barrage that reveals the ever-present double standard. It's worth the 61 minute run time.

A soap opera about chorus girls, Broadway BAD features a strong cast with star Joan Blondell, male lead Ricardo Cortez, and supporting actress Ginger Rogers, who was just about to hit the big-time. The opening shot is rather elaborate, and there's a very nice scene in a dressing room that centers on Joan and Ginger, but that's about it. The rest is a lachrymose story about mother love, not unusual for the times and not particularly well done. Blondell doesn't get to do much, if any, wisecracking, Cortez is not particularly sleazy for a change, and Rogers has only a small role as the best friend, though she's spirited as usual. 3/10.

Covered in gold coin like attachments on a dress that could have been one of the chorus girl outfits in the "We're in the Money" production number in "Gold Diggers of 1933", glamorous Joan Blondell is definitely looking to make off of the bread and chorus lines and onto the social register on this delightful pre-code drama. Fellow gold digger Ginger Rogers is along for the ride, and they aren't taking any prisoners.Perhaps they are just tired of the stage door Johnny's taking advantage of them, but in Blondell's case, she is hiding a divorce and a child, and this infuriates both the ex and the current. Rogers is fine support as a character named Flip, while Ricardo Cortez is pleasant as the man Blondell might reform over. This is pre-code drama at its best, mild on wisecracks but clever enough to be original.

This movie's a very entertaining little Pre-Code picture.I'll ***SPOILER ALERT *** this, even though the previous poster didn't:The father was Bob. She just didn't want to lose custody of the baby to that lowlife (if upper-crust) creep, so she lied about it. After all, Bob had been trying to blackmail her prior to discovering the kid, so that makes her justified in doing whatever she must do to keep the child out of his clutches.And Blondell's terrific in this picture, as she was in just about every other movie she ever made. She had a down-to-earth, likable quality that always served her characters.