A Little Taste of Busby in the Beginning....

For the first post, one of my personal favorites:

"Who's Your Little Who Zis?" from 1932, starring Mae Clarke and chorus girls.
A little bit about Mae Clarke from Wikipedia:
Mae Clarke (August 16, 1910 – April 29, 1992) was an American film actress.

Mae Clarke was born Violet Mary Klotz in Philadelphia, Pennsylvania.[1] She started her career as a dancer and subsequently starred in many films for Universal Studios, including the original screen version of The Front Page (1931) and the first sound version of Frankenstein (1931) with Boris Karloff. Clarke played the role of Dr. Frankenstein's fiancee in Frankenstein, who was attacked by the Monster (Karloff) on her wedding day. The Public Enemy, released that same year, contained one of cinema's most famous (and frequently parodied) scenes, in which James Cagney pushed a half grapefruit into Clarke's face, then went out and picked up Jean Harlow. The film was so popular that it ran 24 hours a day at a theatre in Times Square upon its initial release, and Clarke's ex-husband had the grapefruit scene timed and would frequently buy a ticket, enter the theatre to enjoy that sequence, then leave the theatre.[2]

She may be best known for her leading role as, "Myra Deauville," in the 1931 pre-Code version of, Waterloo Bridge. In the film, she portrays a young American woman who is forced by circumstance into a life of prostitution in World War I London. Both the film and Clarke's performance were well received by the critics.

She also appeared in the modest pre-code Universal film Night World (1932), with Lew Ayres, Boris Karloff, and Hedda Hopper.

By the mid-1930s though, Clarke was no longer a leading lady and was only featured in small or bit parts through the 1960s.


This is an early Busby Berkeley number, before he joined Warner Bros. and later created such classics as "Footlight Parade" and "42nd Street".

One of the things I admire about this piece so much are the simple but very art deco style leotards w/ the silver applique touches. The formation transitions are great... these girls truly shine! For such an early Berkeley number, this routine is fairly simple in it's own right, compared to later pieces by Berkeley featuring dozens more ladies on stage, elaborate waterfall sets, giant & elaborate costumes.... yet to me, this routine shines for its simplicity and precision and I love it for all that it is.

Don't miss the ending exit off stage by the girls - it's fairly creative!


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