James Ripley Osgood Perkins was an American actor. James Ripley Osgood Perkins was born in West Newton, son of Henry Phelps Perkins, Jr. and his wife, Helen Virginia. His maternal grandfather was wood engraver Andrew Varick Stout Anthony, he was a graduate of Harvard College. Perkins made his Broadway debut in 1924 in the George S. Kaufman – Marc Connelly play Beggar on Horseback. In the next 12 years he would appear in 24 Broadway productions, including The Front Page and Uncle Vanya. Despite his success as a leading man in the theatre, Hollywood viewed him as a character actor, he appeared in 12 silent films, including Puritan Passions, before moving to talkies such as Scarface and Gold Diggers of 1937. "The best actor I worked with was Osgood Perkins," Louise Brooks told Kevin Brownlow. "You know what makes an actor great to work with? Timing. You don't have to feel anything. It's like dancing with a perfect dancing partner. Osgood Perkins would give you a line, it was timing -- because emotion means nothing."
Brooks and Perkins appeared together in Love'Em and Leave'Em. Perkins married Janet Esselstyn Rane in 1922, they had actor Anthony Perkins. Osgood died of a heart attack in Washington, D. C. at age 45. His son was five years old at the time. Osgood Perkins was inducted, into the American Theatre Hall of Fame in 1981. Osgood Perkins at the Internet Broadway Database Osgood Perkins on IMDb Osgood Perkins portrait gallery NY Public Library
Musical film is a film genre in which songs sung by the characters are interwoven into the narrative, sometimes accompanied by dancing. The songs advance the plot or develop the film's characters, but in some cases, they serve as breaks in the storyline as elaborate "production numbers." The musical film was a natural development of the stage musical after the emergence of sound film technology. The biggest difference between film and stage musicals is the use of lavish background scenery and locations that would be impractical in a theater. Musical films characteristically contain elements reminiscent of theater. In a sense, the viewer becomes the diegetic audience, as the performer looks directly into the camera and performs to it; the 1930's through the early 1950's are considered to be the golden age of the musical film, when the genre's popularity was at its highest in the Western world. Disney's Snow White and the Seven Dwarfs, the earliest Disney animated feature film, was a musical which won an honorary Oscar for Walt Disney at the 11th Academy Awards.
Musical short films were made by Lee de Forest in 1923–24. Beginning in 1926, thousands of Vitaphone shorts were made, many featuring bands and dancers; the earliest feature-length films with synchronized sound had only a soundtrack of music and occasional sound effects that played while the actors portrayed their characters just as they did in silent films: without audible dialogue. The Jazz Singer, released in 1927 by Warner Brothers, was the first to include an audio track including non-dietetic music and diegetic music, but it had only a short sequence of spoken dialogue; this feature-length film was a musical, featuring Al Jolson singing "Dirty Hands, Dirty Face", "Toot, Tootsie", "Blue Skies", "My Mammy". Historian Scott Eyman wrote, "As the film ended and applause grew with the houselights, Sam Goldwyn's wife Frances looked around at the celebrities in the crowd, she saw'terror in all their faces', she said, as if they knew that'the game they had been playing for years was over'." Still, only isolated sequences featured "live" sound.
In 1928, Warner Brothers followed this up with another Jolson part-talkie, The Singing Fool, a blockbuster hit. Theaters scrambled to install the new sound equipment and to hire Broadway composers to write musicals for the screen; the first all-talking feature, Lights of New York, included a musical sequence in a night club. The enthusiasm of audiences was so great that in less than a year all the major studios were making sound pictures exclusively; the Broadway Melody had a show-biz plot about two sisters competing for a charming song-and-dance man. Advertised by MGM as the first "All-Talking, All-Singing, All-Dancing" feature film, it was a hit and won the Academy Award for Best Picture for 1929. There was a rush by the studios to hire talent from the stage to star in lavishly filmed versions of Broadway hits; the Love Parade starred Maurice Chevalier and newcomer Jeanette MacDonald, written by Broadway veteran Guy Bolton. Warner Brothers produced the first screen operetta, The Desert Song in 1929.
They photographed a large percentage of the film in Technicolor. This was followed by the first all-color, all-talking musical feature, entitled On with the Show; the most popular film of 1929 was the second all-color, all-talking feature, entitled Gold Diggers of Broadway. This film broke all box office records and remained the highest-grossing film produced until 1939; the market became flooded with musicals and operettas. The following all-color musicals were produced in 1929 and 1930 alone: The Show of Shows, The Vagabond King, Follow Thru, Bright Lights, Golden Dawn, Hold Everything, The Rogue Song, Song of the Flame, Song of the West, Sweet Kitty Bellairs, Under a Texas Moon, Bride of the Regiment, Whoopee!, King of Jazz, Viennese Nights, Kiss Me Again. In addition, there were scores of musical features released with color sequences. Hollywood released more than 100 musical films in 1930, but only 14 in 1931. By late 1930, audiences had been oversaturated with musicals and studios were forced to cut the music from films that were being released.
For example, Life of the Party was produced as an all-color, all-talking musical comedy. Before it was released, the songs were cut out; the same thing happened to Fifty Million Frenchmen and Manhattan Parade both of, filmed in Technicolor. Marlene Dietrich sang songs in her films, Rodgers and Hart wrote a few well-received films, but their popularity waned by 1932; the public had come to associate color with musicals and thus the decline in their popularity resulted in a decline in color productions. The taste in musicals revived again in 1933 when director Busby Berkeley began to enhance the traditional dance number with ideas drawn from the drill precision he had experienced as a soldier during World War I. In films such as 42nd Street and Gold Diggers of 1933, Berkeley choreographed a number of films in his unique style. Berkeley's numbers begin on a stage but transcend the limitations of theatrical space: his ingenious routines, involving human bodies forming patterns like a kaleidoscope, could never fit onto a real stage and the intended perspective is viewing from straight above.
Musical stars such as Fred Astaire and Ginger Rogers were among the most popular and highly
Charles Halton was a stern-faced American character actor who appeared in over 180 films. Halton trained at the New York Academy of Dramatic Arts, he made his Broadway debut in 1901, after which he appeared in about 35 productions during the next 50 years. From the 1920s, Halton's thinning hair, rimless glasses and officious manner were familiar to generations of American moviegoers. Whether playing the neighborhood busybody, a stern government bureaucrat or weaselly attorney, Halton's characters tried to drive the "immoral influences" out of the neighborhood, foreclose on the orphanage, evict the poor widow and her children from their apartment, or any other number of dastardly deeds, all justified by "... I'm sorry but that's my job." Among his highest profile roles were Mr. Carter, the bank examiner in Frank Capra's It's a Wonderful Life, the Polish theatre producer Dobosh in Ernst Lubitsch's To Be or Not to Be, a county official from Idaho in Alfred Hitchcock's Mr. & Mrs. Smith. In Enemy of Women, the story of Joseph Goebbels, Halton played against type as a kindly radio performer of children's stories, arrested by the Nazis.
Although his career slowed down in the 1950s, he played roles in numerous television series. His 40-year film career ended with High School Confidential. On April 16, 1959. Halton died of hepatitis in Los Angeles, he was 83. Charles Halton on IMDb Charles Halton at the Internet Broadway Database Charles Halton at Find a Grave
Alexander Dubin was an American lyricist. He is best known for his collaborations with the composer Harry Warren. Al Dubin came from a Russian Jewish family that emigrated to the United States from Switzerland when he was two years old, he grew up in Philadelphia. Between ages of thirteen and sixteen, Dubin played hookey from school in order to travel into New York City to see Broadway musical shows. At age 14 he began writing special material for a vaudeville entertainer on 28th Street between 5th and Broadway in New York City, otherwise known as Tin Pan Alley. Dubin was accepted and enrolled at Perkiomen Seminary in September 1909, but was expelled in 1911, after writing their Alma Mater. After leaving Perkiomen, Dubin got himself a job as a singing waiter at a Philadelphia restaurant, he tried selling them to area publishing firms. During this time, Dubin met composer Joe Burke. Together they wrote the song "Oh, Mister Moon", published by M. Witmark & Sons. In 1917, Dubin was drafted at Camp Upton in Yaphank, Long Island, served as a private in the 305th Field Artillery of the 77th Division, known as New York's own.
During his service, he wrote the song "They Didn’t Think We'd Do it, But We Did" with composer Fred Rath and published by the 77th Division. On his first weekend pass, Dubin went to see a show at the Majestic Theater in New York City. There he met Broadway singer Helen McClay, they were married on March 19, 1921, at the Church of St. Elizabeth in New York City, after Dubin converted to the Catholic faith and McClay was granted an annulment of her first marriage; the year they married, Dubin was accepted in ASCAP in 1921. Known for his larger-than-life persona, Dubin struggled with alcohol and drugs, fell on hard times in the 1940s. Estranged from his wife, Dubin struggled to find work both in New York; the last show Dubin was contracted to work on was Laffing Room Only, with composer Burton Lane. Dubin provided only a title for this production, "Feudin' and a Fightin'", for which he received 25 percent credit. Dubin spent the remainder of the last few years of his life at the Empire Hotel, alone and in ill-health.
On February 8, 1945, he collapsed on the street after having taken a large quantity of doctor-prescribed barbiturates. He was admitted to the Roosevelt Hospital for barbiturate poisoning and pneumonia, died on February 11, 1945. Famed newspaper personality Walter Winchell made the announcement of his death on the radio. On his passing, Dubin was interred in the Holy Cross Cemetery in California. Dubin sold his first set of lyrics for two songs "Prairie Rose" and "Sunray", in 1909 to the Whitmark Music Publishing Firm. In 1925, Dubin met the composer Harry Warren, to become his future collaborator at Warner Bros. studio in Hollywood. The first song they collaborated on was titled, "Too Many Kisses in the Summer Bring Too Many Tears in the Fall", but it was another song written with Joseph Meyer that same year that became Dubin's first big hit, "A Cup of Coffee, a Sandwich and You". Warner Bros. purchased the publishing firms of Witmark and Harms, since Dubin was under contract to Harms, Warner Bros. inherited his services.
In 1929 Dubin wrote "Tiptoe through the Tulips" with composer Joe Burke for the film Gold Diggers of Broadway. In 1932, Dubin teamed with composer Harry Warren on the movie musical 42nd Street, starring Ruby Keeler, Dick Powell, Warner Baxter and Bebe Daniels, with dance routines sequenced by legendary choreographer Busby Berkeley; the songwriting team of Warren and Dubin contributed four songs: "42nd Street", "You're Getting to Be a Habit with Me", "Young and Healthy" and "Shuffle Off to Buffalo". Between 1932 and 1939, Dubin and Warren wrote 60 hit songs for several Warner Bros. movie musicals, including Gold Diggers of 1933, Footlight Parade starring James Cagney, Roman Scandals starring Eddie Cantor, Dames, Go Into Your Dance and Wonder Bar, both starring Al Jolson. The song "Lullaby of Broadway", written by Warren and Dubin for the musical film, Gold Diggers of 1935, won the 1936 Academy Award for Best Original Song. In 1980, producer David Merrick and director Gower Champion adapted the 1933 film 42nd Street into a Broadway musical that won The Tony Award for Best Musical in 1981.
The book for the show was written by Michael Stewart and Mark Bramble and featured a score that incorporated Warren and Dubin songs from various movie musicals including 42nd Street, Dames, Go Into Your Dance, Gold Diggers of 1933 and Gold Diggers of 1935. Dubin was inducted into the Songwriters Hall of Fame in 1970. Charlot Revue – revue – featured co-lyricist for "A Cup of Coffee, a Sandwich and You" White Lights – musical – co-lyricist Streets of Paris – revue – lyricist Keep Off the Grass – revue – co-lyricist Star and Garter – revue – featured lyricist for "Robert the Roue" Sugar Babies – revue – co-lyricist 42nd Street – musical – lyricist The Show of Shows Gold Diggers of Broadway Sally Oh Sailor Beware Hold Everything She Couldn't Say No 42nd Street Footlight Parade Roman Scandals Gold Diggers of 1933 Moulin Rouge Wonder Bar Dames Twenty Million Sweethearts Go Into Your Dance Gold Diggers of 1935 Broadway Gondolier Stars Over Broadway Shipmates Forever Gold Diggers of 1937 Mr. Dodd Takes the Air Gold Diggers in Paris Garden of the Moon Streets of Paris Stage Door Canteen "A Cup of Coffee, a Sandwich, You" – lyrics by Al Dubin and Billy Rose, music by Joseph Meyer.
"Tiptoe through the Tulips" – Joe Burke. "Forty-Second Street" – 42nd Stre
Gold Diggers of 1935
Gold Diggers of 1935 is an American musical film directed and choreographed by Busby Berkeley, starring Dick Powell, Adolphe Menjou, Gloria Stuart and Alice Brady. Winifred Shaw, Hugh Herbert and Glenda Farrell are featured; the songs were written by Al Dubin. The film is best known for its famous "Lullaby of Broadway" production number; that song won the Academy Award for Best Original Song. The movie was the fourth in the Gold Diggers series of films, after the now lost silent film The Gold Diggers, the lost film Gold Diggers of Broadway, Gold Diggers of 1933; the first three films, all financially successful, had all been based on the 1919 play The Gold Diggers. It was followed by Gold Diggers in Paris. In the resort of Lake Waxapahachie, the swanky Wentworth Plaza is where the rich all congregate, where the tips flow like wine. Handsome Dick Curtis is working his way through medical school as a desk clerk, when rich, penny-pinching Mrs. Prentiss offers to pay him to escort her daughter Ann for the summer, Dick can't say no – his fiancée, Arline Davis thinks he should do it.
Mrs. Prentiss wants Ann to marry eccentric middle-aged millionaire T. Mosley Thorpe, who's a world-renowned expert on snuffboxes, but Ann has other ideas. Meanwhile, her brother, Humbolt has a weakness for a pretty face: he's been married and bought out of trouble by his mother several times; every summer, Mrs. Prentiss produces a charity show for the "Milk Fund", this year she hires the flamboyant and conniving Russian dance director Nicolai Nicoleff to direct the show; the parsimonious Mrs. Prentiss wants to spend the least amount possible, but Nicoleff and his set designer Schultz want to be as extravagant as they can, so they can rake off more money for themselves, for the hotel manager and the hotel stenographer Betty Hawes, who's blackmailing the hapless snuffbox fancier Thorpe. Of course and Ann fall in love, Humbolt marries Arline, the show ends up costing Mrs. Prentiss an arm and a leg, but in the end she realizes that having a doctor in the family will save money in the long run.
The songs in Gold Diggers of 1935 were written by Harry Warren and Al Dubin, the two production numbers were staged by Busby Berkeley. "I'm Going Shopping with You" – Sung by Dick Powell to Gloria Stuart, this is a montage of scenes of Stuart shopping for everything from lingerie to jewelry, much to the dismay of her penny-pinching mother, Alice Brady. "The Words Are in My Heart" – This elaborate Busby Berkeley production number utilized 56 white grand pianos, which were moved around the sound stage by male dancers underneath the piano-shells, dressed in black. "Lullaby of Broadway" – One of the most famous Busby Berkeley numbers is a short film-within-a-film, which tells the story of a Broadway Baby who plays all night and sleeps all day. It opens with a head shot of singer Wini Shaw against a black background the camera pulls back and up, Shaw's head becomes the Big Apple, New York City; as everyone rushes off to work, Shaw goes to sleep. When she awakens, that night, we follow her and her beau from club to club, with elaborate large cast tap numbers, until she is accidentally pushed off a balcony to her death.
The sequence ends with a return to Shaw's head. Of all the musical numbers Berkeley created in his career, he named this as his personal favorite. Gold Diggers of 1935 was in production at Warner Bros. Burbank studios until 14 January 1935, was released on 15 March of that year. During production a chorus dancer, Jack Grieves, died on the set due to acute indigestion; the film was Busby Berkeley's first time at the helm of a film as the official director, although he had his own unit at Warners to do the elaborate production numbers he conceived, designed and directed, which were the major elements of the Warners musicals of that period. In 1935, Mae Tinee of the Chicago Daily Tribune stated, "As revues go, the present "Gold Diggers" has considerable to offer. There is some bright patter and a number of amusing situations". In The New York Times review that same year, Andre Sennwald writes, "The photoplay, in its preparations for the climactic Berkeley effects, is a brash and lively entertainment which allows Adolphe Menjou and Hugh Herbert to be reasonably amusing."
Harry Warren and Al Dubin received an Academy Award for Best Original Song for "Lullaby of Broadway", Busby Berkeley was nominated for the short-lived category Best Dance Direction. The film is recognized by American Film Institute in these lists: 2004: AFI's 100 Years...100 Songs – Lullaby of Broadway Nominated 2006: AFI's Greatest Movie Musicals Nominated Gold Diggers of 1935 at the American Film Institute Catalog Gold Diggers of 1935 on IMDb Gold Diggers of 1935 at the TCM Movie Database Gold Diggers of 1935 at AllMovie Gold Diggers of 1935 at Rotten Tomatoes
Busby Berkeley was an American film director and musical choreographer. Berkeley devised elaborate musical production numbers that involved complex geometric patterns. Berkeley's works used large numbers of showgirls and props as fantasy elements in kaleidoscopic on-screen performances. Berkeley was born in California, to Francis Enos and stage actress Gertrude Berkeley. Among Gertrude's friends, a performer in Tim Frawly's Stock company run by Busby Berkeley's father, were actress Amy Busby from which Berkeley gained the appellation "Buzz" or "Busby" and actor William Gillette only four years away from playing Sherlock Holmes. Whether he was christened Busby Berkeley William Enos, or Berkeley William Enos, with "Busby" being a nickname, is not unanimous – the "Child's names" entry on his birth certificate is blank. In addition to her stage work, Gertrude played mother roles in silent films while Berkeley was still a child. Berkeley made his stage début at five. In 1917, he lived in Athol, working as an advertising and sales manager.
During World War I, Berkeley served as a field artillery lieutenant. Watching soldiers drill may have inspired his complex choreography. During the 1920s, Berkeley was a dance director for nearly two dozen Broadway musicals, including such hits as A Connecticut Yankee; as a choreographer, Berkeley was less concerned with the dancing skill of his chorus girls as he was with their ability to form themselves into attractive geometric patterns. His musical numbers were among the largest and best-regimented on Broadway, his earliest film work was in Samuel Goldwyn's Eddie Cantor musicals, where he began developing such techniques as a "parade of faces", moving his dancers all over the stage in as many kaleidoscopic patterns as possible. Berkeley's top shot technique appeared seminally in the Cantor films, the 1932 Universal drama film Night World, his numbers were known for starting out in the realm of the stage, but exceeding this space by moving into a time and place that could only be cinematic, only to return to shots of an applauding audience and the fall of a curtain.
He used only one camera to achieve this, instead of the usual four, to retain control over his vision so no director could edit the film. As choreographer, Berkeley was allowed a certain degree of independence in his direction of musical numbers, they were markedly distinct from the narrative sections of the films, he didn't see the other sections of the picture. The numbers he choreographed were upbeat and focused on decoration as opposed to substance some costing around $10,000 a minute, more than the picture they were in. One exception to this is the number "Remember My Forgotten Man" from Gold Diggers of 1933, which dealt with the treatment of World War I veterans during The Great Depression. Berkeley's popularity with an entertainment-hungry Great Depression audience was secured when he choreographed four musicals back-to-back for Warner Bros.: 42nd Street, Footlight Parade, the aforementioned Gold Diggers of 1933, Fashions of 1934, as well as In Caliente and Wonder Bar with Dolores del Río.
Berkeley always denied any deep significance to his work, arguing that his main professional goals were to top himself and to never repeat his past accomplishments. As the outsized musicals in which Berkeley specialized became passé, he turned to straight directing; the result was 1939's They Made Me a Criminal, one of John Garfield's best films. Berkeley had several well-publicized run-ins with MGM stars such as Judy Garland. In 1943, he was removed as director of Girl Crazy because of disagreements with Garland, although the lavish musical number "I Got Rhythm", which he directed, remained in the picture, his next stop was at 20th Century-Fox for 1943's The Gang's All Here, in which Berkeley choreographed Carmen Miranda's "Lady in the Tutti-Frutti Hat" number. The film made money. Berkeley returned to MGM in the late 1940s, where among many other accomplishments he conceived the Technicolor finales for the studio's Esther Williams films. Berkeley's final film as choreographer was MGM's Billy Rose's Jumbo.
In the late 1960s, the camp craze brought. He toured the college and lecture circuit, directed a 1930s-style cold medication commercial for Contac capsules entitled the "Cold Diggers of 1969", complete with a top shot of a dancing clock. In his 75th year, Berkeley returned to Broadway to direct a successful revival of No No Nanette starring his old Warner Brothers colleague and "42nd Street" star Ruby Keeler. Berkeley was inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in 1988. Berkeley was married six times including to Merna Kennedy, Esther Muir and starlet Claire James, was survived by his wife Etta Dunn, he was involved in an alienation of affections lawsuit in 1938 involving Carole Landis, was engaged to Lorraine Stein. Berkeley drank often drinking martinis in his daily bath. After his mother’s death and his career began to slow, he attempted suicide by slitting his wrists and taking an overdose of sleeping pills, he was taken to the hospital and kept there for many days, which experience affected his mental state.
42nd Street (film)
42nd Street is a 1933 American pre-Code musical film, directed by Lloyd Bacon, starring Warner Baxter, Bebe Daniels, George Brent, Ruby Keeler, Dick Powell and Ginger Rogers. The choreography was staged by Busby Berkeley; the songs were written by Al Dubin. The script was written by Rian James and James Seymour, with Whitney Bolton, not credited, from the 1932 novel of the same name by Bradford Ropes; this backstage musical was successful at the box office and is now considered a classic by many. The film was nominated for the Academy Award for Best Picture. In 1998, it was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally or aesthetically significant". In 2006, it ranked 13th on the American Film Institute's list of best musicals, it is 1932, the depth of the Depression, noted Broadway producers Jones and Barry are putting on Pretty Lady, a musical starring Dorothy Brock. She is involved with wealthy Abner Dillon, the show's "angel", but while she is busy keeping him both hooked and at arm's length, she is secretly seeing her old vaudeville partner, out-of-work Pat Denning.
Julian Marsh is hired to direct though his doctor warns that he risks his life if he continues in his high-pressure profession. He must make his last show a hit. Cast selection and rehearsals begin amidst fierce competition, with not a few "casting couch" innuendos flying around. Naïve newcomer Peggy Sawyer, who arrives in New York from her home in Allentown, Pennsylvania, is duped and ignored until two experienced chorines, Lorraine Fleming and Ann "Anytime Annie" Lowell, take her under their wing. Lorraine is assured a job because of her relationship with dance director Andy Lee; the show's juvenile lead, Billy Lawler, takes an immediate liking to Peggy. When Marsh learns about Dorothy's relationship with Pat, he sends some thugs led by his gangster friend Slim Murphy to rough him up. That, plus her realization that their situation is unhealthy, makes Dorothy and Pat agree not to see each other for a while, he gets a stock job in Philadelphia. Rehearsals continue for five weeks to Marsh's complete dissatisfaction until the night before the show's opening in Philadelphia, when Dorothy breaks her ankle.
By the next morning Abner has quarreled with her and wants Julian to replace her with his new girlfriend, Annie. She, tells him that she can't carry the show, but the inexperienced Peggy can. With 200 jobs and his future riding on the outcome, a desperate Julian rehearses Peggy mercilessly until an hour before the premiere. Billy gets up the nerve to tell Peggy he loves her. Dorothy shows up and wishes her luck, telling her that she and Pat are getting married; the show goes on, the last twenty minutes of the film are devoted to three Busby Berkeley production numbers: "Shuffle Off to Buffalo", " Young and Healthy", "42nd Street". The show is a hit; as the theater audience comes out Julian stands in the shadows, hearing the comments that Peggy is a star and he does not deserve the credit for it. Plot note In the original Bradford Ropes' novel Billy are lovers. Since same-sex relationships were unacceptable in films by the moral standards of the era, the film substituted a romance between Billy and Peggy.
Warner Baxter as Julian Marsh Bebe Daniels as Dorothy Brock George Brent as Pat Denning Ruby Keeler as Peggy Sawyer Guy Kibbee as Abner Dillon Una Merkel as Lorraine Fleming Ginger Rogers as Ann Lowell Ned Sparks as Barry Dick Powell as Billy Lawler Allen Jenkins as Mac Elroy, the stage manager Edward J. Nugent as Terry, a chorus boy Harry Akst as Jerry, Rehearsal Pianist/Show Pit Orchestra Conductor/Concertmaster Robert McWade as Jones George E. Stone as Andy Lee Toby Wing as Blonde in "Young and Healthy" Number Adele Lacy was a chorus girl in the film and featured in a photo promoting the movieCast notes The film's uncredited cast included Guy Kibbee's brother Milton, Ruby Keeler's two sisters, Louise Beavers, Lyle Talbot, George Irving, Lynn Browning and Charles Lane. Dubin and Warren, who wrote the film's songs, made cameo appearances; the film was Ruby Keeler's first, the first time that Berkeley and Dubin had worked for Warner Bros. Director Lloyd Bacon was not the first choice to direct – he replaced Mervyn LeRoy when LeRoy became ill.
LeRoy was dating Ginger Rogers at the time, had suggested to her that she take the role of "Anytime Annie". Actors who were considered for lead roles when the film was being cast include Warren William and Richard Barthelmess for the role of Julian Marsh played by Warner Baxter; the film began production on 5 October 1932. The shooting schedule ran for 28 days at the Warner Bros. studio in California. The total cost of making it has been estimated to be $340,000–$439,000. All songs have music by lyrics by Al Dubin. "You're Getting To Be A Habit With Me" –