Word: plot
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...dusty yard crawls with lechery. Lov lusts for his runaway Pearl. Ellie May for Lov, the lady evangelist for young Dude, Jeeter for the evangelist. An external plot arrives in the person of a bank agent come to put Jeeter off the land. For the $100 annual rent required, Jeeter sends Son Dude off in his new car in an unsuccessful attempt to borrow the money from another son. The car runs over Mother Ada. As she dies, Jeeter nabs Pearl with a view to selling her back to her husband for the rent money. Slyly claiming a mother...
Though Dancing Lady conforms to the rule that all cinemusicals have the same plot and the same characters, it is not a carbon copy. It is Forty-Second Street in sables. All dance directors in the cinema are serious and frenetic artists but Clark Gable is more morbidly devoted to his routines than Warner Baxter in Warner Brothers musicals. Franchot Tone takes his burlesque girl to his country home with more snobbish head-wagglings than those used for similar purposes by Buddy Rogers in Take a Chance. In her serious characterization of Janie Barlow as an inspired, warm-hearted runaway...
...dancers, stocky little Bill Robinson, slaps his soles against the floor with classic virtuosity. Plump Edith Wilson, scrawny Kathryn Perry sing ably, gaily. The stage crawls with conventional Negro comedians, making fun of Negroes for white entertainment. Eddie Hunter explains to two friends the Eugene O'Neill plot of what he calls the Emperor Bones. It leads into an Emperor Jones jungle bacchanal, feathered, furred and plumed, gaudy and impressive...
...with a naturalness that is commendable. The other roles shatter no illusions, with the exception of that charmingly and competently portrayed by Miss Ginger Rogers. It is true that Gregory Ratoff acts as though he were "casting artificial pearls before genuine swine," but then, as the producer in the plot, he is sitting pretty...
...more incredible hocus-pocus is put forth by Edward Robinson in a piece called "Musical Slaughter-House"; with remarkably little solid evidence to support him, he advances the thesis that the appeal made to the people last spring to support the Metropolitan Opera by monetary contributions was really a plot of the directors to retain their control and block any efforts to move into a new theatre...