Antonius Block 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.

vert001 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.

gridoon2018 "Broadway Bad" begins as a distinctly pre-code, "naughty" comedy (there are lots of scenes with chorus girls (including the leads) in their underwear in the opening 15 minutes), then it turns into a more or less straight drama. The story has some unexpected twists, and director Sidney Lanfield devises some ingenious scene transitions, and even a POV camera shot at one point. Joan Blondell gets to play both the good and the bad girl, and she does both well. Ginger Rogers has a relatively small role, but she does get one of the best lines in the film: "One more crack like that, and your neck will probably get tangled up in my fingers!". Adrienne Ames is very good as an embittered chorus girl (she used to be the sponsor's favorite, but now his attentions have turned to Blondell), and she has one of the film's most provocative lines: "Soft lights, soft music, soft pillows". What you should not expect to see in this film, despite the word "Broadway" in the title, are any kind of musical production numbers. **1/2 out of 4.

kidboots "Broadway Bad" was the last film Ginger Rogers made before finding direction with her career with "42nd Street" (1933). Before then she had been drifting along, getting noticed but mostly in quickies. After she portrayed the role of "Anytime Annie" it seemed studios suddenly knew what to do with her. In this film she portrays "Flip" Daley, pal of Toni (short for Antoinette) Landers (Joan Blondell). Can it be possible there is someone in the world who feels such a strong dislike for Joan Blondell - I can't believe it!!! From the start of her career she was popular with both the critics and the public, usually playing happy go lucky chorus girls.Tony Landers is the new chorine on the block. She is a fresh kid from the country who has caught Craig Cutting's (Ricardo Cortez) eye. The rest of the chorus line is pretty jealous - including Aileen (Adrienne Ames) an old girlfriend of Craig's. When Tony stops off to see her high school sweetheart, Bob (Allen Vincent), her friend, Flip, gets worried when she stays out all night. A few months later Bob is giving her the air and she finds out she is pregnant. I wonder if "the marriage" may have been put in to appease the censors. It was very awkwardly explained I felt. Bob finally tracks her down to Cutting's penthouse and they have a showdown - when she, in turn, goes to Bob's house it is to find that he is going away on a cruise and will not listen to her. Bob divorces Tony and names Craig Cutting as co - respondent. Aileen turns up occasionally with witty and "cutting" remarks.Several years later Tony is a big star and is squirreling money away so she can retire with "the big fella" - her little son (adorable Ronnie Cosby). She renews acquaintance with Cutting who is disappointed at her now mercenary attitude. Bill, the low life, also turns up again (like a bad penny), he is desperate for money and sees a way to blackmail Tony. She keeps two residences - one on Park Avenue, the other in the name of Bixby, where her little boy lives. Bob is convinced he is the father - but is he???? She goes to Cutting and tells him the whole story but before she and the "big fella" can sail for Paris, Bob kidnaps the little boy. There is a trial to determine whether Tony is a fit mother and Donald Crisp is a surprise face as the prosecuting lawyer. The ending is a surprise but not to viewers of pre-code films.Ricardo Cortez is quite the nicest person in the film but the most interesting is the beautiful Adrienne Ames. Why wasn't she a bigger star?? Ginger Rogers, for all her billing, doesn't have very much of a part - is there anything more annoying than a film about chorus girls with no musical numbers!!!! Ginger was seen in a couple of lovely dancing outfits - but not on the stage, only in the dressing room!!! The song that Tony partly sings, "Forget the Past", is a blatant re-working of Kate Smith's big hit of the time - "Twenty Million People".