Summary
At the dawn of the sound era, Let's Do Blackbottom serves as a raw, concentrated injection of 1920s energy, featuring the screen debut of Ruby Keeler. The film is less a narrative and more a rhythmic document, capturing the frantic, percussive spirit of the Black Bottom dance craze that swept across jazz-age America. Keeler, before her later fame in Busby Berkeley spectaculars, appears here in her most unadulterated form—a whirlwind of athletic tap and high-kicking precision. The short film functions as a Vitaphone time capsule, stripping away the artifice of plot to focus entirely on the collision of synchronized sound and physical movement. It is a primitive but potent demonstration of how the 'talkies' were initially used to port Broadway’s electrical stage presence directly into local nickelodeons, preserving a specific style of hoofing that would soon be refined into the more graceful, cinematic choreography of the 1930s.
