Stage Struck (1936): A Jittery Backstage Romp

So, is Stage Struck worth dusting off today? Well, if you’re into those very particular 1930s backstage musicals, the kind with snappy patter and a familiar 'chorus girl makes good' story, then yes, probably. It’s got that classic era vibe down. Folks who love Dick Powell’s crooning or Joan Blondell’s sharp wit will find plenty to like. But if you’re looking for deep plot or anything remotely groundbreaking, you’ll probably find yourself scrolling through your phone after the first 20 minutes. This one’s for the genre faithful.

The whole setup is pretty standard. Dick Powell plays George Randall, a director who’s supposed to make a star out of Peggy Revere, played by Joan Blondell. Peggy is… well, she’s terrible. But her money is funding the show, so everyone has to pretend. You know the drill.

Blondell, honestly, is the whole reason to watch here. She plays Peggy with such a delicious, over-the-top entitlement. It’s not just that she's a bad singer; she’s also a *petulant* bad singer. There’s a scene early on where she’s trying to hit a note, and her face just crinkles up. You can almost feel the entire crew holding their breath, waiting for her to explode. She doesn't disappoint.

Dick Powell’s character, George, spends a lot of time looking exasperated. His songs are fine, they’re Dick Powell songs, exactly what you’d expect. He’s got that boyish charm, even when he’s rolling his eyes at Peggy’s latest tantrum. But you kinda wish he’d just tell her off properly, instead of letting Warren William’s character, Fred Harris, do all the smarmy smoothing over.

Fred Harris, the producer, is this smooth operator who keeps telling George and Peggy that they secretly like each other. It's a transparent ploy, but everyone plays along. It feels like one of those old-timey sitcom plots, stretched a little thin. And it works, mostly, because William is good at being that suave, slightly manipulative type.

The real romantic interest, Ruth Williams (Jeanne Madden), is the classic sweet chorus girl. She’s got a lovely voice, and you know from the moment she opens her mouth that she’s going to be the one to save the show. Her big moment, when she finally gets to sing the lead, it’s _quite_ satisfying. Though, truth be told, the movie doesn't spend enough time letting us connect with her before her big break. She feels a little bit like a plot device.

Didja notice?

• There's a moment during one of the rehearsal numbers where a stagehand in the background trips over a cable, but he recovers so quickly you almost miss it. Just a little human touch.
• The dialogue is super fast sometimes, like they were racing to get to the next song or punchline.
• Joan Blondell’s costumes are absolutely fantastic, even the ones she wears when she’s just being awful.
• That one scene with the Yacht Club Boys? They do their thing, which is always fun. A real energetic burst.
• The crowd shots on opening night feel a little sparse. Like, where did everyone go?
• When Peggy storms off, the way she throws her shawl is just *chef's kiss*. So dramatic.
• The final number, where Ruth takes over, is definitely the highlight. Her voice is really something. You can tell they saved the best for last.

The pacing of Stage Struck is a little uneven. It drags a bit in the middle when it's trying to build up the romantic triangle, but then it picks up speed again as soon as rehearsals get heated or someone bursts into song. It’s less about a fluid story and more about getting from one performance to the next, with some light drama in between. The sets are what you'd expect for a 30s musical – lots of art deco flourishes and grand stage designs, which is always a treat.

It's a film that knows what it is and doesn't try to be anything else. A bit fluffy, a little predictable, but with enough charm from its leads to keep you mildly entertained. It probably won't change your life, but it’s a nice way to spend an afternoon if you’re in the mood for some old Hollywood escapism. Just don't expect anything too deep; this is a movie about **show business**, after all, and sometimes that's all you need.