Blucher One of the worst movies I've ever seen

Nayan Gough A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Ezmae Chang This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Staci Frederick Blistering performances.

NYLux This amusing concoction is worth the money because of two dyed blonds and one extravagant, divine musical number. The bleached Bette Davis as a fashion designer smitten with the antics of professional crook William Powell, who appears too well dressed and polite to be totally believable in the job. Bette actually manages to look great as an ornamental sidekick to Powell, but underneath the determined designer girl we can detect the power house that will culminate in her unsurpassed rendition of Queen Elizabeth with Errol Fllynn years later.The second bleached blonde is Verree Teasdale who plays a fake Russian grand-duchess from Newark, NJ, who not only manages a phony accent and some extraordinary clothes and jewels for every scene, but has also managed to convince "Baroque" the king of Parisian fashion that she is the real thing and worth marrying, this feat alone deserves an Oscar, at the very least.Drag-Queens beware: This is an undiscovered treasure performance,that can give enough material for a national tour show, including her musical name itself which is a cocktail of sound effects: How many Es can you squeeze in one word? Her off-key, fluffy delivery of the lyric to the song "Spin a Little Web of Dreams" has all the components for a drag anthem, in any language, and huge cross over potential as impromptu cabaret number. The 'Broadway Follies" sequence itself, directed by Busby Berkeley, is the other real reason to watch this film. For one thing, this scene has illustrated the cover of that most necessary book on film : "Holywood Babylon" and although there is absolutely nothing Babylonian about it, except perhaps the excess of ostrich feathers, there is a horde of platinum blonds festooned with endless variations on the 'white ostrich feathers fan motif' moving and dancing in hypnotic coordination. Some are actually part of the harps that others play, they curve at the harp's end like the wooden sculptures of sail vessels for a fetish-furniture look that is perfection. The scene includes an overhead shot that demonstrates the complex flower patterns that can be achieved with all this female trouble.There is also a fashion show. This one obviously influenced Cukor's in "The Women" when all those nice ladies go to 'Fraks', but is actually much better. For one thing we see a painting before the model comes out wearing an adaptation of the design. The first one is Cardinal Richelieu, followed by a model wearing an evening gown inspired on his cape, but the others are more generic of different periods, the adaptations are all very 30's and all considerably better than that weird stuff out of Halloween that comes out in "The Women" as supposedly 'haute couture'. In the movie itself, Bette had discovered that Baroque was buying old books on fashion to inspire his designs, so we know it was her idea to develop that into a fashion- show-extravaganza, and she watches it approvingly from what looks like an opera box, opera glasses in hand. That shot catches her in a more regal pose than the grand-duchess could muster through the film in its entirety, and the impact of that image puts all those ostrich-fan bearers in perspective too: this woman is no one's ornament and she sure could be a queen anytime she wanted to.This movie is a most for Bette Davis fans, musical comedy lovers and all those interested in the historical development of camp. Highly recommended!

mukava991 This mildly amusing confection is worth a look because of two blondes and one over-the-top musical number. Blonde #1 is a bleached Bette Davis as a fashion artist smitten with suave crook William Powell. Davis frequently shrugged off this period of her career as a routine and unavoidable part of her basic training and definitely did not like being dolled up to the extent we see here. She handles herself as well as one can expect, though the sprayed hair, thick makeup and ridiculously overdone outfits conspire to smother her. Blonde #2 is Verree Teasdale who has fun playing a phony Russian duchess. Her fruity delivery of the lyric to the Sammy Fain-Irving Kahal song "Spin a Little Web of Dreams" is a singular vintage movie treasure. The sequence itself, directed by Busby Berkeley, is the chief highlight of the film (a still from it is featured in the opening pages of Kenneth Anger's book Hollywood BABYLON), displaying platinum blondes festooned with varying arrangements of white ostrich feathers, including an overhead shot of rippling white-on-white layers unfolding sensuously to reveal a smiling chorine at the center and a barque rowed by beautiful girls over a "sea" of silken, spangled cloth that undulates like waves.

blanche-2 "Fashions of 1934" is an amusing light comedy starring William Powell and Bette Davis. Davis looks much more sophisticated than she did in "The Man Who Played God." She's very glamorous and also very good in a film that's mainly fueled by Powell's performance as a con man. The Powell character goes from con to con, sometimes a con within a con - he can't resist. One of his schemes is to copy fashion sketches from Paris and pass them off as originals. Another is to sell a surplus of ostrich plumes by featuring them in a musical revue. This gives rise to a great musical number, "Spin a Little Web of Dreams." It's a Busby Berkeley kaleidoscope production. The audience at the musical revue, however, didn't see it as moviegoers did - from above.This is a fun movie and notable for the actual fashions shown, a good performance by Powell, a spectacular number and early Davis before she established her screen persona.

Lenny Nero Despite its garish title, "Fashions of 1934" is actually a pretty decent movie, certainly better than the bad reputation it's stuck with. Armed with a snappy script and fast paced direction, the actors in "Fashions" shine, showing off their abilities, whether they be comedic, dramatic or both. William Powell makes a good old rascal, the decent "un decent" man that was a virtual staple at Warner Bros. (the studio who produced this film) at the time. Bette Davis, all glammed up in red lipstick and classy dresses, shows off a rare ability for humor, fitting right in to the film's light hearted tone. As Powell's sidekick, Frank McHugh almost steals the show, mastering and even rising above the script's punchlines by exaggerated facial expressions and crude but effective slapstick. "Fashions of 1934" isn't a comedy classic nor does it aim to be one. It simply wants to entertain the audience with good humor, effective acting and direction that moves things along at a quick pace. By all accounts, it has succeeded.