Ready, Willing and Able (1937) User Reviews (14)

Enjoyable musical with fun characters and one great song

[csteidler · 6/10 · 3 June 2012]

Lee Dixon and Ross Alexander, struggling songwriters, are dancing in their boxers because the tailor has their pants. The tailor wants fifty cents for his work, but they haven't four bits between them and so must resort to musical distractions. "Every time I come up here," the tailor complains, "you sing me out of your pants."

Meanwhile, shipboard, Ruby Keeler and a bunch of other "college girls" put on a show for their fellow ocean liner passengers. They're amateurs—but this is a Warner Bros. musical, so the show is big and polished. Ruby does a great song and dance; she would love to be a real Broadway star, but she knows that could never happen….

Music and high spirits abound in this lively musical about getting one's big break. Keeler, of course, gets her shot at the big time, as do Dixon and Alexander. And of course there is a major complication.

Allen Jenkins is at his best as a failed stage actor who, having tried everything else, becomes an "agent" and thinks he sees his big chance when he overhears a telegram being phoned in, sending to England for a big star.

Louise Fazenda is very funny as Ruby's teacher or chaperone, who admits that she herself once had aspirations as an actress—and then spends most of the movie reciting jumbled bits of Shakespeare. She holds her purse like a skull: "Alas, poor Yorick," she intones, "I knew him…intimately." (At which Allen Jenkins gives her a funny look: "What's your friend doing now?")

Ross Alexander, as the songwriter, has the privilege of speaking and then singing the film's great song, "Too Marvelous for Words." Keeler's most memorable dance is the finale, in which she and Dixon dance from key to key on a giant typewriter.

Somewhat oddly, Keeler doesn't really sing and Alexander doesn't dance, and so the leading couple don't do any true duets—Alexander sings to Ruby instead of with her, and Dixon fills in as dancing partner.

Overall, it's no classic but still very entertaining—especially for fans of Ruby Keeler's wonderful dancing.

Show Girl From England

[lugonian · 6/10 · 16 March 2001]

READY, WILLING AND ABLE (Warner Brothers, 1937), directed by Ray Enright, is a lightweight backstage story produced in late 1936 that marked the en of an era for Ruby Keeler as the tap dancing darling of Warner Brothers musicals. With Lee Dixon, Allen Jenkins and Louise Fazenda listed below Keeler's name, the main focus is actually on Ross Alexander, billed fifth in the casting credits. Sadly, upon completion of this musical, Alexander had committed suicide in January 1937, leaving one to wonder how far he could have gone in motion pictures, which began for him in 1932, followed by a Warner Brothers studio contract in 1934.

The plot in brief finds Barry Granville (Ross Alexander), a songwriter, actor and producer, who, along with Pinky Blair (Lee Dixon), hoofer and partner, hope to get their show, "Fair Lady" (no, NOT "My Fair Lady") produced on Broadway. McNeil (Addison Richards), an agent from Amalgamated Pictures, agrees to back the show if they can get a well known personality to appear in it. It is suggested they try to get Jane Clarke, an English musical-comedy star currently making headlines. They so happen to locate a Jane Clarke (Ruby Keeler), an aspiring dancer and student of Broadfield College returning home from England with her classmates. After the ship docks New York, she is approached and mistaken for the English singer by J. Van Courtland (Allen Jenkins), a theatrical agent sponsoring Granville. Jane is coaxed by her friend, Angie (Carol Hughes) to sign an immediate contract with Granville, feeling this would be her big opportunity to crash Broadway. Granville, of course, falls in love with his young "English" star, which makes it difficult for the guilt-ridden Jane to get enough courage to tell him the truth about herself. She does continue, however, with her masquerade, British accent and all. The jig is up, however, when the real Jane Clarke (Winifred Shaw) arrives from England after learning that she's to appear in a show she knows nothing about. However, the English Jane Clarke turns out to also be a fraud, which causes further conflict for Barry.

As with the latter MGM musicals that starred Mickey Rooney and Judy Garland in the late 30s/early 1940s, the cast in READY, WILLING AND ABLE is so energetic, especially Alexander and Jenkins, that it's ashame they couldn't rise above a mediocre script. Alexander's singing voice is obviously dubbed and Lee Dixon (who looks more like a movie cowboy than a Broadway hoofer) tap dances like a puppet on a string. An average score by Johnny Mercer and Richard Whiting includes: "The World is My Apple" (sung by Lee Dixon); "Handy With Your Feet" (sung and danced by Keeler); "Just a Quiet Evening" (sung by Alexander/ danced by Keeler and Dixon at dinner party), "Sentimental and Melacholy" (sung by Winifred Shaw); and the hit tune, "Too Marvelous for Words," which is plugged three times during the story, becoming the closing production number in which Keeler and Dixon tap dance on keys to a giant typewriter, compliments of choreographer Bobby Connolly, whose dance direction is usually mediocre at best. This production number was, however, nominated for an Academy Award for best dance direction. Aside from the song and dance, Louise Fazenda and Teddy Hart do a very familiar comedy routine during dress rehearsal, one that better served comedy team of Bud Abbott and Lou Costello in THE NAUGHTY NINETIES (Universal, 1945). Look for it. Featured in the supporting cast are Hugh O'Connell as Keeler's middle-aged but uninteresting fiancé, Truman Hardy; Shaw and Lee as the piano movers who do tap routines; Barnett Parker as a authentic English waiter; and a very young and cute Jane Wyman as a sharp-tongued secretary.

In spite of mistaken identity plot used numerous times in 1930s musicals, the best being GOLD DIGGERS OF 1933, READY, WILLING AND ABLE failed to become a classic. One of the few channels to have aired this musical at one point of time was WPHL, Channel 17, in Philadelphia, prior to 1974. Currently available on Turner Classic Movies, take notice whenever READY, WILLING AND ABLE is preceded by a three minute theatrical trailer that most of the major leads and their scenes are described and highlighted with the exception of Ross Alexander. His dubbed singing is heard, but is never seen.

On a personal level, the chemistry between Keeler and Alexander fails to register that certain spark and charisma Keeler made opposite Dick Powell in those seven musicals, and once opposite her overgrown husband Al Jolson. If remembered at all, READY, WILLING AND ABLE would be noted for its introduction to the popular tune of "Too Marvelous For Words." (**1/2)

Not Bad

[westegg · 7/10 · 15 May 2001]

This film is of a long lost art--the lighthearted, unpretentious tuneful musical that provides breezy entertainment without apology. One number, "Be Handy With Your Feet," is actually rather catchy and fun, and shows Ruby Keeler off quite well. Even the chorines look like they're having fun. The casual opulence of the set (a kind of nightclub on an ocean liner) is another example of how even "B" films from a major studio gave a certain panache to frivolity far and above what was required. Overall, not bad at all.

Cute Film

[stareyes24 · 6/10 · 5 January 2012]

Ready Willing and Able (Warner Brothers, 1937). I finally had a chance to see this film and I have to admit, it's a cute little film from Warner Brothers in the late 30's. The actors seem like as though they are having a lot of fun and the musical numbers especially "Too Marvelous for Words" and "Just a Quiet Evening" are great. However, while watching this film, I feel a little sad for the late Ross Alexander who plays Barry Granville. Ross Alexander was very talented, nice looking, and had a great screen presence, but I guess Warners didn't know what to do with him. It seems as though his role was originally intended for Dick Powell, but he may have been unavailable. Keeler and Alexander have good screen chemistry and if he didn't die, maybe they would have made more films together.

Overall, a nice way to pass time. Definitely check out it.

Make this frothy nonsense a 6.5!

[AlsExGal · 6/10 · 29 August 2023]

Ross Alexander was one of those unfortunates of life. He was good at the acting business and was given roles that would normally had gone to Dick Powell if he wasn't so busy. The trouble was that he was gay, and because of that in the 1930's, he took to the drink. He made "Ready and Willing" with Ruby Keeler in 1937 and then shot himself. His last picture doesn't stand out all that much as the story of "putting on a show" seemed to be a continuing serial throughout the '30's - but, he is quite good in it and delivers the main song "Too Marvelous for Words" first as a recitation and then in song - a couple of times - and his warbling is quite pleasing. Even though he was the leading man in this picture you can tell what the Warner Bros thought of him as his name is fifth on the list.

Ruby Keeler comes in as the love interest although that isn't clear at the start. She doesn't get to do all that much in the way of dancing about as in this picture as she is there for her acting ability. The plot maneuvers itself all over the place - there is mistaken identity, the putting on of a show, ineffectual fiancés, old ham actresses, actresses coming over from England, movie moguls, lyricists continually writing songs, Italians getting bamboozled and threatening landladies. Still, all this allows us to enjoy a few assorted character actors. Why there is even a short outing for two vaudevillians - Shaw and Lee in amongst E. E. Clive as a dimwitted Knight of the Realm, Barnett Parker as the quintessential English waiter, May Boley as the requisite fat landlady, the Romanian Adrian Rosley imitating Henry Armetta's typical Italian, Louise Fazenda as a ham actress who gets her Shakespeare all mixed up and Hugh O'Connell as whatever it is he is supposed to be. Without these characters doing their stuff the picture would have fallen quite flat.

As Ruby Keeler wasn't asked to sing, we are entreated to Wini Shaw coming in and doing that for her by way of a twist in the plot. She doesn't have all that much to do but her singing voice is a welcome addition. Also in lead roles we have Allen Jenkins as a theatrical agent, lowering the tone as per usual, Carol Hughes as Ruby Keeler's friend and Lee Dixon as Ross Alexander's theatrical partner. Also showing up briefly is Jane Wyman.

They don't make pictures like this anymore because everybody has now become too sophisticated and serious. Such a pity because it is pictures like these which are total frothy nonsense that I find highly entertaining and marvelous for taking one's mind away from the awful goings on in the world. It's fun and it's quite obvious from the finished product that everyone was having a rollicking good time making it.

Ruby, Wini and Carol

[msladysoul · 7/10 · 12 August 2005]

This movie is very nice. Not a must see but worth seeing. Ruby Keeler is always fun and pretty to watch. She dances fine in the movie. Carol Hughes is beautiful. Wini Shaw is an excellent singer and very beautiful. But she sounds a lot like Helen Morgan which is something that might of stopped her from gaining more fame. Ross Alexander is attractive and has a nice voice but he's no Dick Powell which stopped him from gaining fame at Warner Bros. Louise Fazenda is funny as usual. Anyone who criticizes Ruby's dancing, should see this movie, she dances quite well in "Handy with your feet" number. She acts fine and naturally as a girl in her position would.

Ruby Taps The Keys

[bkoganbing · 6/10 · 28 July 2006]

Ready, Willing, and Able is noted for being the last film Ruby Keeler did for Warner Brothers and the last film Ross Alexander did on earth. With Ruby it was that the public was just not interested in seeing her without Dick Powell. She couldn't carry a film on her own. Ruby was a fine hoofer, but couldn't sing and was a worse actress. But she was the big name here.

As for Ross Alexander after finishing this film he committed suicide before it was released in 1937. I'm sure that in itself cast a pall over the box office.

It's a backstage story just like the ones Keeler did with Powell. Ruby is a young ingenue named Jane Clarke who has the same name as a famous British musical comedy star. Fast talking agent Allen Jenkins signs Ruby thinking he's got the star and sells her services to a couple of other hopefuls, Ross Alexander and Lee Dixon who are putting on the eternal show. That sets in motion the rest of the story.

The image of this film is Ruby Keeler and Lee Dixon tap dancing over a typewriter keyboard set to the big song that came from this film, Too Marvelous for Words. It's one of the best movie songs of any era and was recorded by a slew of artists. The big hit records of it were by Bing Crosby and Margaret Whiting, the daughter of its composer, Richard Whiting.

Ross Alexander was not the only tragic story coming out of this film. Lee Dixon left Hollywood and scored big on Broadway for Rodgers and Hart in Higher and Higher and then really big for Rodgers and Hammerstein as the original Will Parker in Oklahoma. He also had an interesting role in John Wayne's The Angel and the Badman. Sadly he died of alcoholism only 17 years after Ready, Willing, and Able.

A good thing Alexander didn't live to see himself singing in this film with an obviously dubbed voice. Poor man looked plain ridiculous.

Yikes...this film has a very sad duo in the male leads!

[planktonrules · 5/10 · 22 August 2016]

Lee Dixon and Ross Alexander are minor actors in the history of Hollywood and here they both star as two struggling guys trying to peddle their musical show. But when you read their back story on IMDb, they are a very sad couple of guys. Before this film even debuted, Alexander (Barry) was dead from a self-inflicted gunshot wound (he was 29)! And, less than a decade later, Dixon (Pinky) would be dead...a guy who drank himself to death at age 42! Talk about tragic! Fortunately, their co-star, Ruby Keeler, had a much happier life!

When the film begins, Pinky and Barry are both struggling to market their new show. Fortunately, they just found a backer--and in order to get this backing they need to sign a British actress. When they go to meet her, the duo make a mistake and accidentally hire an unknown chorus girl (Ruby Keeler) with the same name. She's excited about the opportunity and so she keeps quiet and just accepts the offer. Unfortunately, when folks learn the truth, the show closes. What's next? See the film.

What follows at the end of the movie are a whole bunch of production numbers. Some are a bit dull, though the typewriter sequence is pretty amazing to watch. Overall, a passable bit of entertainment...but not much more. The songs aren't all that memorable and the plot is slight to say the least. The film could have used a bit more comedy to lighten the mood.

Keeler, Dixon and Alexander

[wes-connors · 5/10 · 28 June 2012]

Musical play writers Ross Alexander (as Barry Granville) and Lee Dixon (as Pinky Blair) work out a song and dance while their pants are being pressed. Playing modest for the movie studio, both Mr. Alexander and Mr. Dixon prefer boxers to briefs. The enthusiastic duo may have a tuneful Broadway hit on their hands. A backer mandates they hire an English actress to star, and agent Allen Jenkins (as J. Van Courtland) goes to pick her up. But Mr. Jenkins accidentally signs similarly named Ruby Keeler (as Jane Clarke), putting the show in jeopardy - she's no actress, but is she "Ready, Willing and Able"?

This was, most notably, the last film appearance for Ross Alexander, who ended his life with a suicide...

In what looks like a marketing decision, Warner Bros. likely switched Alexander's billing with Dixon's (he would have his most memorable success on Broadway with "Okalahoma!" before succumbing to alcoholism). Despite the sadness, the show goes on with the happy-go-lucky duo playing well together. Alexander's best moment is emotionally introducing "Too Marvelous for Words" to Ms. Keeler; she and Dixon have a memorable dancing sequence, showcasing the #1 hit show-stopper. Also, there are appearances by past favorite Louise Fazenda (as Clara) and future favorite Jane Wyman (as Dot).

***** Ready, Willing and Able (3/6/37) Ray Enright ~ Ruby Keeler, Ross Alexander, Lee Dixon, Allen Jenkins

A Last Look At Ross Alexander

[Ron Oliver · 10/10 · 18 December 2001]

Mistaken for a famous British singing star, an American college girl decides she's READY, WILLING AND ABLE to conquer Broadway - especially after meeting the young scriptwriter who's producing the play...

A fine example of the musical comedies which Warner Brothers seemed to produce so effortlessly during the 1930's, it's a shame this film has become so obscure. With good production values & a snappy storyline, it's still a pleasant entertainment. The major missing component is Busby Berkeley; the final production number, with Ruby Keeler & dancer Lee Dixon hoofing it upon the keys of a giant typewriter, fairly cries for the Master to send it over the top.

Pert & pretty, Miss Keeler is, as always, much fun to watch. Many of her scenes are given the added attractions of the lovely Carol Hughes, playing her best friend. Wini Shaw, as a singer with too much past & tart-tongued secretary Jane Wyman also contribute to the fun.

The comedy relief is largely handled by Allen Jenkins as a loudmouthed agent, Louise Fazenda as a faded Shakespearean actress & Hugh O'Connell as a society fuddy-duddy. Comic cameos by E. E. Clive & Lillian Kemble-Cooper as an English knight & lady, and Barnett Parker as a helpful British butler, are also welcome. Movie mavens will spot an unbilled Carlyle Moore Jr. as a dockside reporter.

Ultimately, though, there is sadness attached to this film. The leading man, Ross Alexander, shot himself before the film could be released. This was his final film; he was only 29. Born Ross Smith in Brooklyn in 1907, Alexander had the personality, talent & good looks which should have spelled significant stardom. But Hollywood is notoriously unpredictable, and Alexander, unhappy with the way his career was going & obviously still troubled by the gunshot suicide of his first wife in December of 1935, placed a pistol to his own head on January 2, 1937.

Once dead, it was Warner Brothers that paid him the final indignity. Having a completed film with a star who was not only deceased, but a suicide as well, was a bit more than the Studio wanted to deal with. So, cutting their losses, they gave Ross Alexander fifth place billing on the lineup of performers for READY, WILLING AND ABLE, where he should have received first or second.

Outside of his appearance in A MIDSUMMER NIGHT'S DREAM (1935), he is almost forgotten now. Ross Alexander was a victim of the Hollywood system and his own private anguish, each of which fed on the other. He should be remembered as a fine young actor, who, in a very few years, brought lots of enjoyment to movie audiences. This is typified by his best scene in READY, WILLING AND ABLE, where he introduces the Johnny Mercer lyrics for 'Too Marvelous For Words,' by gently reciting them to Ruby Keeler. It is a tremendously poignant few moments.

The swansong of Ross Alexander and the last film of Ruby Keeler for Warner Bros

[TheLittleSongbird · 5/10 · 5 November 2016]

As people have already noted, 'Ready, Willing and Able' is notable for being Ross Alexander's swansong before his tragic suicide and Ruby Keeler's last film for Warner Bros, but they certainly aren't the only notable factors of the film.

'Ready, Willing and Able' is not a great film, but it does have enough to make it watchable. Keeler is a very charming screen presence, and Alexander a likable leading man. Most of the supporting cast also fare well, with the hoots that are Allen Jenkins and Louisa Fazenda faring best. Wini Shaw is also very winning, as is Jane Wyman.

Of the song score, only one is really outstanding. That is the sublime "Too Marvellous for Words", though "Be Handy on Your Feet" is also catchy and "Just a Quiet Evening" very listenable. Don't remember much of the rest though. The classical music selections of Schumann, Chopin and Liszt are also a delight.

The film looks pretty good, apart from the odd tacky moment, it is very skilfully photographed and while not exactly expansive the set is generally a long way from cheap.

Conversely, to me Lee Dixon was wooden in acting and even more so in his dancing, which doesn't look natural or rhythmic at all. There is a lack of chemistry between Keeler and Dixon, though occasionally a sweet one with Alexander, just that one does miss Dick Powell (who one can't help thinking that he would have been a better choice). The story, even for a film musical, is overly simplistic, goes overboard with the silliness and dumbness and is as thin as thin ice.

Even flimsier is the hugely underwritten and dull script, that's far too lightweight. Of the choreography and dancing, the only one that stands out is the clever type-writing sequence. The others are pedestrian and under-cooked, am aware that one shouldn't expect Busby Bekeley to be involved in every film musical around this time but the songs generally did deserve better treatment than the indifference they were given here, this was a film that cried out for his involvement really.

All in all, watchable but not great. 5/10 Bethany Cox

Not quite 'Marvelous' enough...the lines are there, but this comedy needed a crazy spark of genius

[moonspinner55 · 5/10 · 13 November 2009]

A great deal of credited and uncredited writing talent went into this screenplay expansion of Richard Macaulay's Saturday Evening Post story about a songwriting duo in New York City who are promised show-money if they can get land a musical-comedy starlet from the London stage for their latest production, "Fair Lady" (!). Busy, friendly musical has some good wisecracking lines, but not enough star-power in the cast. Ruby Keeler has a rather inert role as a would-be performer who is hired for the lead by mistake, yet it's a part which doesn't allow her to shine (only to be a shrinking violet). Keeler does do a tap-dance routine on the keys of a huge typewriter, but the choreography is lax (despite netting an Oscar nomination!) and certainly isn't as imaginative as the set design. Real-life songwriting team Johnny Mercer and Richard Whiting contributed several songs, though the best of them ("Too Marvelous For Words") is sung ad nauseum. ** from ****

Fazenda wonderful.

[gkeith_1 · 8/10 · 6 January 2017]

Fazenda wonderful. Alas, dear Yorick. This woman was totally fantastic in her intelligence and comedic timing. Her Shakespearian notes were not random and run on. They were wonderful.

Just found out about Alexander and Dixon. So sad. Only room for one Dick Powell, and whoever else Dixon was shoved aside for.

Saw Alexander in Midsummer Night's Dream. He was simply marvelous.

Losing a point for black and white.

Losing another point with me for no Busby Berkeley.

That said, I just love the typewriter scene. Did not realize typewriters were that advanced at that time. I thought Busby choreographed it, but I didn't see him in the opening credits.

The chorines playing and dancing the typewriter keys were spot on wonderful.

Ruby tap dancing wonderfully. Higher heels showed she could really tap dance, opposed to naysayers of her 42nd street film where she danced in flat shoes and people said she looked awkward. Flat tap shoes have a stronger sound, and always sound more masculine than higher heeled tap shoes on women.

This was the Great Depression. Warners never had the reputation of great technicolor musicals had by MGM. Looks like budget very tight in this film. Dixon and Alexander not totally famous. Both must have worked in this film to pay for their bills or Dixon's alcoholism. At any rate, both actors must have been hard up for money.

Dixon went on to star in the stage Oklahoma, so that is a very good credit. I thought his dancing in this film was wonderful, and wished there had been more of it.

Same for our darling Ruby. Dancers get paid for more dances, and it still looks like budget constraints limited her terpsichorean appearances.

I am a tap dancer, and I love tap dancing.

Eight out of ten. No technicolor. No Busby Berkeley.