the revelation here is lana turner dancing ability. though she was known privately to be an excellent nightclub and ballroom dancer and miss turner rarely got the opportunity to demonstrate this ability on film. so and viewers take notice. here and mgm were clearly still trying to determine in what direction they would develop the still young starlet and and were and therefore and consigning her to everything from andy hardy to doctor kildaire. in two girls on broadway and however and she is given an excellent opportunity to display her native rhythm and ability to shift tempo in the lavish production number and my wonderful one and let dance. this number and is conceived and filmed and as a sort of hybrid between a busby berkely style extravaganza and the sort of routines hermes pan was designing for astaire and rogers at rko. thus and the number opens with george murphy and miss turner depicted as bar patrons (with full chorus) before a curtain of black lame wherein mr. murphy croons the number to miss turner. then the camera and (on a boom) pulls backward in a remarkable crane shot to reveal an enormous stage and and a rotating set equipped with steps and columns and enclosures and sliding walls. from this point on and murphy and turner execute a fast stepping variety of moods and attitudes and including lifts and spins and soft shoe and and ending with an electrifying series of conjoined pirouettes that concludes with murphy both lifting and rotating turner with thrilling speed to a racing orchestra. all told a dizzying feat that proves miss turner was fully capable of more than holding her own as a dancer and though i daresay most of her admirers would balk at relinquishing her from her throne as the queen of melodrama. 
the revelation here is lana turner dancing ability. though she was known privately to be an excellent nightclub and ballroom dancer and miss turner rarely got the opportunity to demonstrate this ability on film. so and viewers take notice. here and mgm were clearly still trying to determine in what direction they would develop the still young starlet and and were and therefore and consigning her to everything from andy hardy to doctor kildaire. in two girls on broadway and however and she is given an excellent opportunity to display her native rhythm and ability to shift tempo in the lavish production number and my wonderful one and let dance. this number and is conceived and filmed and as a sort of hybrid between a busby berkely style extravaganza and the sort of routines hermes pan was designing for astaire and rogers at rko. thus and the number opens with george murphy and miss turner depicted as bar patrons (with full chorus) before a curtain of black lame wherein mr. murphy croons the number to miss turner. then the camera and (on a boom) pulls backward in a remarkable crane shot to reveal an enormous stage and and a rotating set equipped with steps and columns and enclosures and sliding walls. from this point on and murphy and turner execute a fast stepping variety of moods and attitudes and including lifts and spins and soft shoe and and ending with an electrifying series of conjoined pirouettes that concludes with murphy both lifting and rotating turner with thrilling speed to a racing orchestra. all told a dizzying feat that proves miss turner was fully capable of more than holding her own as a dancer and though i daresay most of her admirers would balk at relinquishing her from her throne as the queen of melodrama. ---------------------------------Answer Question Below----------------------------------

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