The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

...quips Eugene Palette to William Powell in reference to a show that Powell's character is backing. That one statement really says it all. Despite its title, this is a rather pointless early talking musical drama with a large number of talented stars from the Paramount lot of 1929, but with nothing really for any of them to do. It's the time honored tale of a beautiful chorus girl, Lora, (Faye Wray), in love with and marrying a rich young spoiled composer, Donald (Philip Holmes), with the desire to write his version of the great American novel - in this case a symphony. Unfortunately, mommy does not approve of Don's marriage and cuts off his allowance, which is his only means of income. Thus they must both live on Lora's small salary in a crowded apartment which becomes even more crowded whenever the wife's brother and sister-in-law come to visit, always with the constant digs about Donald sponging off Lora. Then there is the producer of the show in which Lora performs (William Powell) who is - of course - in love with Lora but doesn't want to do anything to disrupt her marriage and spoil her happiness.The problem with this film is that the dramatic part never really does anything but land with a thud and the musical parts are abbreviated and unmemorable. I wouldn't even give it 5/10 if it wasn't for the historic value of seeing all of these performers so early in their careers, especially William Powell before he entered his Thin Man years and Eugene Palette before he was less of a thin man as well as one of the great character actors of the 30's and 40's.This movie also did a good job of using Helen Kane in just the right dose and in just the right way. Skeets Gallagher and Helen Kane play Lora's feuding brother and sister-in-law who claim that the secret to their marital success is that they never stop arguing long enough to have a real fight.

A little of Helen Kane went a long way. She was much easier to take in supporting roles where she could sing a song or two, be cute, then fade into the background and let the more accomplished and less annoying stars of the film take over. She made astonishingly few films - she was a big hit in "Sweetie" (1929), but by the end of the next year the writing was on the wall. By then, she had been given star vehicles, but the films "Heads Up" (1930) and "Dangerous Nan McGrew" (1930) were tough going. Because "Pointed Heels" came at the end of the musical cycle there were only two numbers - "Ain'tcha" and "I Have to Have You", both performed by Kane. The latter song is part of a symphony written by Holmes but Kane makes it her own with plenty of boop a doops. There is also a Technicolored scene -the Pointed Heels Ballet, featuring the Albertina Rasch Ballet, who were occasionally used in musicals of the time as musical interludes, or to give the films a bit of class. Unfortunately this scene was deleted from my DVD.Millionaire producer Robert Courtland (William Powell) is secretly in love with Lora (Fay Wray) but Lora has just married Donald Ogden (Phillips Holmes), a serious composer who is writing a symphony. He receives a telegram from his mother, cutting off his allowance because of his marriage to a "chorus girl". He is in despair!!! He can't do anything else but compose!!! - so Lora goes back to the chorus line and they find a cheaper (much cheaper) apartment. Unfortunately, they live in the same building as Lora's brother and his wife ("Skeets" Gallagher and Helen Kane), a low brow comedy team billed as Dot and Dash who are constantly fighting. They have an idea for a show and when Courtland visits Lora and Donald, Dot and Dash burst in and convince him to become their backer. He says yes but only if Lora is given a star part. He also gives Donald's music the spotlight (Donald has written a hit song "I Have to Have You" ).Lora and Donald's marriage is not going well and Courtland, who has never stopped carrying a torch for Lora, suggests that she leave Donald. He invites her to his mansion so she can kick up her heels but has a change of heart and puts a tipsy Lora to bed in a separate room. The inevitable happens - David visits Courtland, sees Lora's bag and gloves and immediately prepares to sail for Europe.For the opening night Courtland gets Dot and Dash drunk, so they will put over the song in their old way - in rehearsals they had been singing it "too highbrow"!! They boop a doop it and surprisingly the show is a hit. Courtland, in a change of heart, brings Lora and David together for the fadeout!!!Even though William Powell wasn't exactly musical, this film (his 40th) was to be quite important to him as it was the first film to give him top billing. "Pointed Heels" was also a rare musical venture for Fay Wray as well. Watch for Adrienne Dore as a pretty, witty chorus girl. Eugene Palette was also good as Courtland's sidekick. Paramount was not above plugging songs from other Paramount films in release - at the wedding breakfast the band plays "I'm All A-Twitter and All A-Twirl" from "Close Harmony" and "The Flipperty Flop" from "The Dance of Life" both Nancy Carroll films.Recommended.

"Pointed Heels" is a very talkative 70 minutes - always lovely visually, it boasts excellent production values. Fay Wray never looked more lovely and, as usual, she is not required to act. William Powell, in his first top-billed movie, was as dapper as he would ever be. Helen Kane was defiantly a presence to be reckoned with. Hopefully, she was never again forced to appear as a platinum blonde....even for comic effect. It's not funny. A strong personality and veteran performer, she could still tend to cloy - without proper direction. Proper direction is completely foreign to "Pointed Heels." The story concerns the love affair between hard working showgirl, Wray, and spoiled rich boy/composer Phillips Holmes. Skeets Gallagher and his wife, Kane, are in the musical show, Pointed Heels, that Wray and Holmes are also working on. William Powell is the kindly producer with an eye for Miss Wray and almost a determination to doom the show - for no particular reason. Inexplicably Wray ignores him and goes for the boring Holmes. Miss Kane and Mr. Gallagher work hard to make sense of the badly contrived musical numbers. Finally, they are thrown into the finale right after Powell has gotten them "stinko" drunk - to try to loosen them up and make them "less high class." Well, that's one way to do it. The embarrassing finale is sung and danced by the drunken Kane and Gallagher without benefit of a chorus line or any sort of backup. The considerable number of showgirls running around in the background gives one the feeling that there were chorus numbers filmed but somehow chopped from the movie by the (in this case) hack editor, Jane Loring. After Kane and Gallagher stagger through their closing number, Powell proclaims Pointed Heels, (the name of the show within the show), a "hit," which signals the end of the whole odious affair.There are two clever songs, "Ain't Cha" and "I Have to Have You," both nicely tailored for the adorable Miss Kane. Too bad she wasn't allowed to do them her way. It would appear she did them while under orders rather than under direction. Then there is Holmes' "Unfinished Symphony" - which keeps threatening to finish. Fortunately the film finishes first. This movie is for 1. The Initiated, 2. The Die Hard Fan, and 3. the Film Student. This reviewer recommends it to these three overlapping groups...some of whom will probably love it. For those who wonder if there are actually any good prints in existence the answer is "yes." This film has been on television within the last 25 years. There is also a well founded rumor that a good nitrate print of it exists at the UCLA Archive. The existence of the original color sequences is uncertain, as this reviewer only has access to a 16mm black and white print which is complete but lacks the element of color. Pointed Heels was directed by A. Edward Sutherland. Written by Florence Ryers and John V. A. Weaver based on a story by Charles Brackett (long before his legendary collaborations with Billy Wilder). Editing by Jane Loring. Shame shame on A. Edward Sutherland and Jane Loring....the two heels most responsible for Pointed Heels. It could have been so much better. The real winners are those who did the art direction, sets and costumes....all of which are stunning. The best argument for the production's existence is the rare appearance of Helen Kane. Anyone familiar with her knows she was capable of a far better performance. Paramount musicals are often elusive, so one should seriously think twice before passing up an opportunity to see one...and that includes this one.