Ever seen a human being tap dance across the keys of a giant typewriter? It sounds like some weird fever dream from a tech enthusiast, but it’s actually the crowning glory of the Ready Willing and Able movie, a 1937 Warner Brothers musical that most people have completely forgotten. Honestly, it’s a shame. While modern audiences might flock to see the latest CGI-heavy blockbusters, there is something raw and incredibly charming about these old-school "backstage musicals" where the plot is thin but the talent is massive.
You’ve probably heard the song "Too Marvelous for Words." It’s a jazz standard now. Frank Sinatra sang it. Nat King Cole sang it. But it actually started right here, in this 1937 flick directed by Ray Enright. The film is a chaotic, breezy comedy of errors that basically serves as a delivery vehicle for one of the most inventive dance sequences in cinematic history.
What is the Ready Willing and Able movie actually about?
The plot is classic 1930s fluff. You’ve got two struggling songwriters, Barry Granville (played by Ross Alexander) and Pinky Blair (Lee Dixon). They’re desperate for a hit. They manage to secure funding for their new show, but there is a massive catch: they have to hire a famous British star named Jane Clarke.
Here’s where it gets messy.
A theatrical agent named "Katsy" Van Courtland (Allen Jenkins) goes to the pier to meet the ship from England. He sees a girl named Jane Clarke and immediately signs her. Only, she’s not the British star. She’s an American college student with acting dreams played by the legendary Ruby Keeler.
American Jane knows she’s not the girl they want, but she’s "ready, willing, and able" to take the shot. She spends half the movie faking a British accent and trying to avoid singing because, in the world of the film, she can't hit a note. It’s a hilarious bit of meta-irony because Ruby Keeler was a famous singer in real life.
The cast you should know
- Ruby Keeler as Jane Clarke: The queen of Warner Bros. musicals. This was actually her last film for the studio.
- Lee Dixon as Pinky Blair: A lanky, incredibly talented tap dancer who doesn't get enough credit today.
- Ross Alexander as Barry Granville: A tragic figure in Hollywood history. This was his final role; he actually took his own life before the film was even released.
- Jane Wyman as the Receptionist: Look closely and you’ll see a very young Wyman, who would later become a massive star and the first wife of Ronald Reagan.
The typewriter sequence that changed everything
If you search for the Ready Willing and Able movie today, you aren't usually looking for the plot. You're looking for the typewriter.
The finale is a masterpiece of choreography by Bobby Connolly. Instead of a standard stage, the set is a gigantic typewriter. Ruby Keeler and Lee Dixon tap dance across the keys, and as they hit each letter, a row of showgirls dressed as "typebars" swing upward to mimic the action of a mechanical typewriter.
It is visually stunning. Keep in mind, this was 1937. There were no green screens. No digital editing. If someone tripped on a "key," they had to reset the whole massive mechanical rig. The precision required for the dancers to stay in sync with the moving parts of the set is mind-blowing. It’s a literal interpretation of the lyrics for "Too Marvelous for Words"—they are quite literally "typing" the song as they perform it.
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Why nobody talks about the 1999 version
There is another movie called Ready Willing & Able released in 1999, but let’s be real—it’s a completely different beast. Directed by Jenni Gold, it’s an action-thriller about a CIA agent named Samantha Martin who is injured in the line of duty. She ends up in a wheelchair but has to assemble a team to stop a chemical weapons conspiracy.
It’s an inspiring film, especially because it features a lead character with a disability played by Christopher Templeton, but it has zero connection to the Ruby Keeler musical. If you’re looking for tap dancing and 1930s swing, the 1999 version will leave you very confused.
The tragedy behind the scenes
It is hard to watch the Ready Willing and Able movie without feeling a bit of a sting when Ross Alexander is on screen. He was only 29. He was energetic, handsome, and clearly on the path to becoming a major leading man.
Warner Bros. released the film in March 1937, just months after his death. Because of the tragedy, the film didn’t do great at the box office. People found it hard to laugh at a musical comedy starring an actor who had just passed away under such sad circumstances. It’s one of those Hollywood stories that casts a shadow over an otherwise "breezy" piece of entertainment.
How to watch it today
Finding a high-quality stream of the Ready Willing and Able movie can be a bit of a hunt. It isn't usually sitting on the front page of Netflix.
- Turner Classic Movies (TCM): This is your best bet. They cycle it through their programming fairly often, especially during "Summer Under the Stars" or Ruby Keeler marathons.
- Physical Media: Warner Archive has released it on DVD. If you’re a collector of "Golden Age" cinema, it’s a must-have for the typewriter scene alone.
- YouTube: You can often find the specific dance sequences uploaded by film historians.
Actionable insights for film fans
If you’re diving into the world of 1930s musicals, don't stop here. The Ready Willing and Able movie is part of a specific lineage of films that defined the era.
- Watch the "Gold Diggers" series: Specifically Gold Diggers of 1933. It has that same "we're broke, let's put on a show" energy.
- Listen to the original "Too Marvelous for Words": Compare the Wini Shaw/Ross Alexander version in the film to the later Frank Sinatra recordings. It’s fascinating to see how the "swing" evolved.
- Look for Bobby Connolly’s work: If you liked the typewriter dance, check out his choreography in The Wizard of Oz. He had a knack for making objects part of the dance.
Basically, the Ready Willing and Able movie is more than just a footnote. It’s a snapshot of a time when Hollywood was obsessed with mechanical novelty and the sheer athletic power of tap dance. It’s a little bit of magic captured on grainy black-and-white film.
To get the most out of this classic, start by watching the "Too Marvelous for Words" sequence on a platform like YouTube to see if the style clicks with you. If you enjoy the rhythmic precision, look for the full DVD release from the Warner Archive collection to see the context of the mistaken-identity plot. For those interested in the history of dance in cinema, comparing Bobby Connolly’s work here to Busby Berkeley’s more geometric "kaleidoscope" style in 42nd Street provides a great education in how 1930s choreography pushed technical boundaries.