Música y juventud

This big MGM "let's put on a show" musical is obviously a showcase for the over-sized talents of JUDY GARLAND and MICKEY ROONEY.

But it amuses me to see young commentators expressing "shock" and dismay at the blackface routines shown in the big finale. They never knew how popular minstrel shows were, even into the 1940s? Where have they have been living? They never heard of Al Jolson and how he rode to stardom on his blackface routines?

The film actually rises above its clichéd plot whenever Judy takes the spotlight with a song. Never has she looked so radiantly youthful and vibrant. Rooney, while of course obviously talented, tends to ham it up a bit too much whenever he's given the spotlight, which is a little too often for my taste. Fay Bainter does nicely as a patron of the arts while James Gleason gets on the nerves with his frustrated bit as a producer.

Amusing to see gangly RICHARD QUINE hoofing it up (before he became a film director). The standout dancer is Ray MacDonald, the fresh faced kid who lights up the screen whenever he dances, resembling, in style and acting technique, Donald O'Connor. Tragically he, like others in the cast, ended his life much too soon.

Judy and Mickey do a fabulous version of "How About You?" and Buby Berkeley's genius at staging intricate dance routines is nowhere more evident than in the "Hoe Down" number, probably one of the catchiest of all the musical routines.

There are slow spots and the film could easily have omitted footage to pare it down to a running time of, say, an hour and forty minutes. As it is, you have to be willing to stick with it for the full two hours, something only likely to occur if you're a true fan of Garland and Rooney.

You can catch a brief glimpse of two up and coming stars, Margaret O'Brien and Donna Reed. Reed has a brief moment as a receptionist.

Trivia note: Shirley Temple was originally considered for the Virginia Wiedler role. Might have been OK too, since the part is not that demanding musically and Temple could certainly still do the required amount of hoofing.

Despite the fact the Busby Berkeley finale was a minstrel show, I like Babes on Broadway just fine. If you want to see Mickey Rooney and Judy Garland as a team at their peak, this isn't the film. But I like it fine anyway

Mickey is a member of a trio which also consists of Ray McDonald and Richard Quine singing for their supper at a one armed spaghetti joint owned by Luis Alberni. One of the three customers in the joint one night is Broadway girl Friday, Fay Bainter who loves the act and Mickey especially. She spends the rest of the film trying to get ulcer ridden producer James Gleason to hear him and the rest of the talent Rooney collects for that inevitable show he wants to put on.

Of course one of those talents is Judy Garland, another eager young hopeful and the musical highlight of the film is their singing the famous Vernon Duke song, How About You. It's not one of Berkeley's big production numbers, it's done with Mickey and Judy at a piano in her place, but their infectious enthusiasm will grab you immediately. How About You was later done in the fifties with a really fine arrangement by Rosemary Clooney and Bing Crosby in one of their joint albums.

The other highlight for me is the surreal number done when Judy and Mickey arrive at a long closed theater for their show and are transformed by the spirits of the performers of long ago who headlined in the place. What has to be remembered is that several of these people were actually still alive when Mickey and Judy are imitating them, people like George M. Cohan, Harry Lauder, Blanche Ring. Faye Templeton, Sarah Bernhardt, and Richard Mansfield were long dead or retired by then. Still people in the audience remembered them and Mickey and Judy's reverential treatment to these stage stars of long ago must have struck a chord in movie audiences we can't appreciate today.

The minstrel show finale of course isn't good, yet even that is salvaged somewhat by Judy's singing of Franklin D. Roosevelt Jones. She also recorded it for Decca and the number still plays well today. When Judy does it even in blackface, somehow instead of degrading, it comes out as a tribute, like Fred Astaire in blackface imitating Bill Robinson in Bojangles of Harlem.

My favorite of their joint projects has always been Girl Crazy, still Mickey and Judy are as alive and fresh in Babes on Broadway as ever and it's a great example of matchless chemistry and teamwork.

Unfairly maligned by viewers with little or no knowledge of history, "Babes On Broadway" is a reasonably good film that, more than anything else, speaks to us from across the years. It tells us a lot about America in 1941.

Several talented young people, just starting out, try to make it big on Broadway. That's the story premise. The script presents a thin, superficial plot. Dialogue lacks significant subtext. But, of course, the plot's real purpose is to create continuity in a film meant to showcase the musical talents of its two big stars: Mickey Rooney and Judy Garland. They, along with a large cast, sing and dance in various musical productions, some good, some not so good.

Which leads to my main criticism of this film: the editing. With a thin plot and a runtime of two hours, large chunks could have been chopped out. I have no idea why they included a Beethoven piano performance by a child prodigy; it has no connection to anything. Similarly, the "Hoe Down" musical segment is arguably weak. And, though I commend the producers for acknowledging Great Britain's War efforts, devoted plot elements are thematically irrelevant and overly long.

On the other hand, the best sequence in the film is its grand musical finale, a tribute to the American South. This segment provides a nice contrast to New York's Broadway allure. Dialogue here refers to an "old-fashioned" minstrel show. Most of the songs are from decades earlier. Musical lyrics include the wording "And boy that Southern cooking is okay". Clearly, the intent is to salute the South. So putting performers in black face is entirely appropriate within the well-defined historical context.

Performances are fine. Judy Garland shines. Fay Bainter, ideally cast as a theatrical agent, also gives a good performance. At various points Ray McDonald excels as a tap dancer; he's almost in the same league as Fred Astaire. And impersonating "Brazil bombshell" Carmen Miranda, Mickey Rooney is funny in drag, wearing platform shoes, tawdry women's jewelry, and a flamboyant hat as he sings Miranda's signature song "Mamae Eu Quero". Throughout the film Rooney exudes confidence, energy, and a highly animated persona.

The film's sets and costumes, dialogue about tough times, as well as the selected music and the big accent on tap dancing, combine to give viewers a pretty good feel for American pop culture in the early 1940s. It's by no means a perfect film. But it's worth watching, mostly for nostalgia, as representative of an era that is gone forever.

To get an idea of just how talented a performer Mickey Rooney is, watch his banjo playing in the movie's final number, The Robert E. Lee. At first you may think he's just going through the motions, but he's actually playing the banjo for the last 3 minutes of the movie. His dance numbers are also superb.He was at the height of his popularity when this 1941 movie came out, the #1 Box Office Male Star for 6 years in a row. To say this movie is too sugary, is a cheap shot and you must put it into perspective of when it was made. (The black face number at the end was far from sugary). Rooney dances and imitates Cagney in Yankee Doodle; He does a perfect impersonation of Carmen Miranda in another number and the finale is worth the price of admission. Corny, yes. Talented? precisely.

This movie CANNOT be reviewed in terms of current times. It is ridiculous to even think it can. Of course NOW to see a black face routine would be totally unacceptable (and that is as it should be) but you have to remember WHEN this movie was made and base reviews on that. The musical routines for the most part are excellent. Mickey DOES overact horribly but you can't really blame all that on him. Busby Berkley was the director and he should have toned it down. It is obvious that one young person who said that Mickey should never have had a career has obviously never seen the TV movie BILL. With good direction, Mickey is a fabulous actor. Judy shines in anything and everything she ever did, even when it was hokey (and this movie definitely had some bad jokes). I am just sorry that Virginia Weidler did not have a longer career and that she died so young. If you want to see her in something brilliant, watch THE PHILADELPHIA STORY where she plays Katharine Hepburn's younger sister.

This movie is a product of its times. But these times aren't much better. Which is worse, black face routines or movies with gratuitous sex and blatant violence, blood, and guts? Racism is a horrible thing but it goes on in movies even today (in films made by Caucasian and African-Americans). What makes the black face routine even worse is that it was totally unnecessary to the plot and they could have done something better.