Babes on Broadway

source: Babes on Broadway

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.

"Babes on Broadway" was a very popular film and was just one of several similar Mickey Rooney films of the day. However, while wildly popular in the day, this sort of movie has not aged well and I found it very tough to finish the picture. Tommy Williams (Rooney) is a member of a young trio that sings and dances. He exudes confidence and knows they'll make it big on Broadway...but for much of the film his plans keep falling short. So, without any other options, he agrees to put on a show with his new pal, Penny (Judy Garland), as well as other young people with loads of talent but not much in the way of work. But, just before this big performance Tommy gets news that he's got a job...but can't do it AND the benefit performance. What's he to do? The biggest problem with this film is that there is hardly any plot and instead it consists of one musical number after another after another. Additionally, with several very, very similar other films starring the same duo and with similar plots, it's hard to take this very seriously or care about the characters. All in all, it's a film that tries too hard. Less singing and dancing and more heart...that would have improved this film tremendously...at least for audiences in the 21st century.

I only caught the last 'number' in this film, the black-face routine featuring Rooney and Garland. As a 22 year old white college student in the south, I was shocked and offended by this. And that's coming from someone who isn't really offended by much at all and generally laughs at those in our society who are overly politically correct. Of course I've read about the black-face routines put on by Hollywood and certain performers back then, but seeing it on screen like that was just shocking. It's unbelievable to me that such a thing was accepted and glorified. Really almost makes me sick to watch it. Not only did blacks have to experience serious racism in their everyday lives in this country back then, they were mocked on screen for all to see. This film looks more like a homemade video confiscated from a Ku Klux Klan member's basement than a Hollywood production. I'm quite embarrassed and ashamed as an American. Even more shocking to me is that the career of Mickey Rooney continues to this day. I would have hoped once our society became enlightened enough to understand just how unacceptable and ridiculously offensive 'shows' like this were, that actors like Rooney and others who appeared in such films would have a harder time finding work. Rooney has appeared in 3 movies this year (2005), so I suppose not.

Mickey Rooney (as Tommy) wants to make it on Broadway. With Judy Garland (as Penny), Ray McDonald (as Ray), Richard Quine (as Hammy), and Virginia Weidler (as Barbara Jo), he can't miss! Some speed induced-like performances break the stride, though it's always nice to see those in the cast at work. The longest stretch of enjoyment begins with Mr. Rooney and Ms. Garland singing and dancing "Yankee Doodle Boy" as part if an imaginary sequence, then director Berkley takes over for a the frantic set-up the show sequence, and Rooney closes in Carmen Miranda drag. Rooney in drag works, as does Mr. McDonald's "black-face" solo dance (if taken in in isolation) - but there are elements in the closing "Babes on Broadway" that are racially insensitive. In fact, some of the dialog and gestures are repulsive. Be prepared. *** Babes on Broadway (1941) Busby Berkeley ~ Mickey Rooney, Judy Garland, Ray McDonald

This movie has a few REALLY GREAT numbers, including How About You and Hoe-Down, but this sequel lacks the spark (no bonfire scene in sight ; )) of Babes in Arms (1939). It muddles through alright until they choose a minstrel routine for a finale. Overall, pretty disappointing.

Mickey and Judy want to put on a show (surprise) to help orphans. Only Mickey has an ulterior motive -- to impress a big shot producer and get a gig on Broadway. When Judy finds out, it looks like splitsville for the duo. Nice Busby Berkeley musical although it's way too long to have such a thin plot. But the musical numbers with Judy and Mickey are what people care about and most of those are energetic and fun. Film debut of Margaret O'Brien in an adorable bit. Donna Reed has a small part as a receptionist. Mickey and Judy are both perfect, playing parts similar to many others they played. By the way, I love the posters the kids create to advertise the show. One slogan reads: "Do you want rickets on your conscience? Get the kids to the country." Certainly sounds more sincere than some celebrity-endorsed causes in recent years. What seems to get the most reaction here on IMDb is not surprisingly the minstrel number at the close of the show with all of the actors in blackface. Yes it's dated and offensive but some of the comments here are way over the top. One imbecilic individual even said Mickey Rooney shouldn't have been allowed to work again! Put the Kool-Aid down, kid.

This film was full of veteran actors who were just starting out in films and many had already had great careers. We all enjoyed the great talents of Mickey Rooney and Judy Garland in this film. However, there was a great scene in this film with three sailors and three gals and most of these stars were uncredited and not listed, namely: Red Skelton and Ben Blue. They all had a dance number and mentioned President FDR and his friendly neighbor policy with South American Countries. This was a film made during the War Years and America had lots of problems within its own boundaries, namely bigotry among religions and nationalities. It is easy to find faults with this film, but lets face it, the Year it was made Was 1941, we had a lot of growing to DO! and Still DO!!!

I have seen the movie and I used to find it and movies like it very offensive. But today we can all see how far the American movie industry has come in the area of race relations since 1941. Although I am still repulsed by white actors in "blackface," movies like this are an excellent learning tool in exploring the American cultural experience.

Unlike the other reviewers I only saw the last dance number. But what a shock! Imagine turning on a Mickey/Judy musical and everyone is in blackface! You barely recognize Mickey and Judy has to open her mouth and sing before you realize who is singing! And the shock, after all these years, of seeing performers in blackface. I admit I was stunned. While my jaw was hanging open I got a chance to see why Mickey Rooney was the best of the child stars. I've heard tell he could do it all in those days and here he proves it. I've seen some excellent banjo players in my time and Mickey's performance of the Florida state song ("The Swanee River") ranks up there among the best ever. What a talent! Sure Shirley Temple was prolly a better dancer at an earlier age but I believe Mickey surpassed her as they got older. And he was a better singer to boot! Still, in today's PC world, that musical number could never be made without the FCC or some other group censoring it. Makes you wonder just how free we really are if we are that happy to censor anything that is controversial in the slightest...