Place au rythme

This Busby Berkeley musical of the 1930s represents Mickey Rooney and Judy Garland at their best, which in the end really doesn't say "greatness." The film, which involves a recurring reminiscence on the "nostalgia" of the 1910s, is often over-acted, over-sung, and over-choreographed. Judy Garland's portrayal of a girl in love but shunned is reminiscent of almost all of the MGM musical roles in which she partook during her stint that lasted into the late 1940s. The minstrel act is a particularly interesting look at the virulent racism that still plagued American cinema during the Studio Age-Judy Garland in blackface is perhaps one of the most frightening images I have ever encountered.

Though, one cannot approach a film like this with more than a hint of cynicism: Busby Berkeley is arguably the greatest choreographer in the history of film, and though he does not show off the spectacle of his earlier films, like Gold Diggers of 1933 and Gold Diggers of 1935 (which he did not direct), his dance numbers are interesting (for instance, when the town's teenagers partake in a book-burning, throwing into the flames symbols of conformity). The film is sweet, fresh, and bright, and, as the first Arthur Freed musical, serves as one of his better (though certainly not his best).

In all, I give it a 3 out of 4 stars (***).

On a side note, three of the songs that appear in Singing in the Rain appear in this film, predating the Gene Kelly musical by over 15 years: Good Morning, Good Morning, Singing in the Rain (which appears in a montage showing previous MGM musicals), and You Are My Lucky Star.

The children of struggling vaudeville stars decide to put on a musical show to save their homes. Yes, it's a Mickey Rooney and Judy Garland "let's put on a show" musical. Their first such movie, I think, and probably their most famous. Mickey & Judy are great. Mickey does Lionel Barrymore and Clark Gable impressions that are a hoot. He also has a fight scene in a drug store which is amusing. The supporting cast is made up of fine character actors like Guy Kibbee, Charles Winninger, and Henry Hull. Adorable June Preisser steals every scene she's in. Margaret Hamilton plays the villain, a busybody who tries to get the kids taken away from their parents. Garland & Hamilton filmed this right after Wizard of Oz, by the way. Interestingly, this was actually a bigger hit at the box office than Oz was in 1939.

Most of the songs are nice but none wowed me. Several classic Rodgers & Hart tunes from the Broadway musical this was based on are either omitted altogether or featured too briefly to make an impact. An ear-splitting operatic version of "You're My Lucky Star" by Betty Jaynes is probably the worst song in the movie. Judy's "I Cried for You" is best. Salute to minstrel shows with cast members in blackface will upset some so prepare yourself if you're one of them. Directed by Busby Berkeley, as evidenced by his distinct touches on the "God's Country" closing number. Speaking of which, that number has Mickey & Judy satirizing FDR & Eleanor. After FDR's death this part was cut out of future showings and it remained that way until the '90s. It's a lively number and the added historical value is a plus. Good old-fashioned fun. Charming, innocent, and yes, a little corny, but an enjoyable movie overall.

Wow, I just finished watching "Babes in Arms", and my head is spinning. We old movie fans are used to seeing ethnic humor and even the occasional bit of blackface in early Hollywood films; but what "Babes in Arms" gives us is outrageous by any definition: an entire cast of a "show within a show", numbering at least 50 to 75 people, including Mickey Rooney and Judy Garland, every one in blackface, performing not just a minstrel skit, nor a single musical number, but an entire 20 minute full-blown minstrel show in spectacular MGM full-production mode. It goes on and on and on. Dialect jokes. Banjoes and songs about Alabammy. And finally, Judy Garland, having removed her blackface, comes out and performs an additional number ("I'm Just Wild About Harry") as an only slightly darkened black woman. Wow.

On the other hand, is it really possible that the manic Mickey Rooney was only 19 when he made this? He really shows why he may be the single most talented American performer of the last century. He dances, he sings, he does drama, he does comedy, and he has incredible control over his every move and muscle. And he does unbelievable and hilarious impressions of Clark Gable and Lionel Barrymore. And Franklin Roosevelt.

A few quick notes: June Priesser, who plays "Baby" Rosalie, was a terrible actress. But watch out for her stomach-churning contortionist back-rolls when she first comes out on a stage.

The child actor who plays Mickey Rooney at age 5 dancing on a Vaudeville stage for a few moments early on really does look like Mickey Rooney!

I think Judy Garland actually has some of the same lines in this movie as she does in "Wizard of Oz", done in this same year. Watch out for when Mickey Rooney feints early in the film; Garland reacts to this exactly, and I mean exactly, as she does in Oz when the Lion feints. Eerie!

When Judy Garland, as Eleanor Roosevelt, sings "My day, my day", she is referring to an actual long-running newspaper column written by E.R. from 1936 to 1962.

Finally, the final song and dance number is the most mind-numbing, over-the-top tribute to America, dancing, how we are not Nazis, American Indians, Asian Indians, dancing, the Roosevelts, and dancing, that I have ever seen. Yes, it was early WWII, but still, you wonder if anyone even in 1939 thought this was a little too much?

Recommended for its high energy, its Rooney and Garland, its more Rooney, its offensiveness, and its too much of everything. It is history, and should be watched by all.

This 1939 musical reflects the tastes of the American public of that era. As such, "Babes in Arms", proved to be a favorite film that made a lot of money for the studio. The young stars of this film proved to be the main attraction for watching it more than sixty years after it was done.

"Babes in Arms" was a Broadway musical by Lorenz Hart and Richard Rodgers. Like most of those movies of that time, the creative people in the studio took liberties, incorporating material that was not in the original theater work. Busby Berkeley, the genius of those musical films, was at the helm. It's easy to see his imprint all over the movie in the way he stages the big musical numbers and move his players to get a maximum result out of them.

Mickey Rooney and Judy Garland were two young actors at the time that were good in whatever they did together. The pair showed an amazing amount of charisma in their musical numbers as well as in the over all chemistry in all their scenes together. Mickey Rooney plays the earnest Mickey Moran, the son of vaudevillians, who wants to make a name for himself. Judy Garland is Patsy Barton, a girl-next-door type that is sweet, wise and patient, even when Mickey is dazzled by the film star that wants to back their show in order to have the lead in it.

The other players are excellent, which is not saying much, as MGM and the other studios were blessed with solid talent that went from film to film doing amazing work in whatever picture they appeared. Charles Winninger, Guy Kibee, Betty Jaynes, Douglas McPhail, and the wonderful Margaret Hamilton appear in supporting roles.

Enjoy the infectious actors of this movie and the Rodgers and Hart music, as well as the other songs that were added to it. Busby Berkeley did a marvelous job with the film that shows a less stressful time in the country.

I just saw it on TCM, after finally acquiring cable. It's sweet. I imagine the original stage score was sharper and more adult, but you must know by now that Hollywood has been tampering with the scores of stage musicals since the year 1. When they filmed GAY DIVORCE they eliminated the entire score- save one little song danced by Fred Astaire. There's been stage-to-screen tampering done with SHOW BOAT, ON THE TOWN, BRIGADOON, SWEET CHARITY, and A CHORUS LINE, to name a few. And Rodgers & Hart were decidedly more sophisticated, adult composers; they had to endure the wrath of the puritanical Hollywood image back then. This is why I've always preferred musicals originally created for the screen; no one looking for a stage predecessor would be offended. As it is, they did keep "The Lady is A Tramp" in the background and allowed "Where or When" to be performed as a slightly botched band rehearsal. But I love the staging of the title song: a march through the street, gathering more and more teens as they go, with its bonfire-rally finale; and Judy Garland's torch solo "I Cried For You" is a stunning piece of poignancy which makes you forget that she is only 17 years old. She does a magnificent job of grounding the overly ecstatic Mickey Rooney. As for dated film accusations- yes, it is dated; America just entered World War II at this movie's release, and it's probably no coincidence that the film's finale "God's Country" is an especially long, uplifting musical sequence. I mean, how ageless can it be with Mickey Rooney doing an impersonation of President Roosevelt?!