I ragazzi di Broadway

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.

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.

While Mickey Rooney did tend to overact throughout his career and not all his jokes worked, one cannot deny he was multi-talented and that his chemistry with Judy Garland (have always been a big fan of her) was unmatched. This is true in 'Babes on Broadway'.

'Babes on Broadway' is my least favourite of their musicals ('Babes in Arms' had its problems but was a little better as an overall film regardless of its bowdlerised treatment of the musical), but Garland and Rooney and their chemistry are what saves the film. It works well as a musical, but fares problematically as an overall film, one can totally see the appeal but there are definitely understandable reasons as to why it won't click with others.

The story is very contrived and the sentimentality and corniness went well overboard in places. Was willing to forgive that it was structurally thin, the contrivances and problematic tone less so. There is some wartime patriotism which feels both out of place (tonally it feels odd with the rest of the film) and heavy-handed, and some of the editing is on the bloated side, some of it not serving much relevance to the story.

Unsurprisingly, the biggest criticism that 'Babes on Broadway' has gotten is regarding the "black-face" finale. Some of the criticism here has been over-the-top and I have seen plenty of classic period musicals to know that black-face routines were common at the time (it's very like being familiar with racial stereotypes in cartoons), still doesn't stop me not particularly caring for them. Wasn't offended as such here, but the finale did come over as overblown, rather tasteless and it has aged badly (even when judging it by 1941 standards and not by 2017 standards).

However, even when not in Technicolor, 'Babes on Broadway' still looks lovely in crisp black and white and with elegant production design. As said, on the musical front (production values, songs, vocal performance, arrangements, choreography and dancing) 'Babes on Broadway' fares significantly better. The songs are very pleasant and lively, "How Are You", "By the Light of the Silvery Moon" and "Hoe Down" faring best, "Chin Up, Cheerio" is enthusiastically performed but a bit patronising. The choreography mostly has energy and tenderness, really appreciated "Hoe Down's" intricacy.

Of the humour, Rooney's hilarious and pretty amazing impression of Carmen Miranda is a big standout. Garland does well too with her imitation of Sarah Bernhardt. Some nice fun wit and charm in the script, and Berkeley directs more than competently. 'Babes on Broadway' more often than not has a lot of energy and charm.

Fay Bainter, James Gleason and Donald Meek are very good in their roles (then again they could phone in a performance and still be good), and Margaret O'Brien is adorable in a short pre-fame appearance. Ray McDonald's dancing is pretty incredible. At the end of the day though it is Rooney and Garland that make 'Babes on Broadway' worth watching. Rooney clearly has fun, even if he does overdo it at times, while Garland, on radiant and touching form, is even better. Their chemistry is wonderful.

Overall, uneven film but Rooney and Garland delight hugely. 6/10 Bethany Cox

If you like fast paced Hollywood musicals from yesteryear, then this movie is for you. The story is dated and hokey, but there is a lot of singing and dancing. Mickey Rooney, Judy Garland and the rest of the cast is excellent. Rooney demonstrates his versatility as a song-and-dance man and pairs well with Judy Garland who sings several songs and is quite engaging. The finale includes a several-minutes long minstrel sequence which some may find insensitive as it is performed in black face. That notwithstanding, Garland performs a number in black face and in drag (i.e. dressed as a male), which is remarkable. The cinematography is excellent, capturing the dance sequences in all their glory. If judged by current tastes, the movie's style is a curio, an antique. But what is not dated is the energy, vitality and the music itself which would resonate with today's audience.

This is one of those Hollywood 'Let's put on a show!' movies that were so popular in that bygone era. Such ha sense of sadness, though, when you realize that so many of the stars died young(Judy Garland-47, Ray McDonald-34, Virginia Weidler-41). Mickey Rooney, always a little high-strung, outdoes himself here, as he seems a 78RPM record, while everyone else is moving at 33 1/3. The minstrel number at the end is really quite embarrassing by today's standards, but it was the sort of thing they could get away with in those days. Quite a few of the standard 'view from above' shots common in Busby Berkeley films. I found it interesting as a look back at a bygone time that never really was.