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I ragazzi di Broadway

Titolo originale: Babes on Broadway
  • 1941
  • Approved
  • 1h 58min
VALUTAZIONE IMDb
6,6/10
1740
LA TUA VALUTAZIONE
Judy Garland and Mickey Rooney in I ragazzi di Broadway (1941)
Official Trailer
Riproduci trailer2: 30
1 video
13 foto
ComedyFamilyMusicalRomance

Aggiungi una trama nella tua linguaPenny Morris and Tommy Williams are both starstruck young teens but nobody seems to give them any chance to perform. Instead, they decide to put up their own show to collect money for a summ... Leggi tuttoPenny Morris and Tommy Williams are both starstruck young teens but nobody seems to give them any chance to perform. Instead, they decide to put up their own show to collect money for a summer camp for the kids.Penny Morris and Tommy Williams are both starstruck young teens but nobody seems to give them any chance to perform. Instead, they decide to put up their own show to collect money for a summer camp for the kids.

  • Regia
    • Busby Berkeley
  • Sceneggiatura
    • Fred F. Finklehoffe
    • Elaine Ryan
  • Star
    • Mickey Rooney
    • Judy Garland
    • Fay Bainter
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,6/10
    1740
    LA TUA VALUTAZIONE
    • Regia
      • Busby Berkeley
    • Sceneggiatura
      • Fred F. Finklehoffe
      • Elaine Ryan
    • Star
      • Mickey Rooney
      • Judy Garland
      • Fay Bainter
    • 43Recensioni degli utenti
    • 7Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
    • Candidato a 1 Oscar
      • 1 candidatura in totale

    Video1

    Babes on Broadway
    Trailer 2:30
    Babes on Broadway

    Foto13

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    Interpreti principali64

    Modifica
    Mickey Rooney
    Mickey Rooney
    • Tommy Williams
    Judy Garland
    Judy Garland
    • Penny Morris
    Fay Bainter
    Fay Bainter
    • Miss Jones
    Virginia Weidler
    Virginia Weidler
    • Barbara Jo
    Ray McDonald
    Ray McDonald
    • Ray Lambert
    Richard Quine
    Richard Quine
    • Morton Hammond
    Donald Meek
    Donald Meek
    • Mr. Stone
    Alexander Woollcott
    • Alexander Woollcott
    Luis Alberni
    Luis Alberni
    • Nick
    James Gleason
    James Gleason
    • Thornton Reed
    Emma Dunn
    Emma Dunn
    • Mrs. Williams
    Frederick Burton
    Frederick Burton
    • Mr. Morris
    Cliff Clark
    • Inspector Moriarity
    William Post Jr.
    William Post Jr.
    • Announcer
    Carl Stockdale
    Carl Stockdale
    • Man
    • (scene tagliate)
    Rene Austin
    • Elinor Downing, War Refugee
    • (non citato nei titoli originali)
    Dick Baron
    • Butch
    • (non citato nei titoli originali)
    Barbara Bedford
    Barbara Bedford
    • Mrs. Crainen, the Matron
    • (non citato nei titoli originali)
    • Regia
      • Busby Berkeley
    • Sceneggiatura
      • Fred F. Finklehoffe
      • Elaine Ryan
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti43

    6,61.7K
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    Recensioni in evidenza

    6TheLittleSongbird

    Judy and Mickey are delightful in uneven film

    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
    vandino1

    The kind of candied corn they don't make anymore

    Ahh, musicals. A tough genre; mostly unwatchable except for certain show-stopping individual numbers (which is the reason compilation films like 'That's Entertainment' are so much more enjoyable). Obviously a minstrel finale is in itself cringe-worthy, but this movie has so much more to cringe about. There's that, now comically risible, putting-on-a-show-in-our-backyard story line; and of all people to direct such a set-up you get Busby Berkeley. The "kids" have no money and pull strings right and left to get that show they just got to put on (sure, it's for orphans and rickets and whatnot, but the sweaty desperation of the would-be talent is all about the need to show off in front of an audience) and when they do put on the show it is GIGANTIC with what looks like a hundred hoofers and singers, all tightly choreographed in that elaborately tricky Berkeley style. And, in the hope-you-ignore-it category, these poor kids somehow manage to scrape together hundreds of matching costumes for every number (I guess that old theatre they have access to is a treasure trove of perfect fit, mint-edition clothing, from hoe-down jeans to tuxedos). Sure, it's all fantasy, and the plot is mostly non-existent, but the writers could have tried a little harder considering the enormous amount of energy on screen... or should I say the enormous amount of Mickey Rooney on screen. Woo-wee! The young Rooney has a dynamo inside his dynamo! He all but comes out at you in 3-D to grab your throat and demand that you be impressed. It's a nitro of prodigious talent and a glycerin of overwhelming ego that nearly explodes the film to Rooney-flavored smithereens. And so only a giant talent like Judy Garland can compete with him, and that's possibly why they appear together so often in films. She looks great, sounds great and charms in her usual wistful manner. She wears well, unlike Rooney, who captivated audiences at the time with his ham-fisted theatrics but now repels for the most part. But the film does contain some notable features: like the first appearance of the truly talented Margaret O'Brien, all of age four, and on camera for all of one minute. There's also a young Donna Reed in a bit part, and even Rooney's father, Joe Yule, gets a bit as James Gleason's assistant. It also features future director Richard Quine ('Bell, Book and Candle', etc.) in a rare, though colorless, acting role as a part of Rooney's performing team. And once-famed popular culture critic Alexander Woollcott, part of the famous Algonquin Round Table, has a bit at the beginning. Garland sings "How About You" which became a hit song in 1942 (for Tommy Dorsey, not Garland). It was written by Harburg & Lane, who had only recently worked together. In 1947 they would create the smash musical 'Finian's Rainbow' on Broadway (which coincidentally, has racist components to it that also makes it hard for audiences today to take, much like the minstrel stuff in 'Babes on Broadway'). So, there are some things to gather from this otherwise dated hash. And dated doesn't just mean the story line or minstrel theatrics, but also the heavy dose of British wartime material, including a number extolling their prideful "stiff upper lip" attitude and presented with re-settled English children crying into the camera. And with Garland crying and Virginia Weidler crying and Rooney always ready to burst into tears, this film almost suffers from dehydration!
    7apir51

    Mickey Rooney at light speed

    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.
    6utgard14

    You can't get rickets listening to the crickets

    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.
    8prosper54-1

    Mickey Rooney - A Talent Unsurpassed and Unappreciated

    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.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Vincente Minnelli conceived and supervised the "Ghost Theater" sequence where Garland and Rooney imitate theatrical notables of the past.
    • Blooper
      When Alexander Woollcott is introducing the story, at one point his bow tie disappears and his collar is open.
    • Citazioni

      Maxine, Little Girl at Audition: Please wait, don't send my brother to the chair, don't let him burn, please, please warden, please.

    • Versioni alternative
      Some older television prints of the film delete the minstrel show finale.
    • Connessioni
      Edited into Hollywood: The Dream Factory (1972)
    • Colonne sonore
      Babes on Broadway
      (uncredited)

      Music by Burton Lane

      Lyrics by E.Y. Harburg

      Played and sung by a chorus during the opening credits

      Reprised as a production number with the principal cast near the end

      Sung and danced to by Judy Garland and Mickey Rooney in blackface

      Danced to by Ray McDonald in blackface

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    Dettagli

    Modifica
    • Data di uscita
      • gennaio 1942 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Música y juventud
    • Luoghi delle riprese
      • Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, Stati Uniti
    • Azienda produttrice
      • Loew's
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 940.068 USD (previsto)
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      1 ora 58 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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