Babes on Broadway (1941)

Plenty to Like, Plenty to Dislike

Overrated

Absolutely the worst movie.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

Busby Berkley might have been a genius, but this movie is a good example of just how curious the USA was in 1941. Yeah, I'm white, but the black-face minstrel finale ruins this entire film for me. One of the best of the "backyard musicals" staring the energetic and hugely talented duo of Mickey Rooney and Judy Garland. Several fine musical numbers including the "Barnyard Hoe-Down". Then they go and ruin it all with an over-blown minstrel finale, beautifully filmed, but dated and very uncomfortable in this day and age. James Gleason and Donald Meek are wonderful as supporting character actors. The story is totally unbelievable, and, as always, they put on a show. The wartime nostalgia with kids from England and "fresh air camp" for city children is appropriate for the times, in 1941. Other than the "minstrels" I do not think there is anyone who is actually black in the entire movie! Almost as weird as the "white" minstrel show number ("Mandy") in "White Christmas"! Too bad. I really wanted to like this film. This film would have otherwise been rated an 8 or 9, as it is fun to watch right up to the ending. Not often shown uncut, except on TCM. Sometimes the minstrel number is cut or shortened for broadcast (on other channels), as often done for Holiday Inn's "Abraham" (with Bing Crosby in black-face!).

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.

My husband coerced my 12 year old daughter to sit through this film which she felt mildly entertaining... until they rolled out that minstrel show finale, and then she was just amazed and appalled. I hadn't seen the film and was actually rather shocked, but it led to a very interesting discussion with our daughter about the accepted social conventions of the times, so off-putting to us now but the performers at the time seemed quite oblivious to the possibility is causing offense. I think my daughter, for the first time, 'got' the importance of Martin Luther King and the civil rights movement in a way that no text book could explain. To that extent, the film was a valuable time capsule. The rest of it was rather blah "let's do a show stuff," although my daughter said Andy Rooney reminded her of Leonardo Dicaprio and after awhile I saw what she meant.We speculated that the sleaziness of movies these days would present a time capsule of its own for future audiences, who will probably be amazed at how crass and sex-obsessed our current culture is. At least I hope that's the case. I'm so maxed out on sleaze and the effect it's having on my daughter, I seriously consider moving to another country sometimes. Anway, this movie is harmless fluff with good hearted values on the one hand and mindlessly offensive racism on the other.

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