Mickey Moran, a talented singer and musician, son of a veteran from the show business. Mickey has a partner, Patsi Barton, a pretty girl and also a very talented singer. One day, a big opportunity arrives for Mickey, a big contract to set up his own show. However, things don't go well, and in order to avoid being sent to a work farm, he'll improvise a show in the country, despite the awful weather conditions. Patsi's in love with Mickey, he loves her too, but for him the show must go on, and his big dream maybe will come true: formally stage his play in a big scenario, with a huge production. Written by
When Judy Garland & Betty Jaynes are singing their duet, there is part of one line where Judy's lips aren't moving but you can hear her singing. You can see her singing "We're really..." and then the view changes and there's a close-up of the two girls. As they sing the words "...just like...." Judy's lips aren't moving and she's just staring straight at the camera. Then she continues lip-syncing "...two peas in a pod..." See more »
Michael C. 'Mickey' Moran:
No, no, no, judge! You don't understand; she don't understand, either. Oh, she don't mean no harm to us, but... we're not her kind of people - or yours, either. We belong in show business. We gotta start young so we can get some steel in our backbone. Well, gee, we're developing. You couldn't teach us a trade: we've GOT one. And you couldn't do without it... Oh, we're only kids now, but someday we're gonna be the guys that make ya laugh and cry and think that there's a little stardust left on ...
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The only purpose of "Babes in Arms" is to prove with the unlikely gathered support of the whole neighbourhood which happens to be manifested by budding vaudevillians, the war battle cry not to be upheld is 'Come on, let's put on a show!'
Yet what an interestingly talented field of teenage talent, not to mention an interesting case study of youth rebellion, pre "Rebel Without a Cause" period. It proves how easily Hollywood could provide ample entertainment in the Golden Era, and with all its simplicity, all the reasons in the world as to why Hollywood simply cannot do this today.
Although the predominance of Mickey Rooney is obvious throughout over Judy, he was nonetheless a delight to watch, comic, charming, musical and repressed talents and all, receiving a well deserved Oscar Nomination up against some of the biggest names of Hollywood in its greatest year. Judy, with little mention required, was once again brilliant in one of her earliest starring vehicles.
The supporting cast seems to be in need of a desperate stretch in order to keep up with a gold mine of talent. Usage of expensive looking dresses amongst the backyard setting doesn't assist, and neither do seventeen year old operatic divas. The older members of the cast, however, seem to be doing alright, despite the fact their competition is superseding them in real life as well. Otherwise, the rest of the supporting actors in unconvincing scenery settings, seem to be able to only follow Busby Berkley's direction with certain lines on repeat.
Music dominates within the Rodgers and Hart play, although much of the original score disappeared, leaving two songs contributed by the duo, including the title song. The highlight of the program is "Good Morning", which is probably also remembered for being reused with different lyrical arrangements in the MGM musical masterpiece "Singin' in the Rain". This, and most of the other songs remains the high point of the musical.
It is obvious that the intent of the movie, is not, plot. I can now pride myself on being successfully able to predict every occurrence ahead of time for the first time in my life, a fact I am usually oblivious to even in the most screamingly awakening of circumstances. What puzzled me was the reason as to why they didn't attempt "Broadway Melody of 1939". Or was there such a thing?
However, this continued to pave the way with gold for two of the best Hollywood stars. All in all, this is a great pleasure to watch. And for an evening in, it is great fun for the young at heart.
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