Andy's girlfriend Polly is planning to spend Christmas at her grandmother's, which puts a kink in his plans to take her to the country club Christmas party. He agrees (for a fee) to pretend... See full summary »
With his high school graduation behind him, Andy Hardy decides that as an adult, it's time to start living his life. Judge Hardy had hoped that his son would go to college and study law, ... See full summary »
Soldier Joe Allen is on a two-day leave in New York, and there he meets Alice. She agrees to show him the sights and they spend the day together. In this short time they find themselves ... See full summary »
Tommy Williams desperately wants to get to Broadway, but as he is only singing in a spaghetti house for tips he is a long way off. He meets Penny Morris, herself no mean singer, and through... See full summary »
Talented small-town girl Lily Mars hounds producer John Thornway for a part in his new play, but he doesn't want anything to do with stage-struck amateurs. But when Lily follows him to New ... See full summary »
Discovery by Flo Ziegfeld changes a girl's life but not necessarily for the better, as three beautiful women find out when they join the spectacle on Broadway: Susan, the singer who must ... See full summary »
On a train trip West to become a mail order bride Susan Bradley meets a cheery crew of young women traveling out to open a " Harvey House " restaurant at a remote whistle stop to provide ... See full summary »
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
The Richard Rodgers/Lorenz Hart songs "My Funny Valentine", "I Wish I Were in Love Again", "Way Out West", and "Johnny One Note" are songs from the original Broadway musical, but were eventually unused in the final film. "The Lady Is a Tramp" is heard instrumentally several times as the theme for June Preisser's character Rosalie Essex. See more »
During the girls' duet, Patsy Barton begins her solo, and Mickey Moran switches from cello plucking to piano thumping. However, the music continues as it was before, and we don't hear any amazing sounds on the piano in spite of Mickey's efforts. 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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In the 1939 Mickey Rooney was among the top box office draws in the world. Judy Garland had appeared as a supporting player in several Rooney films, and the two had significant chemistry--more over, Garland had just completed photography for THE WIZARD OF OZ--a film that MGM rightly expected would launch her to international stardom. The time was right to costar the two, and MGM did it with BABES IN ARMS. The film was an immediate hit, one of the most admired musicals of the year. But time has a way of changing our perspective. Seen today, BABES IN ARMS feels a little strange, a little strained, and at times just downright, well, ODD.
BABES IN ARMS was originally a Rogers and Hart show that proved a smash on the New York stage--a slightly satirical script with one of the most powerful scores of the 1930s. MGM specifically purchased the property for Rooney and Garland and then promptly threw out the script, most of the score, and transformed the thing into the tale of young teenagers who decide to put on a show in a barn.
Although well performed, the songs that replaced the original score simply do not measure up to the play's original score, and viewers are likely to be startled by a minstrel show number that finds Mickey and Judy romping in blackface. In justice to the film, it should be remembered that while minstrel shows remained popular well into the 1950s, and such great stars as Al Jolson and Eddie Cantor performed in full blackface well into the 1930s. While the number is stereotypical, it is not meanspirited, and if nothing else it offers a glimpse into a now dead theatrical tradition.
But weirdest of all is the grand finale "In God's Country," a strange mixture of Hollywood ballyhoo, patriotism, and fear of the European war that would soon engulf the world. In its original form, the number also included Rooney and Garland doing a take off of FDR and Eleanor; although cleverly performed and quite mild in content, this was later cut in re-release, for MGM worried it might be construed as disrespectful during wartime.
The film has a number of distinct flaws. Director Busby Berkley was most at home with big-budget musicals that had scope for the elaborate dance numbers he favored--he's something of a fish out of water with this more intimate material, and his approach feels heavy handed. Although much admired at the time (he actually received an Academy Award nomination for Best Actor for this film), Mickey Rooney's performance is absurdly manic by modern standards, and Garland's more natural performance is too often overshadowed by his excesses. The script is as weak as the score, few of the supporting performers are memorable (Margaret Hamilton is an exception), and the whole thing has a awkward quality to it.
Even so, it's still possible to see what all the fuss was about. The film does capture an inkling of the famous Rooney-Garland chemistry--a chemistry that would fuel three more "let's put on a show!" musicals, each one more more effective than the last. It is there in every musical number the two perform, in every line, in every scene, a very real and very powerful thing. While casual viewers would do better to select either BABES ON Broadway or GIRL CRAZY, in spite of all its flaws, Rooney-Garland fans will likely find BABES IN ARMS an essential.
Gary F. Taylor, aka GFT, Amazon Reviewer
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