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 »
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 her gets the idea to promote a show to send orphaned children on a country holiday. But he is only using the kids to get on himself, which Penny soon realises. With his romance off, an engagement in Philadelphia he can't get to, and, indeed, war in Europe, life can be difficult. Written by
Jeremy Perkins <firstname.lastname@example.org>
A third "Babes" picture for Garland and Rooney, director Busby Berkeley, and producer Arthur Freed entitled 'Babes in Hollywood' was shelved after Freed decided to produce the long awaited Girl Crazy (1943) instead and give Garland a leading lady role in For Me and My Gal (1942). 'Babes in Hollywood' was intended to be an update of "Merton of the Movies", filmed in Technicolor with cameo appearances by MGM's stable of stars. 'Harry Warren' and Leo Robin were hired to compose the score (which then included "A Journey to a Star", "Polka Dot Polka", and "No Love No Nothin") with additional songs by Hugh Martin and Ralph Blane. Sid Silvers was hired to write the script, which never got past the outline stage. After the project was shelved, 20th Century Fox hired Berkeley, Warren, and Robin for The Gang's All Here (1943). The songwriters used their songs written for the scrapped film at MGM and Berkeley's elaborate "Polka Dot Polka" finale with neon hula-hoops (originally meant for 'Babes in Hollywood') was staged with all-out abandon. See more »
During the "Hoe Down" number, both Mickey Rooney and Judy Garland's voices are heard singing, but Judy is not singing the words. See more »
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.
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