IMDb RATING
6.6/10
1.7K
YOUR RATING
Judy Garland and Mickey Rooney star in a musical directed by Busby Berkeley as two talented teenagers dreaming of success as Babes on Broadway.Judy Garland and Mickey Rooney star in a musical directed by Busby Berkeley as two talented teenagers dreaming of success as Babes on Broadway.Judy Garland and Mickey Rooney star in a musical directed by Busby Berkeley as two talented teenagers dreaming of success as Babes on Broadway.
- Nominated for 1 Oscar
- 1 nomination total
Carl Stockdale
- Man
- (scenes deleted)
Rene Austin
- Elinor Downing, War Refugee
- (uncredited)
Dick Baron
- Butch
- (uncredited)
Barbara Bedford
- Mrs. Crainen, the Matron
- (uncredited)
Storyline
Did you know
- TriviaVincente Minnelli conceived and supervised the "Ghost Theater" sequence where Garland and Rooney imitate theatrical notables of the past.
- GoofsWhen Alexander Woollcott is introducing the story, at one point his bow tie disappears and his collar is open.
- Quotes
Maxine, Little Girl at Audition: Please wait, don't send my brother to the chair, don't let him burn, please, please warden, please.
- Alternate versionsSome older television prints of the film delete the minstrel show finale.
- ConnectionsEdited into Hollywood: The Dream Factory (1972)
- SoundtracksBabes 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
Featured review
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
'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
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- TheLittleSongbird
- Feb 15, 2017
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Details
Box office
- Budget
- $940,068 (estimated)
- Runtime1 hour 58 minutes
- Color
- Aspect ratio
- 1.37 : 1
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