Judy by the Numbers: "Chin Up! Cheerio! Carry On!"
Wednesday, April 20, 2016 at 8:00AM 
Anne Marie is tracking Judy Garland's career through musical numbers...
1941 was a year of beginnings and endings for Judy Garland. It was the year of Judy's last Andy Hardy film (Life Begins for Andy Hardy, wherein nobody sang). And she wasn't just growing up on film - 1941 was also the year of Judy's first marriage: to David Rose, the musical director of the Tony Martin Radio Show. At only 19, Judy Garland was transitioning from child sensation to full fledged star.
The Movie: Babes on Broadway (1941)
The Songwriters: E.Y. Harburg (lyrics) and Burton Lane (music)
The Players: Judy Garland, Mickey Rooney, Virginia Weidler, Fay Bainter, Margaret O'Sullivan, directed by Busby Berkeley.
The Story: As the country entered World War II, the Freed Unit was lining up a series of nostalgia-inflected new hits starring Judy Garland for MGM. While Babes on Broadway looks at first glance like the typical "let's put on a show" backyard musical of 30's Mickey and Judy, some palpable differences manifest. First, there's the emphasis on Americana and patriotism, from Judy urging young British youths on in "Chin Up Cheerio!" to the (racist blackface) closing number, "Robert E Lee." This was the influence of World War II. Though Pearl Harbor happened mere days before Babes on Broadway was released, national sentiment was already turning towards the patriotic messages that would define wartime Hollywood. However, the movie's bigger hit was a more conventional Judy Garland number "How About You?"
In many ways, Babes on Broadway looks and sounds like the old Judy and Mickey - the two doe-eyed lovebirds sing to each other at a piano or on a stage while Mickey pulls faces. However, there are two marked differences: First, Mickey is no longer the focus of the movie - the two actors share camera equally. Second, Garland has graduated from the giant lace sleeves and tulle-lined skirts of "in-between" childish Judy, instead dressed fashionably in the latest style. Ziegfeld Girl and Little Nellie Kelly had proven Judy's talent was mature. Now it was time for her star image to reflect that transition, too.
Reader Comments (6)
First of all how crazy was it at this point in time to have Judy in an Andy Hardy movie and not have her sing, particularly when she had pre-recorded four songs for it!! Oh well.
This one is certainly a rabble rouser, and shamelessly manipulative, but it serves it purpose. It's a shame about the blackface in the Robert E. Lee number since she's in such fine voice but such were the times.
That first marriage was the start of her problems with the studio, they were against it fearing it would ruin her image, and her mother who was afraid it would loosen her grip-it did and created an ever widening rift which would eventually lead to total estrangement. Together they managed to break up the union but it caused deep resentment that would cost all involved mightily.
By the way David Rose wrote the Bonanza theme and his first wife before Judy was Martha Raye! Talk about different types, though Martha Raye could actually sing quite beautifully when she calmed down and got to it.
This song just seems like a filler number. I mean it could have been sung by Mickey or anyone else, right? But then Judy is pretty good at getting people to turn on the waterworks. Even though she's approaching adulthood here, sticking her with all those faux-weepy kids makes her seem like a kid herself. But then again, she was still playing high school kids a few years later (and we're all luckier for it).
And speaking of blackface, Judy just generally looks more made up in this clip. Does that mean they are trying to make her more glamorous? Not sure.
Was David Rose a nice person? Did he help or hurt Judy?
I sincerely hope that is the last time I ever watch/listen to that number. Nice hair, though. But it looks like some weight and teeth (?) were shed between this film and (AT LAST:) For Me and My Gal...
With Judy's voice ringing out, this was great propaganda for the British. The arrangement manages to work in the notes of "Rule Britannia", a montage of London's landmarks, and with that long zoom out Garland seems to be ready to lead the troops herself.
Joel6 - Call it manipulative if you like but Busby Berkeley knows his craft.
Anne Marie - thanks for the wardrobe watch, finally Judy is out of the puffed sleeves. Thank God!!
I have a confession: the reason it's this instead of "How About You" is because the TCM player wouldn't embed properly.
Dave in Hollywood - Rose wasn't a bad person by most accounts. There were a lot of pressures on Garland outside her marriage, the two largest looming were her mother and her studio.
Paul Outlaw - To answer your parenthetical question, Judy's weight was a constant issue at this time. Thanks to heavy dieting and MGM's intervention, while filming Babes on Broadway Judy was 5'2" and 98 lbs, with a BMI that would put her in the "unhealthily underweight" category.
Didn't the studio force Judy to smoke 80 cigarettes a day? Yikes. You certainly wouldn't do that to a singer now.
I'm glad that David Rose wasn't a bad person, and hopefully he wasn't gay and Judy was getting some. She deserved a reward of some kind for that forced dieting, smoking, and pill popping.