Judy by the Numbers: "Chin Up! Cheerio! Carry On!"
Wednesday, April 20, 2016 at 8:00AM
Anne Marie in Busby Berkeley, Judy Garland, Judy by the Numbers, Mickey Rooney, child stars, musicals

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.

Article originally appeared on The Film Experience (http://thefilmexperience.net/).
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