Vashirdfel Simply A Masterpiece

Actuakers One of my all time favorites.

Brainsbell The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

utgard14 Mickey and Judy want to put on a show (surprise) to help orphans. Only Mickey has an ulterior motive -- to impress a big shot producer and get a gig on Broadway. When Judy finds out, it looks like splitsville for the duo. Nice Busby Berkeley musical although it's way too long to have such a thin plot. But the musical numbers with Judy and Mickey are what people care about and most of those are energetic and fun. Film debut of Margaret O'Brien in an adorable bit. Donna Reed has a small part as a receptionist. Mickey and Judy are both perfect, playing parts similar to many others they played. By the way, I love the posters the kids create to advertise the show. One slogan reads: "Do you want rickets on your conscience? Get the kids to the country." Certainly sounds more sincere than some celebrity-endorsed causes in recent years.What seems to get the most reaction here on IMDb is not surprisingly the minstrel number at the close of the show with all of the actors in blackface. Yes it's dated and offensive but some of the comments here are way over the top. One imbecilic individual even said Mickey Rooney shouldn't have been allowed to work again! Put the Kool-Aid down, kid.

Lechuguilla Unfairly maligned by viewers with little or no knowledge of history, "Babes On Broadway" is a reasonably good film that, more than anything else, speaks to us from across the years. It tells us a lot about America in 1941.Several talented young people, just starting out, try to make it big on Broadway. That's the story premise. The script presents a thin, superficial plot. Dialogue lacks significant subtext. But, of course, the plot's real purpose is to create continuity in a film meant to showcase the musical talents of its two big stars: Mickey Rooney and Judy Garland. They, along with a large cast, sing and dance in various musical productions, some good, some not so good.Which leads to my main criticism of this film: the editing. With a thin plot and a runtime of two hours, large chunks could have been chopped out. I have no idea why they included a Beethoven piano performance by a child prodigy; it has no connection to anything. Similarly, the "Hoe Down" musical segment is arguably weak. And, though I commend the producers for acknowledging Great Britain's War efforts, devoted plot elements are thematically irrelevant and overly long.On the other hand, the best sequence in the film is its grand musical finale, a tribute to the American South. This segment provides a nice contrast to New York's Broadway allure. Dialogue here refers to an "old-fashioned" minstrel show. Most of the songs are from decades earlier. Musical lyrics include the wording "And boy that Southern cooking is okay". Clearly, the intent is to salute the South. So putting performers in black face is entirely appropriate within the well-defined historical context. Performances are fine. Judy Garland shines. Fay Bainter, ideally cast as a theatrical agent, also gives a good performance. At various points Ray McDonald excels as a tap dancer; he's almost in the same league as Fred Astaire. And impersonating "Brazil bombshell" Carmen Miranda, Mickey Rooney is funny in drag, wearing platform shoes, tawdry women's jewelry, and a flamboyant hat as he sings Miranda's signature song "Mamae Eu Quero". Throughout the film Rooney exudes confidence, energy, and a highly animated persona.The film's sets and costumes, dialogue about tough times, as well as the selected music and the big accent on tap dancing, combine to give viewers a pretty good feel for American pop culture in the early 1940s. It's by no means a perfect film. But it's worth watching, mostly for nostalgia, as representative of an era that is gone forever.

wes-connors Mickey Rooney (as Tommy) wants to make it on Broadway. With Judy Garland (as Penny), Ray McDonald (as Ray), Richard Quine (as Hammy), and Virginia Weidler (as Barbara Jo), he can't miss! Some speed induced-like performances break the stride, though it's always nice to see those in the cast at work. The longest stretch of enjoyment begins with Mr. Rooney and Ms. Garland singing and dancing "Yankee Doodle Boy" as part if an imaginary sequence, then director Berkley takes over for a the frantic set-up the show sequence, and Rooney closes in Carmen Miranda drag. Rooney in drag works, as does Mr. McDonald's "black-face" solo dance (if taken in in isolation) - but there are elements in the closing "Babes on Broadway" that are racially insensitive. In fact, some of the dialog and gestures are repulsive. Be prepared. *** Babes on Broadway (1941) Busby Berkeley ~ Mickey Rooney, Judy Garland, Ray McDonald

prosper54-1 To get an idea of just how talented a performer Mickey Rooney is, watch his banjo playing in the movie's final number, The Robert E. Lee. At first you may think he's just going through the motions, but he's actually playing the banjo for the last 3 minutes of the movie. His dance numbers are also superb.He was at the height of his popularity when this 1941 movie came out, the #1 Box Office Male Star for 6 years in a row. To say this movie is too sugary, is a cheap shot and you must put it into perspective of when it was made. (The black face number at the end was far from sugary). Rooney dances and imitates Cagney in Yankee Doodle; He does a perfect impersonation of Carmen Miranda in another number and the finale is worth the price of admission. Corny, yes. Talented? precisely.