“Babes in Arms”

November 4, 2012

JUDY GARLAND and MICKEY ROONEY

Knowing that a storm visitor was a fan of Judy Garland, I picked out Babes in Arms from the On Demand list, and wound up watching it myself. I did that because this 1939 film was based on a 1937 Broadway musical by Richard Rodgers and Lorenz Hart. I’ve always been curious about that show, but I’ve never seen it produced on stage. I knew well before the movie was over that the stage show has to have been better.

This was one of the “let’s put on a show” movies that Garland made with Mickey Rooney. It turns out that it was only loosely based on the Broadway show. In fact, I have since read that once the brains at MGM got  the rights to the show, they made wholesale changes to the script and threw out all the songs except the unmemorable title song and the memorable “Where or When,” which was introduced on  Broadway by Ray Heatherton (who later had a long run on television as the “Merry Mailman”) and Mitzi Green.

RAY HEATHERTON

That means, that MGM — specifically producer Arthur Freed — cut “My Funny Valentine,” “I Wish I Were in Love Again,” “Johnny One Note,” and “That’s Why the Lady is a Tramp” (which is heard only as incidental background music). Freed added two old songs of his own — “I Cried for You” and “You Are My Lucky Star” — and he and Nacio Herb Brown wrote “Good Mornin'” especially for this movie. E.Y. Harburg and Harold Arlen, who had contributed three classic songs to The Wizard of Oz, were employed on this movie to write “God’s Country,” a heavy-handed finale that was influenced by the war under way in Europe.

This film was directed by Buzby Berkeley in an era when the canteen didn’t stock de-caf coffee. It is, in a word, exhausting. The production numbers with their quick-step marches are dated and Rooney in particular, as talented as he is, is manic —  a fault that is made more conspicuous by the fact that Garland’s performance is comparatively understated.

Apparently there was some racially insensitive material in the Broadway production, and there is  an offensive minstrel sequence in the movie. Blackface was common into the 1950s; in fact, when I was a kid, my parish used to stage annual minstrels complete with end men in burnt cork exchanging idiotic banter with “Mr. Interlocutor.” It’s as hard to watch now as it should have been then.

Rooney and Garland in blackface

I’ve read some attempts to rationalize this display, including one argument that the caricatures were mild, but there is nothing mild about Rooney’s lampooning in particular. He’s Jolson in overdrive.

There is a clever number in which Rooney and Garland do good-natured send ups of Franklin and Eleanor Roosevelt. This scene was cut from copies of the film distributed after FDR died in 1945, but it has been restored and is one of the most worthwhile things in the movie.

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2 Responses to ““Babes in Arms””

  1. shoreacres Says:

    It’s surprising to me that the songs I know the best (“My Funny Valentine”, “Johnny One-Note”, “That’s Why the Lady is a Tramp”) were cut from the film. You’d think their popularity would be a draw – but there’s much I don’t understand about the film industry.

    As for the blackface – I’ve been thinking about how far we’ve come recently because of a “find” I made in the last box of my mother’s ephemera. It’s a “booklet” called “Tiny Tots Records: Songs, Games, Stories for Kiddies”. There are four 78 rpm records, and each song has an accompanying card with an illustration on one side and the lyrics on the other.

    One of the songs is called “Ten Little Darkies”. It’s written in the style of “99 Bottles of Beer on the Wall”, and begins, “Ten little darkies going out to dine, One choked his little self and then there were nine.” And so on, down to zero and back to ten.

    It’s astonishing and appalling, all at once. Interestingly, the set’s in a box from Hecht’s, so I imagine my aunt and uncle who lived in Jersey and then NYC were the source of the gift. I have a picture from the Christmas I got my record player – I was about four or five, which would have been 1950 or 1951. Clearly, no one was hesitating at that point about marketing such things.

    • charlespaolino Says:

      I would be interested to know what I thought of the caricatures of black people that were common when I was a kid. I grew up in an all-white town and didn’t go to school with a black student until college at Seton Hall — and there were only a handful there. I can still remember the ropes stretched across Jersey beaches to distinguish the white side from the black side, and I had two relatives — a barber and a restaurateur — who wouldn’t serve black customers. But when the occasional black customer came into our grocery store, my grandfather and father treated them with the same respect they extended to anyone else. When a black nurse was caring for my grandmother at home, my parents insisted that she sit at the dinner table with us, not stand up at a counter across the room, which she apparently was accustomed to. I also recall that my mother was disgusted when an African priest visited our parish — an unheard-of event — and some people wouldn’t take communion from his hands. My parents did have prejudices about black people, but they still treated them with equanimity. My brother was the first businessman in that town to have black employees. One of them has been with him for about 40 years.

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