Overrated and Racist

Naturally, we are all very concerned about your views on racism in a 70 year old film and of the poor performances you felt you were subjected to.

I will be filing a complaint with the NAACP and a class action suit against MGM and the estates of the creative talent involved in the production of the film.

It's unfortunate that we cannot observe and learn from the cinematic racism of old films instead of trashing the movies themselves. Yes, the minstrel, blackface tradition was despicable. But we cannot erase it from Hollywood history so that future generations don't even know what it is or was. Perhaps a disclaimer should be issued with the DVD.

As for Mickey Rooney overacting--well, that's what he was born to do. He was not the top box office star during that period (beating out Gable and others) for being subtle or low-key. As for the "chemistry between Mickey and Judy...lacking," did you notice how that relationship went on the back-burner for the Baby Rosalie (June Preisser) subplot? Alas for Judy but she was often treated as a frump in these pictures--taken for granted and in the background until the final number.

When approaching films of this sort, virtual antiques, it's best to try to put yourself into the period to fully appreciate what you're seeing. You cannot expect the gloss and bells and whistles of the later musicals in 1939. Admire it for its pronounced message of uplift and patriotism, coming a month into the war in Europe, at the tail end of the Great Depression. It's a beautiful period piece about America in transition---the death of vaudeville, the dawn of "teenage" and the boom in the youth market/culture, and so much more. The film perfectly captures a moment in time, just as the war was breaking out in Europe. The big "God's Country" number also celebrates MGM as opposed to the Fascist dictators: "We have no Ducce, We have no Fuhrer/ But we've got Garbo and Norma Shearer." The good-natured ribbing of the Roosevelts (with Franklin/Mickey WALKING and DANCING!), complete with the Fireside Chats is perfect fun, but it's probably lost on modern viewers.

"Babes in Arms" sold more tickets in 1939 than "The Wizard of Oz." But it's obviously less accessible to audiences today.

I love Mickey and Judy, but I agree this was far from their best showcase. After several viewings through the years, I also agree with the criticisms you've made, except that the chemistry between Mickey and Judy was lacking.

But we can't see the film as contemporary audiences did. In 1939 a film starring teenagers was very new and Mickey and Judy, even at their worst, were perhaps the most versatile teens of that era. Adolescent actors and actresses weren't considered "big box office" until the advent of Deanna Durbin and Mickey himself a year or two before BABES premiered. Durbin was great, but her films were pretty much solo star vehicles built around her singing and her "Little Miss Fixit" persona. BABES was probably the first musical film to star a group of talented teens and, obviously, it caught the public's fancy.

Even though I agree that the subplot between Mickey and his father was melodramatic and unbelievable, these very sentimental subplots were a big part of the Mickey/Judy films. I think the one between Mickey and his Mom in STRIKE UP THE BAND is even worse, but, if that's not enough, we also get another slogfest in Larry Nunn's life-threatening illness. Then there's the whole Virginia Weidler and the Orphanage subplot of BABES ON BROADWAY. I guess audiences liked 'em thick and sticky and oppressively sentimental?

You may already have guessed that my favorite Rooney/Garland film is GIRL CRAZY, which tended to avoid these bathetic scenes.

I'm glad to see someone brought it up actually--my friend and I were visiting last night, the TV was on, and all of a sudden the minstrel number came on with no warning whatsoever...we thought maybe we were watching a Mel Brooks parody or something, then the dawning horror that--no--this is for real. I'm not going to take a stand on the subject of "should it be allowed to be shown," it's too complex and everyone has their own opinion, I'm just glad someone mentioned it and began a discussion about it--my jaw was on the floor and I can't believe I'd never heard anything about the number before.

I don't like censorship, but I confess, when I saw the censored footage from "Fantasia," which is blatantly offensive and depressed me a lot--I'm glad it's cut out of the modern version of the movie. Some things really don't need to be remembered, actually, and if neglected will perhaps finally rest in peace.

Nilbog! It's goblin spelled backwards! This is their kingdom!

I agree the minstrel number was unappealing, to say the least. Thing is, the inclusion of this sequence didn't even make sense according to the script. Mickey's character is determined to put on a modern show in tune with the tastes of modern youth, and at the time this film was made minstrel numbers were already extremely old and tired---hardly a symbol of what was popular with kids at the time.

Agreed. I had to fast forward through the minstrel show.