Overlong but fun Mickey & Judy "let's put on a show" musical, directed by the great Busby Berkeley. Drummer Jimmy (Mickey Rooney) and would-be girlfriend Mary (Judy Garland) try to make their high school band a success. Along the way they deal with little personal dramas like Jimmy's mother wanting him to be a doctor, a new girl in town who captures Jimmy's eye, and one of the band members needing an emergency operation. The musical numbers are good, if not particularly memorable. Mickey & Judy are terrific, as always. It's probably pretty corny stuff for those who aren't fans but, if you enjoy these types of movies, I'm sure you'll have a good time with this one.
33 Reviews
worst of the three.
lacy_lou_9229 September 2007
I love the Mickey/Judy movies and this is a wonderful example of a superb one, but of the three "lets put on a show" type movies this is the worst. It's still fantastic don't get me wrong, but Babes in Arms and Babes on Broadway are much better! The songs are fantastic but not as catchy as the songs from the other movies. Judy is fantastic! It just tears your heart when she sings Nobody. It's a perfect blend of humor and music in this movie. Fantastic. If you like this one, I absolutely recommend Babes in Arms and Babes on Broadway. (Babes on Broadway is my favorite movie ever) It's great! you really should watch this movie!
Mickey and Judy Great but Film a Bit Too Much!
JLRMovieReviews21 July 2015
"Strike Up the Band" is another teaming of Mickey Rooney and Judy Garland who are of course put in the position of putting on a show to save a band, a school program for children, a school from closing, etc. You name it. It could be any of those things. Of all the movie musicals that were made in their heyday, these were the most bizarre, meaning while enjoyable and with good music still somewhat beyond belief. They always seemed to defy the odds, getting what they want, albeit with some obstacles along the way. This outing though is not quite as good as others, due to some of the supporting actors' not so subtle acting. Less is more is not an adage used here. In fact, there's nothing subtle here. Ann Shoemaker does give good support as his mother, with a nice speech about being a great man. But the length, its feeling of self-importance, and some awkward moments of corniness hurt its effectiveness. It is very enjoyable with great musical numbers for Mickey and Judy; but there's just so much of everything here, making it two whole hours, including a over-the-top tongue-in-cheek save-the-damsel production in the middle of the movie, lasting 15 minutes itself. I'm sure you'll enjoy it for what it is, but afterwards, you'll feel like you had a workout.
Mickey does it all
jost-125 March 2003
A delightful high-energy romp. I think Mickey Rooney outshines Judy Garland in this one (but that might be like comparing apples to oranges, which incidentally play a not incidental role in this movie). Mickey plays the piano, the drums, sings, dances, pitches baseballs and jumps over fences and hedgerows....plus he's good to his widowed mother and turns up the "life's a gas" charm at the drop of a hat. Judy is more serious, reflective, and tender, all of which works well in the songs she performs. I could have done without the extended "Snidely Whiplash" melodrama routine, but hey, what's perfect in this world. The teenagers in this movie, however, look like miniature adults, and moreover, some of Mickey's band members look a little long in the tooth. Was there really a time when jazz was the most shocking thing a kid could be interested in?
Let the music play
TheLittleSongbird15 February 2017
Being a huge lifelong fan of Judy Garland, with a voice that you can listen to for hours and tire of, and who likes her paired with Mickey Rooney (a multi-talented performer with a tendency to overdo it), 'Strike Up the Band' was definitely something that couldn't be missed.
To me, 'Strike Up the Band' is the second best of their four "backyard" musicals. Their best being 'Girl Crazy', the best paced of the four and with the best songs and choreography, even if the story is not as good as the rest of the film. Faring weakest is 'Babes on Broadway' ('Babes in Arms' was a slightly better film regardless of its bowdlerisation of the source material), that film gets a lot right still but is too sentimental, contrived and corny in places with some out of place patriotism and a sour-taste-in-the-mouth finale. All four are worth watching though, and all four are well above average films.
'Strike Up the Band' is not perfect either, its Achilles heel being the far too corny, melodramatic and ponderous middle third (a shame because the film is actually very well paced for most of it and then drags badly in the non-musical moments of the middle third). The dialogue warms the heart and moves sometimes but the silly corniness of some of it is cringe-worthy.
Lastly while the cast are mostly splendid, there is one exception and that is the terribly annoying June Preisser (just as much as in 'Babes in Arms'), enviously athletic dancing is not enough for an obnoxious character played far too broadly to unbearable degrees.
However, even when not in Technicolor, 'Strike Up the Band' still looks lovely in crisp black and white and with elegant production design. As said, on the musical front (production values, songs, vocal performance, arrangements, choreography and dancing) 'Strike Up the Band' fares significantly better. The songs are great, not as great as the scores for 'Girl Crazy' and 'Babes in Arms' but almost. The three best songs being the plaintive "Our Love Affair", the exuberant "Drummer Boy" and the barn-storming "Do the La Conga".
Busby Berkeley's direction and how he stages the songs are not quite as imaginative, witty or dazzling as some of his other films, but it doesn't come over heavy-handedly and it has charm, tenderness and energy, particularly in the aforementioned three songs. Unlike 'Babes on Broadway', sentimentality is avoided thankfully and is replaced by a lot of entertainment and heart-warming. The story is unexceptional but is full of energy, fun, heart and charm, palling only in the non-musical moments of the middle third.
Rooney and Garland make 'Strike Up the Band' especially worth seeing, they are both on top form and their chemistry irresistible. From personal opinion, of the four Rooney-Garland "back-yard" musicals (despite 'Babes in Arms' being the one to get the Oscar nomination) this contains Rooney's best performance of the four, his role really plays to his strengths and even stretches him in showing more talents that one never knew he had (i.e. didn't know he could play the drum so well). Garland is as ever radiant and deeply touching, "Our Love Affair" being one of the most poignant renditions of any song in a film she starred in (very near the top too, and the list is long). Paul Whiteman, not the "King of Jazz" for nothing, contributes hugely to the film's appeal too.
Overall, a thoroughly enjoyable film, a must for Garland fans and a must for anybody wanting to see what the fuss is about with her and Rooney together. 7/10 Bethany Cox
To me, 'Strike Up the Band' is the second best of their four "backyard" musicals. Their best being 'Girl Crazy', the best paced of the four and with the best songs and choreography, even if the story is not as good as the rest of the film. Faring weakest is 'Babes on Broadway' ('Babes in Arms' was a slightly better film regardless of its bowdlerisation of the source material), that film gets a lot right still but is too sentimental, contrived and corny in places with some out of place patriotism and a sour-taste-in-the-mouth finale. All four are worth watching though, and all four are well above average films.
'Strike Up the Band' is not perfect either, its Achilles heel being the far too corny, melodramatic and ponderous middle third (a shame because the film is actually very well paced for most of it and then drags badly in the non-musical moments of the middle third). The dialogue warms the heart and moves sometimes but the silly corniness of some of it is cringe-worthy.
Lastly while the cast are mostly splendid, there is one exception and that is the terribly annoying June Preisser (just as much as in 'Babes in Arms'), enviously athletic dancing is not enough for an obnoxious character played far too broadly to unbearable degrees.
However, even when not in Technicolor, 'Strike Up the Band' still looks lovely in crisp black and white and with elegant production design. As said, on the musical front (production values, songs, vocal performance, arrangements, choreography and dancing) 'Strike Up the Band' fares significantly better. The songs are great, not as great as the scores for 'Girl Crazy' and 'Babes in Arms' but almost. The three best songs being the plaintive "Our Love Affair", the exuberant "Drummer Boy" and the barn-storming "Do the La Conga".
Busby Berkeley's direction and how he stages the songs are not quite as imaginative, witty or dazzling as some of his other films, but it doesn't come over heavy-handedly and it has charm, tenderness and energy, particularly in the aforementioned three songs. Unlike 'Babes on Broadway', sentimentality is avoided thankfully and is replaced by a lot of entertainment and heart-warming. The story is unexceptional but is full of energy, fun, heart and charm, palling only in the non-musical moments of the middle third.
Rooney and Garland make 'Strike Up the Band' especially worth seeing, they are both on top form and their chemistry irresistible. From personal opinion, of the four Rooney-Garland "back-yard" musicals (despite 'Babes in Arms' being the one to get the Oscar nomination) this contains Rooney's best performance of the four, his role really plays to his strengths and even stretches him in showing more talents that one never knew he had (i.e. didn't know he could play the drum so well). Garland is as ever radiant and deeply touching, "Our Love Affair" being one of the most poignant renditions of any song in a film she starred in (very near the top too, and the list is long). Paul Whiteman, not the "King of Jazz" for nothing, contributes hugely to the film's appeal too.
Overall, a thoroughly enjoyable film, a must for Garland fans and a must for anybody wanting to see what the fuss is about with her and Rooney together. 7/10 Bethany Cox
Mickey, Judy and June indulge in corn, sap, archaic drama, and manic and somber music.
weezeralfalfa14 July 2014
Warning: Spoilers
Warning! The corn grows high and the sap flows freely! Overall, this is my least favorite of the 4 B&W musical comedies, from '39 -'43, starring Mickey and Judy. Most of these, including this one, were actually musical extensions of the Andy Hardy series format. Hence, extensive portions deal with the teenagers, usually led by Mickey, with Judy's support, having to beg permission from authority figures, including their parents, to put on a musical or dramatic show, and the practical problems of securing financing and an adequate place to put on the show.
In this one, Mickey, as the bored drummer for the High School band, leads a crusade to form a school-sponsored dance band, providing an opportunity for the other bored band members to play current pop music, and hopefully making some money for the school and themselves. Judy, backed by the rest of the glee club, will do most of the singing. The principal gives his hesitant OK. Thus, we have Busby Berkeley's spectacularly staged , manic, "La Conga" Latin-themed dance production. There would be the roughly equivalent manic production "Hoe Down" at this spot in the subsequent "Babes on Broadway"
Meanwhile, Mickey talks to his 'pal' Judy about the problem of his mother expecting him to become a doctor, like his dad, while he thinks he's cut out to be a musician. Later, we go through the same thing directly with his mother, in quite a sappy scene. She's initially upset, but eventually reluctantly agrees that he can try out his ambition. Later, when the Paul Whiteman band miraculously shows up in town for Barbara's birthday, Mickey is given an opportunity to turn professional when one of Whiteman's sidemen decides to form a new band. Initially ecstatic, Mickey's mother reminds him that he is the leader of the HS dance band and their ambition to win Whiteman's content on his radio show. She suggests that his leadership role in the local community is presently more important than starting a career elsewhere. Reluctantly, he agrees.
Also, meanwhile, Judy is dissatisfied with her status as Mickey's 'pal'. She wants to be his acknowledged girlfriend, expressed in song in "Nobody". Unfortunately, a very aggressive siren rich girl(June Preisser, as Barbara Morgan)has moved into town, and immediately starts working on Mickey(Why? He wasn't handsome, a star athlete, nor wealthy). Of course, Judy is jealous and Mickey very conflicted, but Judy decides an uneasy cooperation with Barbara is the best policy for the present. As things turn out, Barbara's father is the savior of the band's ambition to perform on the Whiteman show. At the last minute, one band member(Willie) needs a quick expensive operation, draining the money raised for the trip to the show(in a sappy scene).. Barbara's influential father is impressed, and he arranges for a quick train trip for the band. Before this episode, her father arranged for Whiteman's band to play at Barbara's birthday party, giving Whiteman a chance to hear the dance band, who play "Drummer Boy" with Whiteman's instruments, Mickey being the manic drummer, of course.
The biggest problem with the film is the long, mostly boring, New Rochelle archaic drama, in the middle. This includes all the stereotypical elements of bygone stage and silent film drama: a villain trying to take advantage of a destitute young woman(Judy), a savior(Mickey), who marries her, then eventually becomes a drunkard and wiles away all their money, the girl being tied to a train track for refusing to give into the villain, the savior tied to a log-cutting machine, about to be cut in half, and a guardian angel, in the form of their deceased son, coming to untie Mickey so he can save Judy. The purpose of putting on this show was to raise money for their trip to Whiteman.
After a sappy speech by Mickey, the big, somewhat flag-waving, finale mostly consists of reprisals of the major songs, with the Gershwin-composed title song the first and last featured. The most popular original song in the film: "Our Love Affair" is redone, with 4 large harps near the relevant Mickey-Judy couple. The first time this was played, Mickey wasn't thinking of Judy in a romantic context. This earlier rendition also included an animated nuts and fruit orchestra: a rather novel gimmick for its day.
This was the second and last time in this film series that dimpled, baby-faced, June Preisser played the obnoxious superrich siren competitor with Judy for Mickey's attention. Besides her looks and personality, she was known for her gymnastic dancing and contortion skill, which she very briefly gives samples of in this film. As in "Babes in Arms", she is directly or indirectly responsible for providing the money for the 'gang's' show biz ambitions. This time, she participates in several productions, including the finale, without the bitter competition with Judy for the lead female show role, as in "Babes in Arms". Her film career ended in the late '40s, when she was no longer wanted to play sexy high school girls.
Ann Shoemaker switched from playing Judy's mother in "Babes in Arms" to being Mickey's mother in this film.
Be sure to see the hilarious musical cartoon "Romeo in Rhythm", accompanying the current DVD.
In this one, Mickey, as the bored drummer for the High School band, leads a crusade to form a school-sponsored dance band, providing an opportunity for the other bored band members to play current pop music, and hopefully making some money for the school and themselves. Judy, backed by the rest of the glee club, will do most of the singing. The principal gives his hesitant OK. Thus, we have Busby Berkeley's spectacularly staged , manic, "La Conga" Latin-themed dance production. There would be the roughly equivalent manic production "Hoe Down" at this spot in the subsequent "Babes on Broadway"
Meanwhile, Mickey talks to his 'pal' Judy about the problem of his mother expecting him to become a doctor, like his dad, while he thinks he's cut out to be a musician. Later, we go through the same thing directly with his mother, in quite a sappy scene. She's initially upset, but eventually reluctantly agrees that he can try out his ambition. Later, when the Paul Whiteman band miraculously shows up in town for Barbara's birthday, Mickey is given an opportunity to turn professional when one of Whiteman's sidemen decides to form a new band. Initially ecstatic, Mickey's mother reminds him that he is the leader of the HS dance band and their ambition to win Whiteman's content on his radio show. She suggests that his leadership role in the local community is presently more important than starting a career elsewhere. Reluctantly, he agrees.
Also, meanwhile, Judy is dissatisfied with her status as Mickey's 'pal'. She wants to be his acknowledged girlfriend, expressed in song in "Nobody". Unfortunately, a very aggressive siren rich girl(June Preisser, as Barbara Morgan)has moved into town, and immediately starts working on Mickey(Why? He wasn't handsome, a star athlete, nor wealthy). Of course, Judy is jealous and Mickey very conflicted, but Judy decides an uneasy cooperation with Barbara is the best policy for the present. As things turn out, Barbara's father is the savior of the band's ambition to perform on the Whiteman show. At the last minute, one band member(Willie) needs a quick expensive operation, draining the money raised for the trip to the show(in a sappy scene).. Barbara's influential father is impressed, and he arranges for a quick train trip for the band. Before this episode, her father arranged for Whiteman's band to play at Barbara's birthday party, giving Whiteman a chance to hear the dance band, who play "Drummer Boy" with Whiteman's instruments, Mickey being the manic drummer, of course.
The biggest problem with the film is the long, mostly boring, New Rochelle archaic drama, in the middle. This includes all the stereotypical elements of bygone stage and silent film drama: a villain trying to take advantage of a destitute young woman(Judy), a savior(Mickey), who marries her, then eventually becomes a drunkard and wiles away all their money, the girl being tied to a train track for refusing to give into the villain, the savior tied to a log-cutting machine, about to be cut in half, and a guardian angel, in the form of their deceased son, coming to untie Mickey so he can save Judy. The purpose of putting on this show was to raise money for their trip to Whiteman.
After a sappy speech by Mickey, the big, somewhat flag-waving, finale mostly consists of reprisals of the major songs, with the Gershwin-composed title song the first and last featured. The most popular original song in the film: "Our Love Affair" is redone, with 4 large harps near the relevant Mickey-Judy couple. The first time this was played, Mickey wasn't thinking of Judy in a romantic context. This earlier rendition also included an animated nuts and fruit orchestra: a rather novel gimmick for its day.
This was the second and last time in this film series that dimpled, baby-faced, June Preisser played the obnoxious superrich siren competitor with Judy for Mickey's attention. Besides her looks and personality, she was known for her gymnastic dancing and contortion skill, which she very briefly gives samples of in this film. As in "Babes in Arms", she is directly or indirectly responsible for providing the money for the 'gang's' show biz ambitions. This time, she participates in several productions, including the finale, without the bitter competition with Judy for the lead female show role, as in "Babes in Arms". Her film career ended in the late '40s, when she was no longer wanted to play sexy high school girls.
Ann Shoemaker switched from playing Judy's mother in "Babes in Arms" to being Mickey's mother in this film.
Be sure to see the hilarious musical cartoon "Romeo in Rhythm", accompanying the current DVD.
"Let's put on a show!"
HotToastyRag19 November 2019
It's another "let's put on a show!" movies starring Mickey Rooney and Judy Garland! I saw Strike Up the Band before Babes in Arms, and while I thought it was silly at the time, compared to the earlier flick, it's as epic as Gone With the Wind.
Mickey takes the lead as a high school student far more interested in his drum set than preparing to become a lawyer to fulfill his mother's dream. Judy's in love with him, but he doesn't care about girls, only music. A lowerclassman, Larry Nunn, is in love with Judy, and when June Preisser shows up batting her eyelashes at Mickey, it stars an extremely uninteresting love quadrangle. Mickey isn't really interested in June; he's just getting into the show's rehearsals. Judy isn't interested in Larry, even though he's clearly the better choice. Larry proposes marriage and promises to never go out with other girls, the same evening that Mickey's stood Judy up to go out with June. Larry's only thirteen and offers to wait until she's ready, and when she turns him down, it's heartbreaking to see his face. Why doesn't she just tell him to wait? By the time she's gotten Mickey out of her system, Larry will probably have grown up and gotten over his crush. No heartbreak necessary. Plus, compared to the disinterested, unreliable, pushover Mickey, Larry's a dream!
If you're going to watch this one, it's either because you love the silly Mickey-Judy movies or because you want to see another Busby Berkeley musical. Busby Berkeley movies have such a special feeling to them, that even though they're dated and the music isn't always great, you're going to see someone who put a lot of thought into his craft instead of just "Let's put on a show!" like the people in his movies. You'll get to see his classic angles and beautifully framed shots, but you might not like the rest of the movie. Both leads are in their super-hyper phases, and since we know what we know about how old Hollywood fed the kids drugs to give them pep, it's not really too much fun to see them bouncing off the walls. "Who's been feeding you vitamins?" Judy jokes when Mickey approaches her with particularly intense energy. It's just not funny to hear her say that, since everyone knows they weren't really vitamins. There's just so much energy a person can put into the conga line before someone notices he's not really normal.
Mickey takes the lead as a high school student far more interested in his drum set than preparing to become a lawyer to fulfill his mother's dream. Judy's in love with him, but he doesn't care about girls, only music. A lowerclassman, Larry Nunn, is in love with Judy, and when June Preisser shows up batting her eyelashes at Mickey, it stars an extremely uninteresting love quadrangle. Mickey isn't really interested in June; he's just getting into the show's rehearsals. Judy isn't interested in Larry, even though he's clearly the better choice. Larry proposes marriage and promises to never go out with other girls, the same evening that Mickey's stood Judy up to go out with June. Larry's only thirteen and offers to wait until she's ready, and when she turns him down, it's heartbreaking to see his face. Why doesn't she just tell him to wait? By the time she's gotten Mickey out of her system, Larry will probably have grown up and gotten over his crush. No heartbreak necessary. Plus, compared to the disinterested, unreliable, pushover Mickey, Larry's a dream!
If you're going to watch this one, it's either because you love the silly Mickey-Judy movies or because you want to see another Busby Berkeley musical. Busby Berkeley movies have such a special feeling to them, that even though they're dated and the music isn't always great, you're going to see someone who put a lot of thought into his craft instead of just "Let's put on a show!" like the people in his movies. You'll get to see his classic angles and beautifully framed shots, but you might not like the rest of the movie. Both leads are in their super-hyper phases, and since we know what we know about how old Hollywood fed the kids drugs to give them pep, it's not really too much fun to see them bouncing off the walls. "Who's been feeding you vitamins?" Judy jokes when Mickey approaches her with particularly intense energy. It's just not funny to hear her say that, since everyone knows they weren't really vitamins. There's just so much energy a person can put into the conga line before someone notices he's not really normal.
American dreaming
B&W-26 April 1999
I can't help it, I love Mickey and Judy, and this is their best film together. It has fun songs ("Our Love Affair" and "Do the La Conga" especially), good Busby Berkeley productions (both the aforementioned, especially the fruit-as-orchestra dream sequence!), but more importantly, it perfectly evokes the ideal small middle-American town, complete with understanding mothers and principals, swell fellas and gals, and a comforting everything's going to be just fine feeling. I can't help yearning for this never-never land of rebellious but polite youths and understanding old-timers!
THE LITTLE RASCALS DID IT BETTER IN A 1/2 HOUR...!
masonfisk13 March 2019
One of the many team-ups between Mickey Rooney & Judy Garland. The great Busby Berkeley directed this 1940 installment which finds Rooney out of sorts w/the direction the school band is trending to. He wants to engage the public w/what's new & happening but is constrained by the traditional so he decides to convince his fellow band mates to become a band for hire, playing gigs that will satisfy them artistically & maybe financially. After a few gigs, an opportunity comes up to compete in a radio contest but an injured friend who needs desperate medical care (is there any other kind?) needs airfare for the treatment. Are they going to help their friend or forego the contest's entry fee? Not to mention Rooney needing to figure out if Garland is girlfriend material or merely a friend makes this busy soup start to boil over. What is essentially an Our Gang serial expanded to feature length feels at odds w/itself by having fine musical & dance sequences crammed w/too much plot that could've easily been trimmed in the editing but darn it, those kids sure know how to put on a show so I'll forgive their excesses.
"From Adam & Eve to Scarlett & Rhett"
bkoganbing22 April 2010
After the success of Babes In Arms for MGM, Arthur Freed became the hottest producer on the lot and was granted his own famous Freed Unit to produce the best of the MGM musicals for the next 20 years almost. According to Hugh Fordin's book on Arthur Freed the next scheduled property was Good News, but that got shelved for several years when Louis B. Mayer decided that a patriotic type theme was in order and after all MGM had bought the screen rights to the Gershwin musical Strike Up The Band. Freed agreed, but in the Hollywood tradition only the title and the title song were retained for the screen.
That was enough because the Mickey and Judy formula was by now established with Babes In Arms. Here the two are a pair of talented musical kids and Mickey is the drummer in his high school band. But he's got other things on his mind besides doing John Philip Sousa. Even Sousa did more than Sousa when he was leading a band. Mickey is filled with the new jive rhythms of the day and he'd like to use the other kids in the school orchestra to form a real band. He's got Garland in mind for the vocals and the object is to get an audition from Paul Whiteman.
Whiteman in his day may have appropriated for himself the title of King Of Jazz, but certainly no one did more to popularize the new American art form among white audiences. His orchestra was the training ground for many of later big band leaders. Leaders like Tommy and Jimmy Dorsey and Glenn Miller all who were sidemen with Whiteman and who kids like Mickey and Judy and the rest of the cast were listening to.
If Strike Up The Band isn't exactly let's put on a show, it still is let's put on a concert and Mickey and Judy do have some shtick to perform, their Gay Nineties spoof is quite good. Also the fantasy sequence of the 'fruit orchestra' doing Our Love Affair is also nicely done, it looks very much like Ray Harryhausen's claymation figures, but he wasn't involved with Strike Up The Band.
Strike Up The Band won one Academy Award for sound and was nominated for two others. Roger Edens and Arthur Freed wrote Our Love Affair which was nominated for Best Song, but lost to When You Wish Upon A Star. And Edens and Georgie Stoll were nominated for Best Musical Scoring.
Busby Berkeley directed the film and in the finale shows his fine hand for spectacle. Here's where the patriotism that Louis B. Mayer was seeking came out. Remember this was 1940 and a lot of people were very afraid the USA was going into another World War. The finale with the title song was the kind of rousing patriotic spectacle that Hollywood would be doing in every studio after December 7, 1941.
With Strike Up The Band Arthur Freed proved he was no flash in the pan as a producer. After 70 years the film holds up well and the talents of Mickey Rooney and Judy Garland reign eternal.
That was enough because the Mickey and Judy formula was by now established with Babes In Arms. Here the two are a pair of talented musical kids and Mickey is the drummer in his high school band. But he's got other things on his mind besides doing John Philip Sousa. Even Sousa did more than Sousa when he was leading a band. Mickey is filled with the new jive rhythms of the day and he'd like to use the other kids in the school orchestra to form a real band. He's got Garland in mind for the vocals and the object is to get an audition from Paul Whiteman.
Whiteman in his day may have appropriated for himself the title of King Of Jazz, but certainly no one did more to popularize the new American art form among white audiences. His orchestra was the training ground for many of later big band leaders. Leaders like Tommy and Jimmy Dorsey and Glenn Miller all who were sidemen with Whiteman and who kids like Mickey and Judy and the rest of the cast were listening to.
If Strike Up The Band isn't exactly let's put on a show, it still is let's put on a concert and Mickey and Judy do have some shtick to perform, their Gay Nineties spoof is quite good. Also the fantasy sequence of the 'fruit orchestra' doing Our Love Affair is also nicely done, it looks very much like Ray Harryhausen's claymation figures, but he wasn't involved with Strike Up The Band.
Strike Up The Band won one Academy Award for sound and was nominated for two others. Roger Edens and Arthur Freed wrote Our Love Affair which was nominated for Best Song, but lost to When You Wish Upon A Star. And Edens and Georgie Stoll were nominated for Best Musical Scoring.
Busby Berkeley directed the film and in the finale shows his fine hand for spectacle. Here's where the patriotism that Louis B. Mayer was seeking came out. Remember this was 1940 and a lot of people were very afraid the USA was going into another World War. The finale with the title song was the kind of rousing patriotic spectacle that Hollywood would be doing in every studio after December 7, 1941.
With Strike Up The Band Arthur Freed proved he was no flash in the pan as a producer. After 70 years the film holds up well and the talents of Mickey Rooney and Judy Garland reign eternal.
We've got "Smash" and "Glee"----Young Adults of the 1940's had Mickey and Judy!
mark.waltz8 June 2012
Warning: Spoilers
Right after the credits end, the camera moves across an obvious teen-aged band where the boys are obviously bored playing the official theme of the Air Force. All of a sudden, the drummer adds a bit of boogie woogie into his one track beat and the teacher reminds him that they are not playing "My Heart Belongs to Daddy". The drummer boy is of course Mickey Rooney who even today is still drummin' out small appearances in movies. When all of a sudden Judy Garland appears, they start talking about putting together their own dance band with Judy as the vocalist and Mick as the conductor. Everything seems to be falling into place for them. It's a piece of cake. In fact, that cake, with a bunch of fruit ends up an orchestra of its own playing "Our Love Affair" in one of the most imaginative sequences on film. Its up there with Gene Kelly and Jerry the Mouse dancing in "Anchors Aweigh" as what made MGM musicals so imaginative.
But things don't go smoothly of course. They need $200 to get to Chicago to audition for Paul Whiteman, but miraculously, Whiteman shows up in town to play at flirtatious June Preisser's birthday party. Mickey, Judy and the gang take over. After earlier dancing to the "La Conga" (where some of the high school dance band members appear to be a bit older), they now perform "Drummer Boy", and knock Whiteman's socks off. Whiteman wants them on his show regardless for a contest of all the high school bands but when their pal Larry Nunn all of a sudden needs an operation for a broken arm, there goes to $200. Ann Shoemaker steps in for Mickey's "Andy Hardy" ma Fay Holden as the wise mother who guides Mickey's conscience (she's more like a female Judge Hardy), and the diminutive Francis Pierlot is the kindly principal.
This has nothing to do with the 1930 Broadway musical other than the title song. It's 1940's jitterbug all the way, and Mickey and Judy give it their all. It's easy to see why they were the hottest team on the MGM lot and the most popular teens in America. Mickey can grate on occasion with energy but when he's serious, he's at his best. In fact, those sequences are often more touching than the comic sequences are amusing. As for Judy, she gets another "plain jane" song ("I Ain't Got Nobody") which is one of the most obscure "list songs" in history, even dropping the names of Judy's bosses, MGM, within the list. Those bosses must have been blind to really see how lovely she was, funny considering that half the movie, Judy is trying to wake Mickey up to see her for who she is over the rather obnoxious Preisser. The recent TV movie about Judy Garland had director Busby Berkley demanding to see Judy's eyes, and she really shows them here.
Most famous of course is the duet of "Our Love Affair", but the over-the-top finale even outdoes the one of "Babes in Arms". Like many Broadway musicals, it even features reprises of most of the movies' songs. Even more outrageous is the cheezy melodramatic spoof, "Nell of New Rochelle" that the teens put together seemingly in hours. "Strike Up the Band!" is worth repeat viewings even if it isn't something one thinks how teenagers really were back in 1940.
But things don't go smoothly of course. They need $200 to get to Chicago to audition for Paul Whiteman, but miraculously, Whiteman shows up in town to play at flirtatious June Preisser's birthday party. Mickey, Judy and the gang take over. After earlier dancing to the "La Conga" (where some of the high school dance band members appear to be a bit older), they now perform "Drummer Boy", and knock Whiteman's socks off. Whiteman wants them on his show regardless for a contest of all the high school bands but when their pal Larry Nunn all of a sudden needs an operation for a broken arm, there goes to $200. Ann Shoemaker steps in for Mickey's "Andy Hardy" ma Fay Holden as the wise mother who guides Mickey's conscience (she's more like a female Judge Hardy), and the diminutive Francis Pierlot is the kindly principal.
This has nothing to do with the 1930 Broadway musical other than the title song. It's 1940's jitterbug all the way, and Mickey and Judy give it their all. It's easy to see why they were the hottest team on the MGM lot and the most popular teens in America. Mickey can grate on occasion with energy but when he's serious, he's at his best. In fact, those sequences are often more touching than the comic sequences are amusing. As for Judy, she gets another "plain jane" song ("I Ain't Got Nobody") which is one of the most obscure "list songs" in history, even dropping the names of Judy's bosses, MGM, within the list. Those bosses must have been blind to really see how lovely she was, funny considering that half the movie, Judy is trying to wake Mickey up to see her for who she is over the rather obnoxious Preisser. The recent TV movie about Judy Garland had director Busby Berkley demanding to see Judy's eyes, and she really shows them here.
Most famous of course is the duet of "Our Love Affair", but the over-the-top finale even outdoes the one of "Babes in Arms". Like many Broadway musicals, it even features reprises of most of the movies' songs. Even more outrageous is the cheezy melodramatic spoof, "Nell of New Rochelle" that the teens put together seemingly in hours. "Strike Up the Band!" is worth repeat viewings even if it isn't something one thinks how teenagers really were back in 1940.
Mickey and judy
btreakle17 August 2020
No I don't care what anybody says Mickey Rooney and Judy Garland were excellent miss film both young actors at the time and the singing and the music was superb. Yeah I mean it was a film on a 1940 remember that! But I loved Judy Garland and always will
Strike UpThe Band---Why Didn't MGM Allow June Preisser To Hear The Music?
malvernp10 January 2021
What enables one youngster to achieve fame and stardom while a similar teenager under like circumstances fails to make the grade? The case of June Preisser is instructive.
June, born in 1920, was a very cute blond with a fresh attractive face, a pleasant screen personality and plenty of talent. She and her sister Cherry developed an acrobatic dance act while they were in their teens, and it was successful enough to get them featured in the Ziegfeld Follies of 1934 and 1936. Cherry married and then retired in 1938. June was offered an MGM contract in 1939 on the strength of her looks, fame and celebrity potential. Almost immediately, she was cast in two successful Mickey Rooney-Judy Garland "Let's Put on a Show" musicals--Babes In Arms (1939) and Strike Up The Band (1940). Both were major productions directed by Busby Berkeley. In short order, June then appeared with Rooney in two Andy Hardy films, another with Jimmy Lyndon in Henry Aldrich For President (1941) and still another with Eddie Bracken In Sweater Girl (1942).
June then married, had a child and intended to resume her MGM career. But something strange happened. Notwithstanding her sharing a pattern of similar screen opportunities that made big stars of Judy Garland, Kathryn Grayson, Lana Turner, Esther Williams, etc.--MGM gave up on pretty June Preisser. While almost simultaneously Paramount Studios began to groom Betty Hutton for stardom---a similar personality in many ways but without June's good looks---MGM cancelled her contract. Her remaining years in Hollywood were with Poverty Row studio Monogram in inferior juvenile vehicles. June's movie career was essentially over. After many years of screen inactivity, she died in an auto accident (with her only child) at the age of 64.
June's two Rooney-Garland musicals were popular and provided her with positive reviews. The Andy Hardy movies were similarly well received. From the evidence of her screen appearances, June had a likable film presence and the same kind of charisma that had propelled the other young women mentioned above from starlet status to full stardom. Why was she denied their opportunity? We will never know.
June, born in 1920, was a very cute blond with a fresh attractive face, a pleasant screen personality and plenty of talent. She and her sister Cherry developed an acrobatic dance act while they were in their teens, and it was successful enough to get them featured in the Ziegfeld Follies of 1934 and 1936. Cherry married and then retired in 1938. June was offered an MGM contract in 1939 on the strength of her looks, fame and celebrity potential. Almost immediately, she was cast in two successful Mickey Rooney-Judy Garland "Let's Put on a Show" musicals--Babes In Arms (1939) and Strike Up The Band (1940). Both were major productions directed by Busby Berkeley. In short order, June then appeared with Rooney in two Andy Hardy films, another with Jimmy Lyndon in Henry Aldrich For President (1941) and still another with Eddie Bracken In Sweater Girl (1942).
June then married, had a child and intended to resume her MGM career. But something strange happened. Notwithstanding her sharing a pattern of similar screen opportunities that made big stars of Judy Garland, Kathryn Grayson, Lana Turner, Esther Williams, etc.--MGM gave up on pretty June Preisser. While almost simultaneously Paramount Studios began to groom Betty Hutton for stardom---a similar personality in many ways but without June's good looks---MGM cancelled her contract. Her remaining years in Hollywood were with Poverty Row studio Monogram in inferior juvenile vehicles. June's movie career was essentially over. After many years of screen inactivity, she died in an auto accident (with her only child) at the age of 64.
June's two Rooney-Garland musicals were popular and provided her with positive reviews. The Andy Hardy movies were similarly well received. From the evidence of her screen appearances, June had a likable film presence and the same kind of charisma that had propelled the other young women mentioned above from starlet status to full stardom. Why was she denied their opportunity? We will never know.
Toning down Mickey Rooney's energy would have helped...
Doylenf10 June 2012
Of all the Mickey Rooney/Judy Garland musicals, this one does the least to effectively showcase their musical talent. Mickey is allowed to conduct a band as if his life depended on it, even though he's shown to be an extremely talented guy with drums and other musical instruments.
And the story is strictly '40s corn about a talented youth who wants to achieve success with his own band and succeeds in attracting the attention of Paul Whiteman who wants him for a big radio show contest.
The songs are given short shrift in favor of a creaky melodramatic skit that is allowed to run far too long in the middle of the picture. Only a couple of songs are given fair treatment by Judy and Mickey.
A good script was badly needed to show these two performers at their best. This was not the case here. Too much time expended on letting Mickey's extravagant enthusiasm overshadow his more effective quieter moments.
Summing up: A disappointing and manipulative show, especially when it comes to those tear-jerker sentimental moments.
And the story is strictly '40s corn about a talented youth who wants to achieve success with his own band and succeeds in attracting the attention of Paul Whiteman who wants him for a big radio show contest.
The songs are given short shrift in favor of a creaky melodramatic skit that is allowed to run far too long in the middle of the picture. Only a couple of songs are given fair treatment by Judy and Mickey.
A good script was badly needed to show these two performers at their best. This was not the case here. Too much time expended on letting Mickey's extravagant enthusiasm overshadow his more effective quieter moments.
Summing up: A disappointing and manipulative show, especially when it comes to those tear-jerker sentimental moments.
More Talent Than Results
dougdoepke15 August 2009
Admittedly, I'm not the best judge of musicals, but this one seems disappointing given the level of talent involved. Visually, Garland and Rooney make a cute couple-- a match clearly made in malt shop heaven. And, even though I was disappointed, I can understand Garland's enduring appeal. She's definitely an incandescent presence, and one that doesn't come from just acting the part. On the other hand, Rooney is energetic and I can see him organizing a high school band. However, that energy too often becomes manic—for example, check out his conducting the orchestra at movie's end for sheer pointless delirium. Too often, his in- your-face high spirits comes across as more obnoxious than entertaining.
I guess my biggest disappointment is with the musical numbers. Berkeley's dancing phalanxes are eye-catching as usual, but there's not a single catchy tune to hang your hat on. The numbers are simply not up to Garland's level of show-stopping talent, whatever the reason. Then there's the overlong melodrama skit that unfortunately saps momentum by coming in the middle. On the other hand, the musical fruit sketch sounds silly but is really charming and well done. Also, professional musician Paul Whiteman turns out to be a pretty darn good actor. And for those interested in what those times were like, it's a chance to see what teens circa-1940 thought was "cool". Having your own dance band was clearly near the top. At the same time, the message seems to be that dance bands deserve respect, while playing in one is indeed a legitimate goal in life. Looks like controversies over music didn't start with rock-and-roll.
I guess my biggest disappointment is with the musical numbers. Berkeley's dancing phalanxes are eye-catching as usual, but there's not a single catchy tune to hang your hat on. The numbers are simply not up to Garland's level of show-stopping talent, whatever the reason. Then there's the overlong melodrama skit that unfortunately saps momentum by coming in the middle. On the other hand, the musical fruit sketch sounds silly but is really charming and well done. Also, professional musician Paul Whiteman turns out to be a pretty darn good actor. And for those interested in what those times were like, it's a chance to see what teens circa-1940 thought was "cool". Having your own dance band was clearly near the top. At the same time, the message seems to be that dance bands deserve respect, while playing in one is indeed a legitimate goal in life. Looks like controversies over music didn't start with rock-and-roll.
en avant la musique!
chapttr15 March 2020
Fun But Terribly Dated
cloud_nine8 April 2016
Warning: Spoilers
The public wanted Mickey Rooney and Judy Garland so that's what MGM gave them. All of their movies together were variations of "let's put on a show." At least this one has Gershwin's music which I love.
The downside is Rooney has to be the center of attention. Yes, he was the star but you'd think he was the only boy in town.......leader of the he band, lead in the school play, boyfriend of the most popular girl. And meets Paul Whiteman at a dance. Was this once most popular band in the country reduced to playing one night stands at teenage dances?
You know he'll get the money for his band to compete in the national contest (during the depression) because they've got to win....they just GOTTA! So little Willie can have his operation and.......
Once Mickey's band wins the national contest (was there ever any doubt?) he gets to conduct all of the bands in an unrehearsed grand finale. In addition to conducting, Mickey solos on the drums, sings and dances with Judy and ends up dressed in a naval officer's uniform.
Did pre-war audiences really buy this?
The downside is Rooney has to be the center of attention. Yes, he was the star but you'd think he was the only boy in town.......leader of the he band, lead in the school play, boyfriend of the most popular girl. And meets Paul Whiteman at a dance. Was this once most popular band in the country reduced to playing one night stands at teenage dances?
You know he'll get the money for his band to compete in the national contest (during the depression) because they've got to win....they just GOTTA! So little Willie can have his operation and.......
Once Mickey's band wins the national contest (was there ever any doubt?) he gets to conduct all of the bands in an unrehearsed grand finale. In addition to conducting, Mickey solos on the drums, sings and dances with Judy and ends up dressed in a naval officer's uniform.
Did pre-war audiences really buy this?
Mickey Rooney, Judy Garland, and the Oscar winning song "Our Love Affair"
jacobs-greenwood11 December 2016
Warning: Spoilers
Like Babes in Arms (1939), this musical comedy starring Mickey Rooney and Judy Garland was directed by Busby Berkeley. The film won an Academy Award for its Sound, Recording, and its Original Song "Our Love Affair" by George Stoll and Roger Edens was Oscar nominated, as was their Score. George Pal (uncredited) animated a fruit orchestra sequence for the song. John Monks Jr. and Fred Finklehoffe wrote the screenplay; the George and Ira Gershwin title song is used in the musical finale.
James 'Jimmy' Connors (Rooney) is a high school drummer that's bored with playing the same old songs, like the national anthem; so he organizes late night jazz jam sessions with his friends. His girlfriend Mary Holden (Garland) is a talented singer that's frustrated because Jimmy treats her like a pal instead of a gal. Jimmy's widow mother (Ann Shoemaker) has always wanted him to go to college to become a doctor like his father, but his real passion is his music. Encouraged by Mary, he decides to ask their school principal, Mr. Judd (Francis Pierlot), if he can organize a dance band. Because Mr. Judd had been thinking of disbanding the school's orchestra because of mounting debts, he agrees and enthusiastically proclaims that he'll buy the first ticket (e.g. to the dance). The school function is a big success and soon Jimmy has an even bigger idea, to enter conductor Paul Whiteman's radio contest for high school bands, which is offering a top prize of $500 to the winner. Unfortunately, romantic entanglements distract Jimmy from this goal.
June Preisser plays Barbara Frances Morgan, a worldly new rich girl at school, who decides that Jimmy is just the boy for her. He seems helplessly unable to resist her charms and temporarily lets down his Mary, his best friend Philip Turner (William Tracy) and the other band members. Larry Nunn plays 13 year old Willie Brewster, who has a crush on Mary and tries to comfort her in Jimmy's absence. Margaret Early plays Phil's girlfriend Annie. But Jimmy gets it together and, with Mary's and Phil's help, he and his Riverwood High School pals produce and act in a musical play for the local Elks Club, raising $150 towards the $200 they need to get to Chicago for Whiteman's contest. Barbara then steals Jimmy away from the cast party with his friends by telling him that she can convince her father to hire their band for her eighteenth birthday party. However, when Mr. Morgan (George Lessey) says that he'd already made other arrangements, Jimmy is upset until he learns that Paul Whiteman and his Orchestra has been hired, and he and his friends are all invited.
At Barbara's party, Jimmy and his band can't resist taking the stage and playing a number of their own during the hired band's break; they impress the bandleader so much that Whiteman offers Jimmy a job in New York. But Jimmy's mother, who'd earlier released her son from her dream of him becoming a doctor when she'd realized his sincere passion for his music, reminds him that disappointing his friends was no way to start his new career. So Jimmy tells Whiteman his decision, but then secures the remaining $50 as a loan using his drum set for collateral.
However, Willie, who'd hurt his arm during the Elks Club show and neglected to take care of it, is now in need of a doctor; the situation is so serious that the doctor (Howard Hickman) states that unless the boy sees a specialist in Chicago right away, his life is in danger. Jimmy doesn't hesitate to give the band's $200 in order to charter a plane for Willie's transportation. When Mr. Morgan reads about it, he asks Jimmy to meet him for breakfast he's made arrangements for a Chicago bound train to transport Jimmy and his band to Chicago to participate in Whiteman's contest, which utilizes a local audience as well as (American Idol-like) telephone voting to select its winner. After the obvious outcome, the titled finale is performed.
James 'Jimmy' Connors (Rooney) is a high school drummer that's bored with playing the same old songs, like the national anthem; so he organizes late night jazz jam sessions with his friends. His girlfriend Mary Holden (Garland) is a talented singer that's frustrated because Jimmy treats her like a pal instead of a gal. Jimmy's widow mother (Ann Shoemaker) has always wanted him to go to college to become a doctor like his father, but his real passion is his music. Encouraged by Mary, he decides to ask their school principal, Mr. Judd (Francis Pierlot), if he can organize a dance band. Because Mr. Judd had been thinking of disbanding the school's orchestra because of mounting debts, he agrees and enthusiastically proclaims that he'll buy the first ticket (e.g. to the dance). The school function is a big success and soon Jimmy has an even bigger idea, to enter conductor Paul Whiteman's radio contest for high school bands, which is offering a top prize of $500 to the winner. Unfortunately, romantic entanglements distract Jimmy from this goal.
June Preisser plays Barbara Frances Morgan, a worldly new rich girl at school, who decides that Jimmy is just the boy for her. He seems helplessly unable to resist her charms and temporarily lets down his Mary, his best friend Philip Turner (William Tracy) and the other band members. Larry Nunn plays 13 year old Willie Brewster, who has a crush on Mary and tries to comfort her in Jimmy's absence. Margaret Early plays Phil's girlfriend Annie. But Jimmy gets it together and, with Mary's and Phil's help, he and his Riverwood High School pals produce and act in a musical play for the local Elks Club, raising $150 towards the $200 they need to get to Chicago for Whiteman's contest. Barbara then steals Jimmy away from the cast party with his friends by telling him that she can convince her father to hire their band for her eighteenth birthday party. However, when Mr. Morgan (George Lessey) says that he'd already made other arrangements, Jimmy is upset until he learns that Paul Whiteman and his Orchestra has been hired, and he and his friends are all invited.
At Barbara's party, Jimmy and his band can't resist taking the stage and playing a number of their own during the hired band's break; they impress the bandleader so much that Whiteman offers Jimmy a job in New York. But Jimmy's mother, who'd earlier released her son from her dream of him becoming a doctor when she'd realized his sincere passion for his music, reminds him that disappointing his friends was no way to start his new career. So Jimmy tells Whiteman his decision, but then secures the remaining $50 as a loan using his drum set for collateral.
However, Willie, who'd hurt his arm during the Elks Club show and neglected to take care of it, is now in need of a doctor; the situation is so serious that the doctor (Howard Hickman) states that unless the boy sees a specialist in Chicago right away, his life is in danger. Jimmy doesn't hesitate to give the band's $200 in order to charter a plane for Willie's transportation. When Mr. Morgan reads about it, he asks Jimmy to meet him for breakfast he's made arrangements for a Chicago bound train to transport Jimmy and his band to Chicago to participate in Whiteman's contest, which utilizes a local audience as well as (American Idol-like) telephone voting to select its winner. After the obvious outcome, the titled finale is performed.
Strike Up the Band Strikes Up Fun ***1/2
edwagreen13 August 2009
Warning: Spoilers
Mickey and Judy. The combination of stars couldn't be better. In this one, they're high school teenagers who change their high school band to a dance band and then want to go to Chicago to enter a contest sponsored by Paul Whiteman.
The directing by Busby Berkeley couldn't be better. The dance routine during the Conga is memorable with Berkeley's long-line of dancers ever apparent.
Rooney steals the picture. His discussions with movie mother, Ann Shoemaker, are memorable as well as poignant as they discuss the meaning of life, what's right and all that other stuff of the times.
Garland looks and sounds like she just came out of Oz in 1940 clothing. Her whining is there and all that was needed was Toto and Auntie Em. Nevertheless, her singing is terrific.
The gentleman who portrayed the school principal sounded just like Ed Wynn.
The film is highly entertaining and an absolute joy to watch.
The directing by Busby Berkeley couldn't be better. The dance routine during the Conga is memorable with Berkeley's long-line of dancers ever apparent.
Rooney steals the picture. His discussions with movie mother, Ann Shoemaker, are memorable as well as poignant as they discuss the meaning of life, what's right and all that other stuff of the times.
Garland looks and sounds like she just came out of Oz in 1940 clothing. Her whining is there and all that was needed was Toto and Auntie Em. Nevertheless, her singing is terrific.
The gentleman who portrayed the school principal sounded just like Ed Wynn.
The film is highly entertaining and an absolute joy to watch.
Arthur Freed Strikes Up MGM
boblipton27 December 2023
In the Second Mickey Rooney-Judy Garland "putting on a show" musical, they want to get to Paul Whiteman's High School Band contest show in Chicago, despite obstacles like no money and a predatory June Preisser doing cartwheels to vamp Mickey.
It's also Arthur Freed's second credit as a producer of MGM musicals. My admiration for his production unit is unbounded. He would produce some of the greatest movie musicals ever. Here, however, he's still fighting against the MGM idea of a musical as a spectacular, and with Busby Berkeley directing, that's what he's got. Even so, there's a story that makes sense, Miss Garland sings a non-diagetic song ("Nobody"), and Rooney plays the drums very well and dances like a maniac. It holds together very well, and with most of the songs written by Roger Edens, it's very entertaining even today.
More than that, it was very profitable for MGM, and making a lot of money for your company is the best way to get control. Freed's unit would continue to do brilliantly, to the point where the profits for MEET ME IN SAINT LOUIS would reportedly pay all of Metro's production costs for the year. Freed would e given a free hand for a decade and a half after that, and would do well by himself, Metro, and movie lovers.
It's also Arthur Freed's second credit as a producer of MGM musicals. My admiration for his production unit is unbounded. He would produce some of the greatest movie musicals ever. Here, however, he's still fighting against the MGM idea of a musical as a spectacular, and with Busby Berkeley directing, that's what he's got. Even so, there's a story that makes sense, Miss Garland sings a non-diagetic song ("Nobody"), and Rooney plays the drums very well and dances like a maniac. It holds together very well, and with most of the songs written by Roger Edens, it's very entertaining even today.
More than that, it was very profitable for MGM, and making a lot of money for your company is the best way to get control. Freed's unit would continue to do brilliantly, to the point where the profits for MEET ME IN SAINT LOUIS would reportedly pay all of Metro's production costs for the year. Freed would e given a free hand for a decade and a half after that, and would do well by himself, Metro, and movie lovers.
Immense talents
donniefriedman10 May 2022
I'm a sucker for MGM musicals. No point in outlining the plot; it doesn't matter at all. It's the song and dance numbers that one waits for. Immensely enjoyable. Maybe, just maybe, some of the big performance dance scenes went on a bit too long. That's typical Busby Berkley, but hey not a serious criticism. Judy is wonderful as always. The multi-talented Mickey Rooney is just astounding. The guy can do anything, not least of which he is a terrific drummer. The fruit and nut orchestra scene is a tour de force.
I noticed that some of the Gershwin lyrics of the title song were changed to a less martial version. The original lyric is a sort of call to arms. The version I know goes like this: "There is work to be done, to be done There's a war to be won, to be won Come you son of a son of a gun Take your stand." I guess the US wasn't ready for that in 1940.
I noticed that some of the Gershwin lyrics of the title song were changed to a less martial version. The original lyric is a sort of call to arms. The version I know goes like this: "There is work to be done, to be done There's a war to be won, to be won Come you son of a son of a gun Take your stand." I guess the US wasn't ready for that in 1940.
Mickey and Judy and Busby
SnoopyStyle16 March 2022
Jimmy Connors (Mickey Rooney) plays the drums in the high school band and Mary Holden (Judy Garland) is his girl. Directed by Busby Berkeley, this reunites the trio after their hit, Babes in Arms. It's not quite as good but they are still on a roll. It's the perfect antidote for the war years. This won an Oscar for best sound and nominated for two others. This may not be the tippy top of musicals but it is still a must for any musical lovers and those who love any one of the trio.
A True Classic not to be missed.
musicjune-957-11533721 September 2014
Warning: Spoilers
This movie is perfect. Busby Berkeley directs and it is his greatest effort among many great efforts. Mickey Rooney and Judy Garland are just superb and are helped by a sweet June Preisser. This movie is two hours long and there are 29 songs within. As usual in the musicals of this period the plot takes second place to the great music. Mickey is 20 years old and Judy is 19 and they are beautiful beyond words. The sweet June Preisser (wait till you see her dance) is 20 and they all come across like the greats that they are. If you love Hollywood musicals from the 1940 era this one is an absolute must have as well as a must see. Paul Whiteman is here with a nice contribution as he donates money to the youngsters to help them to put the band together. That was a nice touch and meant a lot to me. The girls, the gowns, the dancing and singing could not be better. A one of a kind classic.
Despite the excellence--cannot transcend its severe limitations
steven_torrey27 October 2014
Despite the excellence of dance, music, singing, acting--though one always suspects the combination of Rooney / Garland was more being themselves than acting--the movie cannot transcend its severe limitations. The movies sound exactly what they were--high school kids putting on a performance and such acting is exactly that-high school kids putting on a performance. Despite Freed, Busby Berkeley, Paul Whitman, and the singing and dancing of Rooney & Garland-- the movie fails. I can watch "The Music Man', "My Fair Lady', "Gigi", Fred Astaire & Ginger Rogers--and never get tired; while these four movies wear thin after first viewing.
Wonderful Judy Garland
richspenc26 December 2015
Judy Garland is absolutely lovely and amazing in this film, as she is in most of her other films from the late 1930s all through the 1940s. Judy is beautiful, has a heavenly singing voice, and also knows how to be quirky, funny, and/or passionate in her speaking parts too. Judy's songs " drummer boy" and "our love affair" are wonderful in this film. And the scene with Judy singing "it was just our lovely love affair" at the house certainly was lovely. Same with Judy's cute little quirky reaction to Mickey missing her opening her heart to Mickey, and saying you remind me of the song "Oh what a pal was Mary". And Judy doing "La conga" is great, and she helped open the doors for the Latin style music that was to come during the 1940s with musicians such as Xavier Couget, who was in numerous films with the wonderful Esther Williams. Micky Rooney and the others, such as June Priesser are great in this film too, although Mickey gets a little too hammy in a couple of scenes, like in "Babes in arms" when he gets so hyper excited when the studio director offered him $100. But that was all part of Mickey's comedy style. I liked June when she does her tumbling act to "Ta ra ra boom der lay" during the play sequence "Nell of New Rochelle". Some people had written in reviews how they were able to possibly fit in the time for an entire play production, and we never saw any scenes where they were rehearsing, and they all had so much else going on in the film. These were all questions that were pointless to ask, such as in "Footlight parade", why didn't we see any rehearsing for the swimming routine "By a waterfall", like actual swimming rehearsing? I say, first of all, that the films only show us so many minutes of every day of the film characters, and we just need to use our imaginations for how the rest of the minutes get filled in. Secondly, this film and "Footlight parade" were both Busby Berkely films where one of his specialties is taking the audience to a magical escapist fantasy land where we aren't supposed to question everyday logic. You can also ask why we never saw Judy rehearsing "La Conga"? My opinion is, don't ask. Just enjoy the wonder. And it is wonderful. Judy's song "I've got nobody, and nobody got me" tugs at the heartstrings, sort of like "I'm just an inbetween" in "Love finds Andy Hardy" and "But not for me" in "Girl crazy". You feel for her hurt feelings and know how she just doesn't deserve it, and the sympathy is only intensified by knowing about the real hurt Judy Garland had in her life. She dealt with a lot of unfair pain and gave nothing back but love and wonderful music and films. I never have had such strong sympathy for anyone else before. I still wonder how the filmmakers conducted the special effects during the "fruitchestra", or the fruit paying orchestra. I noticed during the fair, when Mickey misplaced his wallet, and the way the tough, seedy carny and his clown assistant grabbed him and threw him into the way of the balls flying, just for innocently misplacing your wallet? I guess that carny had a pretty seedy background where he just didn't trust anybody, and he was certain Mickey was pulling a fast one. All in all, this film was very enjoyable, and the wonderful Judy made it even better.
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