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Busby Berkeley

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They Made Me a Criminal

Busby Berkeley, known mainly as a dance director, took a big chance with this tough little drama; his second feature after signing to MGM. The story, basically a remake of 1933's THE LIFE AND TIMES OF JIMMY DOLAN, chronicles the flight of a hard-drinking boxer (John Garfield) suspected of murder. While hiding out on an Arizona farm, he befriends the juvenile delinquents working there, and finds meaning to his life. Unfortunately, a persistent detective (Claude Rains) is on his trail, and closing in fast.

Berkeley put his innovative choreography skills to good use in the fight and action scenes, and with the help of solid performances from his actors (especially the Dead End Kids, surprisingly affecting in non-comedy roles) established himself as a director capable of more than just musicals.
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Take Me Out to the Ball Game

Singing, dancing baseball players Dennis Ryan (Frank Sinatra) and Eddie O'Brien (Gene Kelly) find their friendship tested when both fall for the new, female owner of their team (water-ballet diva Esther Williams). Meanwhile, a crooked gambler (Edward Arnold) tries to sabotage the big game by getting O'Brien fired. It all gets resolved with lots of comedy, songs, dances, and baseball action in a colorful, turn-of-the-century setting. (Miss Williams even swims a few laps in the hotel pool.)

Busby Berkeley directed TAKE ME OUT TO THE BALLGAME, but left the choreography to Gene Kelly and Stanley Donen, thus the dance numbers emphasize Kelly's athletic grace rather than the fluid camerawork that is Berkeley's signature. Berkeley's exuberant affection for early Americana and his unerring knack for zingy comedy are both on full display, however, and frowns are not an option. Songs include: "Take Me Out to the Ball Game," "The Hat My Father Wore on St. Patrick's Day," and "Yes, Indeedy."
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For Me and My Gal

An unusually dramatic Busby Berkeley musical, FOR ME AND MY GAL chronicles the love and struggles of vaudeville team Harry Palmer (Gene Kelly, in his film debut) and Jo Hayden (a stunning Judy Garland) as they pursue their big dream of playing New York's prestigious Palace Theater. Just as that dream is about to finally come true, World War I breaks out and Harry is called into service. When he maims himself to avoid the draft, Jo can't forgive his cowardice, and Harry must search his soul for a way to redeem himself in the eyes of his country, and the woman who taught him to love it.

The score is filled with old favorites from World War I, including "Beautiful Doll," "You Were a Tulip," "Over There," "Long, Long Trail," and "Oui, Oui, Marie," but it's Kelly and Garland's sublime rendition of the title tune that lingers. It became a best-selling record at the time, and the movie was also a major hit. With its panoramic scope of war, seduction, betrayal, and redemption, FOR ME AND MY GAL is an...
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Gang's All Here

This extravagant Busby Berkeley musical, first released in 1943, features Alice Faye, Carmen Miranda, Phil Baker, and Benny Goodman.
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Alice Faye Collection

Here are four not-to-be-missed musicals from the glory days of the genre, all featuring the indisputable charms of Alice Faye: THAT NIGHT IN RIO, LILLIAN RUSSELL, ON THE AVENUE, and THE GANG'S ALL HERE.
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Mickey Rooney & Judy Garland Collection

Mickey Rooney & Judy Garland star in this collection of films. The titles included are BABES IN ARMS, BABES ON BROADWAY, GIRL CRAZY, MICKEY & JUDY: SONGBOOK AND PRIVATE SCREENINGS, and STRIKE UP THE BAND.
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Unseen Cinema - Picturing a Metropolis

UNSEEN CINEMA is a collection of 155 short films, lovingly curated by experts at the Anthology Film Archives, who use footage found in 60 of the world's most renowned archives. When the motion picture camera was invented, early practitioners were filled with a sense of the limitless possibilities of this amazing mechanism. With its ability to mimetically reproduce reality, as well as its potential for the manipulation of images as well as time and space, the movie camera was truly a tool of progress and hope. Those who produced some of the most inventive and experimental short films of the time went on to make it big in Hollywood, but their earliest work contains a rebellious spirit that is lacking in their later studio pictures. On this volume, PICTURING A METROPOLIS, some of the earliest cinematic documents of the bustling urban center of New York City are compiled. These include film scholar Jay Leyda's A BRONX STORY, documentarian Robert Flaherty's TWENTY-FOUR DOLLAR ISLAND, and Paul Strand's MANHATTA.
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Busby Berkeley Collection

42ND STREET: Splashy Hollywood does splashy Broadway in this behind-the-scenes of a show musical. The leading lady is, as many times before, suddenly unavailable and the understudy chorus girl is thrust into the limelight. Last minute preparations for opening night with the new star turn the entire production on its ear before the big premiere.

DAMES: This backstage musical features dancing ironing boards and puzzle pieces amongst its surreal delights. Blondell, Keeler and Powell sing, dance and chew up the scenery in a hoary plot about a rich bluenose's attempts to close down a Broadway show. Never mind. Just keep your eyes on those chorus lines in numbers such as "Girl at the Ironing Board," and "I Only Have Eyes for You."

FOOTLIGHT PARADE: A stage producer discovers that talking pictures have killed the demand for musical shows, so he re-channels his talents into creating live musical numbers for movie theaters to present between features. His fledgling business is threatened by...
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Unseen Cinema - Early American Avante-Garde Film 1894-1941

When the motion picture camera was invented, early practitioners were filled with a sense of the limitless possibilities of this amazing mechanism. With its ability to mimetically reproduce reality, as well as its potential for the manipulation of images as well as time and space, the movie camera was truly a tool of progress and hope. Those who produced some of the most inventive and experimental short films of the time went on to make it big in Hollywood, but their earliest work contains a rebellious spirit that is lacking in their later studio pictures. These incredible films, by luminaries including savant Orson Welles, Russian montage maestro Sergei Eisenstein, pioneering director D.W. Griffith, as well as Elia Kazan, Ernst Lubitsch, artists Joseph Cornell and Fernand Leger, photographers Man Ray and Paul Strand, film scholar Jay Leyda, and numerous others, are compiled on this incredible collection. Seven different volumes, including "Light Rhythms" and "The Amateur as Auteur," have been lovingly c...
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Babes in Arms

Based on the musical by Rodgers and Hart, this fond celebration of the theater stars Mickey Rooney and Judy Garland as two precocious youngsters who put on a show to raise money for their unemployed vaudevillian parents. Obstacles to their success include an untimely hurricane, Margaret Hamilton (who antagonized Judy that same year in THE WIZARD OF OZ), and their parent's own disillusions with show business. Fortunately, nothing can dampen the spirits of these kids, and their perseverance and sincerity ultimately pay off.

The film's highlights include Rooney's hilarious impressions of some of the big MGM stars at the time, and Judy's songs, particularly "You are My Lucky Star." Lots of old stage acts are fondly revived, and there's a real sense of the effects of the Great Depression on these struggling entertainers, which lends the film depth. Compassionate, earnest, funny and of course, brilliantly choreographed, BABES IN ARMS was the first film director Busby Berkeley made for MGM, and it r...
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