When Metro spreads itself on a production number, it invariably does a handsome job. And, it has done right nicely by the finale of "Babes on Broadway," providing a mammoth eye-filling setting for the ministrel show which is the only racey and really entertaining episode in this otherwise dull and overly-long potpourri of comedy, drama, third-rate jokes and music. The humor department reached its zenith with the remark, "I'm going out to get some air, I feel rather flat," which Mickey Rooney tosses off rather sheepishly. As the title of the Music Hall's new offering implies, it is basically a story about the youngsters who hang out in the Times Square theatrical precincts, hoping for that one break which will open the gates to the pearly highway of the show world.
You can observe, any day in the week, dozens of youngsters like those portrayed by Mickey Rooney and Judy Garland, congregating on the corners of Forty-fourth and Forty-fifth Streets and swapping tales of their experiences in trying to see this producer or that one. It's a sight familiar to most New Yorkers, and out of it some enterprising showman may yet evolve an entertaining musical edition of "Stage Door." But Metro, with Mr. Rooney on its hands, just couldn't follow a simple straightforward story line. So, except for an occasional and pleasant musical interruption by Miss Garland, the plot is thickened with some trite nonsense about Mickey and Judy staging a settlement house show to raise funds to send some underprivileged children to the country.
And, this being a season wherein practically every Hollywood producer feels compelled to cheer on the British, a production number urging Tommy Atkins to keep his chin up is dragged into the proceedings against a montage of London Bridge, Parliament and the King's Guards. Moreover, a group of angel-faced little English visitors in America for the duration are hauled out for a microphonic cast with the folks at home. The sight of these tragic-looking youngsters, some with tears trickling down their cheeks, will touch any heart, but still this is a sequence which "Babes on Broadway" could best do without. It appeared to this observer as though Metro slipped these scenes in just to soften up the audience, an unforgivable exploitation of a tragic situation.
As usual, Mickey Rooney does not confine himself to a single characterization, but gives also his impersonations of Sir Harry Lauder (very bad), George M. Cohan (fair), a hill billy idiot (exaggerated but amusing) and a black-faced end man (lively and in the best Elks Club tradition). Though Mickey doesn't leave much room for anybody else, Judy Garland manages to stand out in the musical interludes, as does the graceful and nimble-footed Ray McDonald in a brief tap dance.
BABES ON BROADWAY, screen play by Fred Finklehoffe and Elaine Ryan; from an original story by Fred Finklehoffe; directed by Busby Berkeley; produced by Arthur Freed for Metro-Goldwyn-Mayer; Songs by E. Y. Harburg, Burton Lane, Ralph Freed, Roger Edens and Harold Rome. Tommy Williams . . . . . Mickey Rooney Penny Morris . . . . . Judy Garland Miss Jones . . . . . Fay Bainter Barbara Jo . . . . . Virginia Weidler Ray Lambert . . . . . Ray McDonald Morton Hammond . . . . . Richard Quine Mr. Stone . . . . . Donald Meek Alexander Woollcott . . . . . Himself Nick . . . . . Louis Alberni Thornton Reed . . . . . James Gleason Mrs. Williams . . . . . Emma Dunn Mr. Morris . . . . . Frederick Burton Inspector Moriarity . . . . . Cliff Clark Announcer . . . . . William Pool Jr.
© 2014 The New York Times Company
