But MGM had ranks of stars. She was behaving, or acting, like a character in a drama. The musical might be a world of its own, such as only film could fashion. Of course, all these talents might never have been assembled without one other phenomenon: the glory of the American songbook. The conclusion is oddly un-American in denying enterprise and mobility, yet it's one of the most touching and dramatic scenes in a musical. We broadcast more live and specially-recorded concerts and opera than any other station. Some ingredients were there earlier. It was also a sign of MGM embracing colour and a bold, theatrical quality of production design. https://www.vulture.com/2018/04/the-25-best-golden-age-movie-musicals.html Featuring Judy Garland, Gene Kelly and Howard Keel in music from Easter Parade, Seven Brides for Seven Brothers, Show Boat, An American in Paris, and our classic score of the week Singin' in the Rain.
That's when Garland sings what may be the most melancholy of Christmas songs (grave enough that its lyrics would later be spruced up at the request of singers). They had aerial shots of waves and whirlpools of chorus girls, opening and closing their legs in time with our desire.
Together the two men were recruited to MGM where Donen would make On the Town, Singin' in the Rain, Seven Brides for Seven Brothers and It's Always Fair Weather. Freed was driven to make some pretty bad dramatic films. Over the Rainbow was an event that changed cinema and introduced a fresh level of belief. David Thomson looks at a time when a little cheer at the movies was appreciated – and wonders if the same couldn't be said now, aerial shots of waves and whirlpools of chorus girls, Cyd Charisse putting on lingerie in Silk Stockings. In 1939, the confusion and hope behind The Wizard of Oz turned it into a novel fantasy with songs. Metro had started to make pictures such as Strike Up the Band (1940) in which Mickey Rooney and Judy Garland were putting on a show (in black and white). This need not have been a musical: it was based on a series of stories published in the New Yorker by Sally Benson about family life in St Louis at the turn of the century. As the nationwide BFI Musicals season continues Matthew Sweet celebrates the all-singing, all-dancing world of MGM musicals on film. David Thomson looks at a time when a little cheer at the movies was appreciated – and wonders if … How could any studio go wrong with Astaire, Kelly and Garland?
In the 1930s, as soon as sound permitted, Warner Brothers developed what we call the Busby Berkeley pictures: they were black and white, and often aware of the harsh Depression times, but a choreographic lather of girls and fluid, orgasmic forms where the camera was itching to plunge into the centre of the "big O" – think of Footlight Parade, Gold Diggers of 1933 or 42nd Street. Its founding figures had died or retired. The songwriters passed on (though their songs are still loved). It was in this same period that Broadway premiered Oklahoma!
Tootie (Margaret O'Brien) is so moved she runs down and smashes the snowmen. Metro-Goldwyn-Mayer (MGM) is a leading entertainment company focused on the production and global distribution of film and TV content across all platforms.
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