Musical film

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The musical film is a film genre in which several songs sung by the characters are interwoven into the narrative. The songs are used to advance the plot or develop the film's characters. A subgenre of the musical film is the musical comedy, which includes a strong element of humour as well as the usual music, dancing and storyline.

The musical film was a natural development of the stage musical. Typically, the biggest difference between film and stage musicals is the use of lavish background scenery which would be impractical in a theater. Musical films characteristically contain elements reminiscent of theater; performers often treat their song and dance numbers as if there is a live audience watching. In a sense, the viewer becomes the deictic audience, as the performer looks directly into the camera and performs to it.

My reasons for choosing this topic… 1. I am interested in musicals and want to find out the history. 2. I think I could learn many things that I wouldn’t of learnt if I just saw the musicals. 3. I think it will be a fun way of exploring different types of musicals storylines

1 Musical films of the classical sound era
- 1.1 The first musicals
- 1.2 Busby Berkeley
- 1.3 Musical stars
- 1.4 The Freed Unit
2 The post-classical musical film
- 2.1 The 1950s musical
- 2.2 The musical film today
3 Lists of musical films
4 See also

Musical films of the classical sound era

The 1930s, 1940s, and 1950s are often considered the golden age of the musical film, when the genre's popularity was at its height.

The first musicals

Image:OnwiththeShow4.jpg

Two chorus girls, Madeline and Marion Fairbanks, dancing in the first all-color musical On With the Show (1929).

In 1928, Warner Brothers released the first all-talking feature Lights of New York (1928) which included a musical sequence in a night club. The enthusiasm of audiences was so great that in less than a year all the major studios were making sound pictures exclusively. The first movie that could be said to be a musical was The Broadway Melody, it was a smash hit and won the Academy Award for Best Picture for 1929. There was a rush by the studios to hire talent from the stage to star in lavishly filmed version of Broadway hits. Warner Brothers produced the first screen operetta, The Desert Song in 1929. They spared no expense and photographed a large percentage of the film in Technicolor. This was followed by the first all color all talking musical feature which was entitled On with the Show (1929). The most popular film of 1929 was in fact the second all-color all-talking feature which was entitled Gold Diggers of Broadway (1929). This film broke all box office records and remained the highest grossing film ever produced until 1939. Suddenly the market became saturated with musicals, revues and operettas. The following all-color musicals were produced in 1929 and 1930 alone: The Show of Shows (1929), Sally (1929),The Vagabond King (1930), Follow Thru (1930), Bright Lights (1930), Golden Dawn (1930), Hold Everything (1930), The Rogue Song (1930), Song of the Flame (1930), Song of the West (1930), Sweet Kitty Bellairs (1930), Under A Texas Moon (1930), The Bride of the Regiment (1930), Whoopee! (1930), The King of Jazz (1930), Viennese Nights (1930), Kiss Me Again (1930). In addition, there were scores of musical features released with color sequences. By late 1930, audiences had been oversaturated with musicals and studios were forced to cut the music from films that were then being released. For example, Life of the Party (1930) was originally produced as an all-color all-talking musical comedy. Before it was released, however, the songs were cut out. The same thing happened to Fifty Million Frenchmen (1931) and Manhattan Parade (1932) both of which had been filmed entirely in Technicolor. The public had quickly come to associate color with musicals and thus the decline in their popularity also resulted in a decline in the use of color.

Busby Berkeley

The taste in musicals was finally revived once again in 1933. Director Busby Berkeley began to enhance the traditional dance number with ideas drawn from the drill precision he had experienced as a soldier during the First World War. In films such as Gold Diggers of 1933, 42nd Street (1933), Berkeley choreographed a number of films in his unique style. Berkeley's numbers typically begin on a stage but gradually transcend the limitations of theatrical space: his ingenious routines, involving human bodies forming patterns like a kaleidoscope, could never fit onto a real stage and the intended perspective is viewing from straight above. Berkeley's use of the female body as an erotic spectacle is regarded by many feminists today as exploitation.

Musical stars

Musical stars such as Fred Astaire and Ginger Rogers were among the most popular and highly respected personalities in Hollywood during the classical era; the Fred and Ginger pairing was particularly successful, resulting in a number of classic films, such as Top Hat (1935), Swing Time (1936) and Carefree (1938).

Many dramatic actors gladly participated in musicals as a way to break away from their typical typecasting. For instance, the multi-talented James Cagney had originally risen to fame as a stage singer and dancer, but his repeated casting in "tough guy" roles and gangster movies gave him few chances to display these talents. Cagney's Oscar-winning role in Yankee Doodle Dandy (1942) allowed him to sing and dance, and he considered it to be one of his finest moments.

Many comedies (and a few dramas) included their own musical numbers. The Marx Brothers' movies included a musical number in nearly every film, allowing the Brothers to highlight their musical talents.

The Freed Unit

During the late 1940s and into the 1950s, a production unit at Metro-Goldwyn-Mayer headed by Arthur Freed made the transition from old-fashioned musical films, whose formula had become repetitive, to something new. In 1939, Freed was hired as associate producer of The Wizard of Oz, and rescued the film's signature song, Over the Rainbow, from the editor's scissors. Recruiting his own workers, mostly from Broadway and the New York stage, Freed was responsible for bringing such talents as director Vincente Minnelli to the world of film. Starting in 1944 with Meet Me in St. Louis, the Freed Unit worked independently of its own studio to produce some of the most popular and well-known examples of the genre. The products of this unit include Easter Parade (1948), On the Town (1949), An American in Paris (1951), Singin' in the Rain (1952) and The Band Wagon (1953). This era allowed the greatest talents in movie musical history to flourish, including Judy Garland, Gene Kelly, Ann Miller, Donald O'Connor, Cyd Charisse, Mickey Rooney, Jane Powell, Howard Keel, and Kathryn Grayson. Fred Astaire was also coaxed out of retirement for Easter Parade and made a permanent comeback.

The post-classical musical film

The 1950s musical

Since the 1950s, the musical film has declined in popularity. One reason was the change in culture to rock n' roll and the freedom and youth associated with it. Elvis Presley made a few movies that have been equated with the old musicals in terms of form. Most of the musical films of the 50s and 60s, e.g. Oklahoma! and The Sound of Music, were straightforward adaptations or restagings of successful stage productions.

The musical film today

The trend in modern filmmaking after the 1960s had been to avoid "musical films" as such, in favour of using music by popular rock or pop bands as 'background music' in the hope of selling a soundtrack album to fans. There are exceptions to this rule, however, and films about actors, dancers or singers have been made as successful modern-style musical films, with the music as an intrinsic part of the storyline. The other exception to the rule is the children's animated movie, which almost always include traditional musical numbers, some of which, such as Beauty and the Beast and The Lion King, have later become live stage productions. In the early 2000s however, the musical film has begun to rise in popularity once more, with new works such as Moulin Rouge!; film remakes of stage shows, such as Chicago, The Phantom of the Opera, Rent, and Dreamgirls; and even film versions of stage shows that were themselves based on non-musical films, such as The Producers and the upcoming Hairspray. Slightly under the mainstream radar, there have been a number of artistically lauded independent films such as Hedwig and the Angry Inch and Dancer in the Dark, foreign films such as 8 Femmes, The Other Side of the Bed and Yes Nurse, No Nurse, and the upcoming Clear Blue Tuesday. In 2004, the New York Musical Theatre Festival presented a week-long festival of modern movie musicals that included 10 independent features made since 1996, as well as several programs of short movie musicals.

Another exception to the decline of the musical film is Bollywood, the Indian film industry, where the vast majority of films have been and still are musicals. Thanks to the incumbent Bollywood formula of the often garish and unrealistic "song and dance" routine, and the lack of an independent Indian popular music scene until the late nineties, the Indian film and popular music industries have been intertwined since virtually the beginning of film production in the country. Some top playback singers are celebrities in India due to the demand for so-called filmi singles and albums. This trend continues even to date, although a few of the newer Bollywood films (usually in the English language or art genres) are breaking the mold by releasing films with no songs (such as Black, Matrubhoomi and 15, Park Avenue).

Lists of musical films

A list of musicals in alphabetical order can be found here (names beginning A to L) and here (names beginning M to Z); note that not all of these have been made into films.
A list of musical films in chronological order can be found here.