This Christmas watch musicals from the early 20th century — from Top Hat to Singin' in the Rain
It is the time of year when you want to watch 'happy' movies – films that do not delve into the myriad dark complexities of the world. In other words, films that leave you with a smile in the end. No wonder December is a popular time for rom-com releases.
However, till the mid-1970s, a large part of this role of providing quick-fix joys was assigned to Hollywood musicals. It would perhaps come as a surprise to the La La Land generation but the West has as strong a legacy of musicals as Bollywood, and one that goes beyond animations or The Sound of Music.
Dig this: Between 1929 and the mid-50s, an average of 20 to 30 musicals released every year.
The genre bloomed as escape entertainment – what is considered to be the first full-fledged musical, The Broadway Melody, coincided with the Wall Street crash of 1929. It marked the beginning of the Great Depression. And while it did its job, the musicals were by no means mindless song-and-dance routines. They traipsed from romantic comedies to children’s tales to literature-inspired works, and brought together an amazing pool of talent to tell surprisingly engaging, emotional stories. And while at it, they transformed the movie-going experience forever.
So how about giving those romantic comedies a miss this holiday season and instead explore this almost-forgotten genre? We have picked one great film from each decade between the ’30s and ’70s for you — they are by no means “the very best” — there are simply too many to choose from. But if you are into musicals, you can’t afford to miss these films.
Top Hat (1935)
The ’30s and ’40s are considered to be the golden age of Hollywood musicals, and the credit for how it shaped up goes to dancer extraordinaire Fred Astaire. Billed by a studio executive of the RKO Radio Pictures as “Can't sing. Can't act. Balding. Can dance a little", Astaire revolutionised the way dance numbers were filmed and made sure that they were woven seamlessly into the plot rather than be stand-out spectacles.
Top Hat was the most successful film of the celebrated Fred Astaire-Ginger Roger pair, and gives you the tap at its best. The endearing romantic comedy of errors wins you over with the leading man who takes no offence at being slapped publicly by his lady, or his rival recommending himself for marriage, saying, “I am rich. I am pretty!”
Of the film’s eight numbers, 'Cheek to Cheek', 'Top Hat', 'White Tie', 'And Tails' remain among Hollywood classics. The film also gave a major break to composer Irving Berlin, on whose death in 1989, The New York Times wrote, "Irving Berlin set the tone and the tempo for the tunes America played and sang and danced to for much of the 20th century."
Wizard Of Oz (1939) and Meet Me in St Louis (1944)
While you should check out films by Doris Day and Bing Crosby from this decade as well, you simply cannot miss thie Judy Garland classic Wizard of Oz (1939).
Set in 1903, it revolves around one year in the life of the Smith family. Nostalgic and uncomplicated as it appears today, the film throws up a world of different value systems, which might explain its later adaptations on TV and Broadway. It also gives a unique insight into a child’s imagination through Tootie (Margaret O’Brien), a little girl obsessed with dead bodies and accompanying horrors.
The second highest grossing picture of the year, Meet Me in St Louis also won four Academy Award nominations. It also gave Garland one of her best roles along with the classic numbers 'Have Yourself a Merry Little Christmas' and 'The Trolley Song'. As for me, I cannot get the infectious title track out of my head!
Singin' in the Rain (1952)
A much lighter-hearted version of Jean Dujardin’s (who looks remarkably like Gene Kelly if you ask me) Oscar-winning The Artist (2011), Singin’ in the Rain depicted the transition of silent films into 'talkies' in the ’20s.
The beloved musical, which still makes to “greatest films ever made” lists, saw Kelly in one of his most memorable roles as the popular silent film star Don Lockwood. His performance of the title track remains one of the iconic scenes on the silver screen.
Incidentally, Kelly – arguably the most famous and influential actor-dancer in Hollywood after Astaire – combined classic and contemporary dance forms to create a unique style, made the ballet acceptable to film audiences, and was one of the first to use split screens, double images, live action with animation in the movies.
The '50s also saw some of Frank Sinatra’s best musicals on screen, along with Elvis Presley’s Jailhouse Rock (1957). But a personal favourite is The King and I (1956). Based on the Rodgers-Hammerstein II adaptation of Margaret Landon’s Anna and the King of Siam, the film won Yul Brynner his most famous role and an Oscar (of a total of five wins). If you watch the number 'Shall We Dance' once, you would not forget it.
Oliver! (1968)
An immensely fruitful decade as far as musicals go – before the popularity of the genre dipped. Apart from a handful of Presley movies, you had classics like My Fair Lady (1964), Mary Poppins (1964), The Sound of Music (1965) and Chitty Chitty Bang Bang (1968) rocking the big screen.
Based on Charles Dickens’ Oliver Twist and a stage musical, Oliver! took home six Oscars at the 41st Academy Awards. While the British film’s stage roots are evident in its theatrical settings, it has a surprising emotional pull, telling the story as it does with 17 numbers (by Oscar-winner John Green) and a delightfully humanised Fagin (Ron Moody).
And there’s a snug little lesson there about the perils of staying on in an abusive relationship.
Cabaret (1972)
A far cry from preceding “happy” films, Cabaret reflected the intense and whirlingly complex times that were coming. It raised the genre to a whole new level, combining music (John Kander and Fred Ebb) with the animal, dark and conflicting energies of its principal characters. And the 12 stunning numbers took the plot forward in a way never quite seen before on screen, touching upon fluid sexuality and morality, ambition and Nazism.
Telling the story of the ambitious and free-spirited Sally Bowles (the stunning Liza Minneli), one of her lovers Brian Roberts (Michael York), and the sinister, profane, yet funny and mysterious master of ceremonies (Joel Grey) in 1931 Berlin, Cabaret took home eight Oscars, losing the Best Film and Best Screenplay trophies to The Godfather.
Don’t miss this one!
