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The History of Hollywood Music

Today we're going to take an introductory overview to one of my favorite genres and dive into the history of the Hollywood movie musical let's set the stage for the beginning of our story it's the roaring 20s by now film was a young but a vibrant industry filmmaking pioneers had escaped the reaches of Edison's motion picture patentee and settled out west in Hollywood churning out films year-round with California's moderate climate movie studios began to merge and conglomerate into the brands that were familiar with today famous players-lasky was becoming paramount Metro Pictures Corporation Goldwyn pictures and Louie B Mayer would come together in MGM the industry was moving away from the small craft to big factory style moviemaking businesses 

Now this was also the era of the silent film giants like Charlie Chaplin Buster Keaton Greta Garbo Mary Pickford Douglas Fairbanks and many more things were in full swing sure there were some holdouts that thought film would be a passing fad but these guys were living large and raking in the dough but back on the East Coast an inventor by the name of Lee de Forest was experimenting with something new capturing sound on film he produced over 1,000 experimental shorts many including musical segments borrowing vaudeville stars like this song by Eddie Cantor from 1923 even though deforest films were a relatively big hit with audiences 

The Hollywood studios just weren't that interested in sound why should they be when they were making money left and right on silent pictures the industry needed a push and it would take Warner Brothers a studio that wasn't making money even posting a net loss of three hundred and thirty three thousand the beginning of 1926 to take a big bet on the future of sound in pictures in August of 26 the first Warner Brothers of Vitaphone pitcher Don Juan premiered to great reception it wasn't a talking picture it was basically a silent film with a recorded synchronized soundtrack but audiences loved it Warner Brothers doubled down on sound announcing that all films produced in 1927 would feature synchronized sound and on October 6 1927 Warner Brothers premiered a film so devastating two silent film that people today often mistakenly call it the first talking picture the jazz singer wasn't even a full fledged talking it was mostly silent with a few musical numbers but those numbers were the straws that broke some films back according to Sam Goldwyn wife Frances the celebrities and the audience's for the jazz singer had quote terror in all their faces as they knew the game they had been playing for years was finally over now

The conversion to sound didn't happen immediately after the jazz singer premiere it took a few more hits like the all talking the lights of New York in 1928 which included a few musical numbers to convince the studio's that people were hungry for sound by 1929 silent films were being slaughtered at the box office the entire industry was retooled in a matter of just two short years and what better way to showcase sound than with a song and dance sound was such a sensation that all the major studios were clamoring to pump out musicals in 1929 ngn released what they billed as their first all-talking all-singing all-dancing feature Broadway melody produced by MGM production chief Irving Thalberg in just 28 days Broadway melody brought two important advancements to film the practice of sow editing and pre-recorded soundtrack during the hurried production the filmmakers discovered a mistake and needed to reshoot a scene a sound technician doesn''t sure suggested they save some money by using the existing recorded soundtrack and just to film new visuals let's freed up the camera to move about because at that point with cameras being so loud they had to shoot from a soundproof booth now the practice of shooting musical segments using pre-recorded soundtrack lasts to this day Broadway melody was an unquestionable hit at the time costing a substantial three hundred and seventy nine thousand dollars to produce it grossed 4.3 million worldwide and became the first musical and first sound picture to win best picture at the 1929 

Academy Awards which happened to be the second Academy Awards ceremony a Warner Brothers answered Broadway melody with gold diggers of Broadway adding Technicolor's to strip color to the musical gold diggers became another huge hit though the original film is now considered lost now the novelty of sound was winning over contemporary audiences so much so that every studio started pumping out musicals perhaps the most notable was MGM's the Hollywood revue of 1929 which may be most memorable for the origin the song singing in the rain as seen in this finale here with a brief cameo by Buster Keaton on the bizarre front we also see the first and only musical shot by Cecil B DeMille madam Satan which takes place on a costume party aboard a Zeppelin in 1930 alone over 100 musicals were produced that's two new musical films a week and this is during an era with the single screen theater 

Hollywood was running out of ideas and just throwing musicals on the screen as a cash grab and since the theatres were owned by the studio's they are forced to show the films for weeks at a time by the end of 1930 up the oversaturation of the musical along with the effects of the stock market crash in 29 and the beginning of the Great Depression saw a dip in attendance and the studio's began to feel the pinch with the rise of free radio entertainment audiences were reluctant to spend their hard-earned pennies for what was essentially filmed vaudeville coming from a high of 100 musicals produced in 1930 

Hollywood scaled back producing only 14 musicals in 1931 even going so far as to slash musical numbers out of films theaters began to advertise a film as not a musical even Technicolor two strips suffered the musical backlash audiences had become began to associate color with musical and stayed away a Broadway composer and lyricist pare Rodgers and Hart would write a few well-received musicals including introducing America to Maurice Chevalier and love me tonight in 1932 but by the close of that year it was becoming apparent that the film musical was dead it would take pure artistry to bring it back the resurgence of the musical and launch of the genre into the golden age began 

with two men first was Broadway dance director Busby Berkeley and courted out to Hollywood by Samuel Goldwyn in 1930 it was his work for Warner Brothers starting in 1933 that revealed his true genius the Great Depression had really hit Warner Brothers hard and the studio despite kicking off the sound era desperately needed a hit it would come in a surprise 1933 film 42nd Street a backstage musical about a producer on the ropes and a chorus crow has to replace the star at the last moment Berkeley only directed the dancing sequences but he understood more than his contemporaries at the time that the camera had to move with the dancers using pre-recorded tracks he freed the camera from the soundproof booth and made it part of the dance routine this took the musical off the stage and created perspectives that no broadway ticket colder could see building a new artistic hybrid of song and visual Warner Brothers quickly recognized Berkeley's talent and put him to work on their big musical such as the remake gold diggers of 1933 footlight parade which includes his astounding by the waterfall sequence dames and gold diggers of 1935 and what Berkeley did in movement and staging behind the scenes Fred Astaire would do in front of the camera a Fred Astaire who left a pre successful stage career for Hollywood was cast by RKO and a minor role in of a bandleader in flying down to Rio in 1933 

now given a free choice of starlets as his dancing partner Astaire chose Ginger Rogers who had worked with him before the result was probably the most memorable scene of the entire film producer panned row s Burman persuaded Archaea RKO to put Astaire and Rogers in their own feature resulting in another hit the gay divorcee the pair was brought out again for what might be their iconic film top hat with a stellar score by Irving Berlin which includes the classic cheetah cheek now before we leave the early 30s and entered the golden era of Hollywood musicals we would be remiss not to at least mention an early player in the history of sound Walt Disney it could be said that he built the Walt Disney Company on sound from the first musical cartoon Steamboat Willie in 1928 to his Silly Symphonies starting in 1929 as you can probably guess musicals and Disney kind of go hand-in-hand but at this point in history the musical belong to the king of studios metro-goldwyn-mayer by the mid-30s 

The musical had recovered from the cheap productions that saturated the market at the turn of the decade to become a powerful prestige genre must be Berkeley sure that you needed artistry in the camera and the art direction and a stare showed you needed talented stars and no studio was better positioned deliver on both fronts than metro-goldwyn-mayer MGM had a close affiliation with chase National Bank giving it nearly unlimited access to capital with National Exhibition guaranteed by parent company lols incorporated which dominated the theater market run by a ruthless Louie Beane mayor it was the artistic direction of production manager Irving Thalberg and later David O Selznick that kept production quality high and MGM contracted the best talent as one PR slogan read more stars than there are in heaven which brings us to probably the most beloved movie of the Golden Age of Hollywood a musical The Wizard of Oz the Oz would be the first producer job albeit uncredited for Arthur freed a song lyricist who worked at MGM freed kept pressing Louis be mayor for producing roles after the success of The Wizard of Oz Mayer gave him producer role for babes and arms again starring Judy Garland pairing her up with Mickey Rooney in a low-budget film released just four months after Oz it brought in millions which led to a series of let's put on a show or backyard musicals a trope where all the characters problems are solved by putting on a show which included strike up the band the following year babes on Broadway in 1941 and girl-crazy in 1943

The mid 40s freed was essentially running his own independent production unit under MGM creating genre-defining musicals of the air that included Easter Parade 1948 which brought back Fred Astaire from semi-retirement on the town in 1949 an American in Paris 1951 and singing in the rain in 1952 which some consider the best film musical of that era or any era I remember that title song it was originally from the Hollywood revue of 1929 lyrics by dr. freed and that song good morning that was from babes and arms with lyricist you guessed that our third freak in fact all the music except for a couple songs was by freed and composer nacio herb Brown but the environment for musicals was changing and MGM's musical formula would become old and give away to a new more tightly interwoven narrative the book musical to understand the modern movie musical we have to take a brief detour into the world of live musical theater and no partnership is more important to musical theater history than that of oscar hammerstein ii and richard rogers the common practice of the first half of the 20th century was to write the music first and then come up with the lyrics afterward now this is a good practice for coming up with great songs in fact most of the Great American Songbook came from musicals created this way but when Rodgers and Hammerstein went to write a musical based on the unsuccessful play Green grow the lilacs they felt it needed something more than the standard musical comedy treatment after all it was about cowboys on the frontier and murder and rape and sexual innuendo well Hammerstein pored over the lyrics on his farm in Pennsylvania and it would Telegraph or phone his work to his musical partner Rogers working on his farm in upstate New York who had come up with the music every line was painstakingly crafted when the show previewed in New Haven as away we go in March of 1943 

Variety pandit Walter Winchell's column handed down the line no girls no gags no chance Rodgers and Hammerstein continued working on the book and previewed in Boston something began to gel and the name of the musical was changed to reflect the rousing central number Oklahoma opened on Broadway on March 31st 1943 without much fanfare but audiences started coming in as word of a new kind of musical spread it would eventually smash Broadway records running for a total of 2212 performances a musical had completely changed as Berkeley and a stayer demonstrated that you need to have great camera and performances Hammerstein Rogers showed you had have songs and sequences that always propelled the story forward virtually every musical performed today by professional and amateur theater houses with the exception of anything-goes because Cole Porter is just special that way comes from the tradition set forth by Oklahoma and virtually every big Hollywood musical would pull from this Broadway tradition as the MGM original musical and the entire studio system came to a close in the 50s with Gigi in 1959 Hollywood began to tap Broadway for source material from West Side Story in 1961 to Music Man in 62 and my fair lady in 64 for my fair lady producer Jack Warner kept Rex Harrison from the stage version but rejected the original Eliza Doolittle a young Julie Andrews as being unfotunately add rehab Byrne was cast with Marni Nixon dubbing in the singing Julie Andrews instead was brought in by Walt Disney to play the leading role in Mary Poppins which was one of the great musicals of this era earning Andrews the Oscar for Best Actress while Hepburn didn't even get nominated Andrews and Hepburn shown Amazing Grace to one another and when Rex Harrison won the Best Lead he dedicated his Oscar to both his fair ladies Audrey and Julie Jack Warner's comment on Julie Andrews would prove false yet again in 1965 s The Sound of Music a 20th Century Fox was on the brink of bankruptcy after a failed historical epic Cleopatra nearly tanked the studio they bet 8.2 million dollars on Sound of Music which ran for an unprecedented four years in theaters becoming the most profitable musical of the 60s as well as winning five Oscars with the exception of the Elvis films of the era almost all musicals of the 60s were retreads of Broadway properties without a strong studio system with musical staff on payroll Hollywood filmmakers had to turn to Broadway for strong tested material but Hollywood as a whole didn't have a good eye for talent and a lot of big musical films bombed at the box office

Heading into the 70s musicals began to look like an aging dinosaur again especially compared to the gritty realism of new Hollywood there were a few standouts that showed the musical had some legs films like Fiddler on the Roof from 1971 captured the heart of the Sherry's bolstered by a terrific performance by Israeli actor TOEFL Bob Fosse's cabaret 1972 now Bob Fosse is in my opinion one of the great visual film directors that's only starting to become recognized for his true genius Jesus Christ Superstar in 73 - Who's Tommy in 1975 which happens to be the same year that they viewed the Rocky Horror Picture Show which in some form another is still playing in theaters of this day and Greece in 1978 but times they were a-changin my time jaws and Star Wars came out in 1975 and 77 the musical had been supplanted as a money-making tentpole film even a successful Broadway run wasn't enough to guarantee profits for a film version the musical at that point became confined to family and animated genres a standout would be Little Shop of Horrors a remarkably catchy Motown production based on Roger Corman's b-movie which had some dark undertones have made really family accessible by puppeteer turned director Frank Oz in 1986

Then we have the second Golden Age of Disney from Little Mermaid in 89 Beauty and the Beast in 91 Aladdin 92 and Lion King in 94 introducing a young generation to the musical genre a generation that would grow up and land Puna in 1999's South Park bigger Longer & uncut Chicago in 2002 was what I consider the last great musical film it won the Oscar that year because of its ingenious staging of the musical numbers that blended the backstage musical with a story about media and jury manipulation that felt contemporary in a 24-hour news average of high-profile trials even though the show was originally produced in 1975 unfortunately it is an outlier as modern productions of musicals simply fall flat the producers from 2005 a film adaptation of a musical adaptation of Mel Brooks's classic film which was one of the funniest productions ever produced for the stage lost all charm in its lifeless transition to film hairspray yet another film adaptation of a musical adaptation of a John Waters classic gave us the incredibly creepy female John Travolta a role originally played by Devine and then Harvey Fierstein on the stage we bought the charm of divine and Fierstein not so much with Travolta and then there was the much heralded lame is a table which could have taken a cue from 1975's at long last love where Peter Bogdanovich also attempted to record a musical film with live singing which ended in pre disastrous results sure lame is gave Anne Hathaway her first Oscar but her performance of I dreamed a dream can't even match Susan Boyles ineffectiveness and that made the bad British man smart and then there's the latest stabbed by the Academy to convince the public that musicals are still relevant Damien Chazelle sophomore Oscar contender la-la-land in 2016 a critical hit by critics who often proclaimed not to like the musical in the first place lala land to me felt like a vapid lifeless shell in a movie musical that desperately wanted to be an O Maj two grand musicals of yesterday but as about as passable as a five-year-old dressed in daddy's suit take for instance this opening scene on the freeway overpass every performer in this first shot has their face in shadow this would have never ever been acceptable in a production overseen by Irving Thalberg compared to a much less popular 2016 film Coen Brothers Hail Caesar now not only do you get the sense that the Cohens know the air intimately but you feel like scimitar refer Roger Deakins actually did his homework in achieving the look of that era unfortunately it's a film that is really only entertaining if you really love the sort of details of the studio era my second passion behind film is music at this point I've been playing the trumpet for two-thirds of my life for me the musical combines everything that's wonderful about music and brings in narrative and dance it's a highly integrated art some of my best memories are sitting in an orchestra pit performing with my trumpet and listening to the dialogue and dissecting the way the story works

I fall in love with the characters in the story as well as maybe a few of the leading ladies but that's a story for a different kind of show given the history and the tradition it sort of pains me to conclude that the movie musical is pretty much dead well the song and the dance sequences in a musical are a contrivance an unrealistic means of expression to paraphrase the amazing Bob Fosse when words can no longer express emotion the body sings when the song isn't enough the body dances well that's okay for a theater because we are always conscious that there is a play going on right in front of us we are constantly aware of the stage is fake and the story is make-believe a theatre company asks us the audience to join in and make-believe together it's okay and that they're just suddenly broke out a song it's fine but a film reaches down into something much more deeper and the push for realism since the seventies leaves little room for song and dance well next there is a lack of trained musical talent Emma Stone and Ryan Gosling are no Ginger Rogers and Fred Astaire the movie stars of the day lack the training in music and dance and the really good triple threats of the stage just don't have the start power to draw the audience's needed for a studio to invest millions and millions of dollars the economics just spell doom but perhaps I am too quick to hand down the death sentence to the musical it isn't dead at all just transformed productions like High School Musical and pitch-perfect are serving a young generation growing up on Disney films and singing in after-school choir then Manuel Miranda's Hamilton is a cultural phenomenon and there's very high hopes for an eventual film adaptation even more mainstream the music video basically the great-grandchild de force original sound experiments are shared and viewed billions of times probably the most successful videos on the web are musicals in a sense in Bollywood musicals comprise the majority of Indian cinema and who knows what tastes will come from a generation brought up where music is so heavily influenced by visuals perhaps

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