Racial Images & Busby Berkeley

 He was an extremely innovative and influential of musical numbers in 1930s Hollywood musicals. However, he also gave us some cringe-worthy blackface numbers. He had Eddie Cantor in blackface in PALMY DAYS (1931) and ROMAN SCANDALS (1933). He put MGM's teen stars Judy Garland and Mickey Rooney in blackface for production numbers in BABES IN ARMS (1939) more blackface appeared in their BABES ON BROADWAY (1941), directed by Berkeley. And there was 1934's WONDER BAR starring Al Jolson with numbers created and directed by Busby Berkeley.

With white performers, and expanding the use of the camera with dazzling visuals, he gave us classic numbers in 42nd STREET, GOLDIGGERS OF 1933 and GOLDDIGGERS OF 1935. Berkeley's musical production numbers in those film influenced overseas filmmakers.

What I have noticed ever since I was in high school was that whenever there was a special documentary about Berkeley and praising his work or a TV salute to his film contributions, there was never a mention of his racial images which, I am sure, embarrassed and offended Black moviegoers. My mother hated seeing the dark-skinned, snoring porter who fell asleep shining shoes at the end of the "Shuffle Off to Buffalo" number in 42nd STREET. We saw it on TV once and I asked her why she hate it. She replied, "Your grandfather was a railroad porter back in New Jersey when I was a girl. He worked his was up to supervisor." That mother/son moment happened before the experience I'm about to share.

Here's why I've noticed that Berkely documentary omission ever since high school: It was a lazy, sunny, late afternoon in Los Angeles. I was on summer vacation, about to start high school. My sister was in middle school. We were channel surfing, seeking something to watch on TV. I saw an old movie on an independent station out of Garden Grove. I was already a devoted classic film fan by then and stayed on that channel. My sister and I were children of the Civil Rights era. We lived in South Central L.A. The old movie we'd found on TV was WONDER BAR and a number was soon to start. The number was an elaborate one performed in a swanky nightclub. The song -- "Goin' to Heaven on a Mule." Look 👇.

Even though we were just kids, when that number ended, my sister and I had the same expression on our faces that you saw on Broadway audience members who had just seen the "Springtime for Hitler" number Mel Brooks' THE PRODUCERS. (1967).

And that's my personal Busby Berkeley bio observation.