The most memorable Hollywood musicals of 1930s showcased the talents of stars like Fred Astaire, Jeanette MacDonald, Bing Crosby and Alice Faye. The less memorable ones didn't. This book takes a look at the unsung songfests of the '30s--secondary or forgotten features with short-lived or unlikely stars from major studios and Poverty Row. Through analysis of films such as Lord Byron of Broadway (1930), Shoot the Works (1934), Bottoms Up (1934), Moonlight and Pretzels (1933) and The Music Goes 'Round (1936), the author profiles such performers as Dorothy Dell, Lee Dixon, Peggy Fears, Lawrence Gray, Joe Morrison and the mother-daughter team of Myrt and Marge. Behind-the-scenes figures are discussed, like the infamously profligate producer Lou Brock, whose flops Down to Their Last Yacht (1934) and Top of the Town (1937) cost him his career. Filmographies and production information are included, with background on key participants.

The most memorable Hollywood musicals of 1930s showcased the talents of stars like Fred Astaire, Jeanette MacDonald, Bing Crosby and Alice Faye. The less memorable ones didn't. This book takes a look at the unsung songfests of the '30s--secondary or forgotten features with short-lived or unlikely stars from major studios and Poverty Row. Through analysis of films such as Lord Byron of Broadway (1930), Shoot the Works (1934), Bottoms Up (1934), Moonlight and Pretzels (1933) and The Music Goes 'Round (1936), the author profiles such performers as Dorothy Dell, Lee Dixon, Peggy Fears, Lawrence Gray, Joe Morrison and the mother-daughter team of Myrt and Marge. Behind-the-scenes figures are discussed, like the infamously profligate producer Lou Brock, whose flops Down to Their Last Yacht (1934) and Top of the Town (1937) cost him his career. Filmographies and production information are included, with background on key participants.

Pre-World War II Hollywood musicals weren't only about Astaire and Rogers, Mickey and Judy, Busby Berkeley, Bing Crosby, or Shirley Temple. The early musical developed through tangents that reflected larger trends in film and American culture at large. Here is a survey of select titles with a variety of influences: outsized songwriter personalities, hubbub over "hillbilly" and cowboy stereotypes, the emergence of swing, and the brief parade of opera stars to celluloid. Featured movies range from the smash hit Alexander's Ragtime Band (1938), to obscurities such as Are You There? (1930) and Swing, Sister, Swing (1938), to the high-grossing but now forgotten Mountain Music (1937), and It's Great to Be Alive (1933), a zesty pre-Code musical/science-fiction/comedy mishmash. Also included are some of the not-so-memorable pictures made by some of the decade's greatest musical stars.

This wide-ranging guide introduces (or reintroduces) readers to movie musicals past and present, enabling them to experience the development of this uniquely American art form—and discover films they'll love. This comprehensive guide covers movie musicals from their introduction with the 1927 film The Jazz Singer through 2015 releases. In all, it describes 125 movies, opening up the world of this popular form of entertainment to preteens, teens, and adults alike. An introduction explains the advent of movie musicals; then, in keeping with the book's historical approach, films are presented by decade and year with overviews of advances during particular periods. In this way, the reader not only learns about individual films but can see the big picture of how movie musicals developed and changed over time. For each film covered, the guide offers basic facts—studio, director, songwriters, actors, etc.—as well as a brief plot synopsis. Each entry also offers an explanation of why the movie is noteworthy, how popular it was or wasn't, and the influence the film might have had on later musicals. Sidebars offering brief biographies of important artists appear throughout the book.

What do Babes in Arms, Beau Geste, Gunga Din, The Hunchback of Notre Dame, Only Angels Have Wings, and Young Mr. Lincoln all have in common? They are all classic films released in the same year, but none of them received Academy Award nominations for best picture. Why? In that same year, Hollywood produced Dark Victory, Goodbye Mr. Chips, Mr. Smith Goes to Washington, and Ninotchka, as well as two of the most beloved films of all time, Gone with the Wind and The Wizard of Oz. In 1939 Hollywood created an unprecedented number of great films, a year that has yet to be surpassed in cinematic achievement. In 1939: Hollywood’s Greatest Year, Thomas S. Hischak looks at the most remarkable 365 days in film history. Arranged chronologically from January 1 to December 31, 1939, each entry covers one day and features major news events (national and international) as well as minor curiosities or news items that would prove to be more important in the future. The activities on Broadway, radio, the music business, literature, and other arts are included, as are noteworthy sporting events. Most significantly, this book provides a full description and commentary on the Hollywood movies that were released on that day. All 510 feature films from all the Hollywood studios are included in the book, along with notable shorts, cartoons, newsreels, and foreign releases. While others have looked at the movie highlights of this momentous year, Hischak evaluates Hollywood’s entire screen output of 1939, from B pictures and serial installments to the international blockbusters—and every film in between. 1939: Hollywood’s Greatest Year is a captivating look at this phenomenon and will fascinate any film aficionado.

As Hollywood entered the sound era, it was rightly determined that the same public fascinated by the novelty of the talkie would be dazzled by the spectacle of a song and dance film. In 1929 and 1930, film musicals became the industry's most lucrative genre--until the greedy studios almost killed the genre by glutting the market with too many films that looked and sounded like clones of each other. From the classy movies such as Sunnyside Up and Hallelujah! to failures such as The Lottery Bride and Howdy Broadway, this filmography details 171 early Hollywood musicals. Arranged by subgenre (backstagers, operettas, college films, and stage-derived musical comedies), the entries include studio, release date, cast and credits, running time, a complete song list, any recordings spawned by the film, Academy Award nominations and winners, and availability on video or laserdisc. These data are followed by a plot synopsis, including analysis of the film's place in the genre's history. Includes over 90 photographs.

The golden age of the Hollywood musical celebrated through the life of unsung hit-maker Harry Warren. Eliciting a swell of nostalgia, Harry Warren's jaunty melodies lift our spirits as much today as they did for Depression-era moviegoers. Navigating a business already known for its glamour, excess, and ruthless business practices, Warren quietly but resplendently helped create a new American art form. A self-taught musician, Warren was nominated for eleven best original song Academy Awards and took home three Oscars. He composed twenty musicals including 42nd Street and unforgettable American standards such as "We're in the Money," "Chattanooga Choo Choo," and "That's Amore." At Last brings readers on a journey through yesteryear's Tin Pan Alley, Busby Berkeley set pieces, cocktails with the Gershwins, and the creative and collaborative process of a prolific musical genius.