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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. 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 In 1928, Warner Brothers released the first all-talking feature '''' (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. 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 Movie s 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 FILMS 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 After the 1960s, filmmakers tended to avoid "musical films" in favour of using music by popular rock or pop bands as background music, in the hope of selling a Soundtrack Album to fans. However, there are exceptions to this rule. Films about actors, dancers or singers have been made as successful modern-style musical films, with the music as a Diegetic part of the storyline. Most Animated Movie s also include traditional musical numbers; some of these movies later became live stage productions, such as '' Beauty And The Beast '' and '' The Lion King ''. In the early 2000s, the musical film began 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 '' Little Shop Of Horrors '', '' The Producers '', '' Hairspray '' and '' Sweeney Todd ''. Under the mainstream radar, there have been acclaimed independent musical films, such as '' Hedwig And The Angry Inch '' and '' Dancer In The Dark ''; and foreign musical films, such as '' 8 Femmes '', '' The Other Side Of The Bed '', '' Yes Nurse, No Nurse '' and '' 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 India n 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 Singer s 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
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