Busby Berkeley

Busby Berkeley

The Master of Musical Extravaganza

Busby Berkeley (1895-1976) was an innovative American movie director and choreographer renowned for his extravagant musical numbers and unique visual style.

Born in Los Angeles, he gained fame in the 1930s with Warner Bros., choreographing iconic films like "42nd Street" and "Gold Diggers of 1933." Known for his geometric patterns, overhead shots, and large-scale productions, Berkeley transformed musical films with his imaginative choreography.

Despite personal struggles and a serious car accident in 1935, he continued to influence Hollywood, directing notable films like "Babes in Arms" and "For Me and My Gal."

Image Busby Berkeley Portrait by creativecommons

Related

Babes on Broadway - 1941

Busby Berkeley (1895 – 1976)

Biography, Career and aal his Movies

Busby Berkeley, born William Enos on November 29, 1895, in Los Angeles, California, was the son of stage actress Gertrude Berkeley. He adopted his mother's last name for his professional career. Berkeley’s exposure to the theater from an early age influenced his future career in show business.

Career Beginnings: Berkeley served in World War I as a field artillery lieutenant, where he began choreographing military parades. After the war, he transitioned to Broadway, where his innovative choreography quickly made him a standout figure in the theater community.

Hollywood Success: Berkeley's big break in Hollywood came with Warner Bros. in the early 1930s, where he revolutionized musical films with his elaborate and visually stunning dance numbers. His work on "42nd Street" in 1933 garnered significant acclaim and set the standard for musical choreography in cinema. Berkeley’s signature style included complex geometric patterns, overhead shots, and large ensembles of dancers moving in synchronized, kaleidoscopic patterns.

Notable Works and Innovations: Some of his most iconic films include "Footlight Parade" (1933), "Gold Diggers of 1933" (1933), and "Dames" (1934). Berkeley was known for his ability to turn simple dance routines into grandiose spectacles. His imaginative approach to choreography and film direction earned him a lasting legacy in Hollywood.

Later Career and Personal Life: In the late 1930s and 1940s, Berkeley continued to work in Hollywood, directing films like "Babes in Arms" (1939) and "For Me and My Gal" (1942), starring Judy Garland and Mickey Rooney. His career slowed down in the 1950s, but he remained a respected figure in the entertainment industry.

Berkeley’s personal life was marked by multiple marriages. He married six times, though none of his marriages produced children. His final marriage to Elizabeth Bell lasted from 1955 until his death in 1976.

Death and Legacy: Busby Berkeley died on March 14, 1976, at the age of 80, in Palm Desert, California. He was buried at Desert Memorial Park in Cathedral City, California. Berkeley's contributions to the musical genre left an indelible mark on the film industry, influencing countless directors and choreographers. His innovative techniques and artistic vision continue to be celebrated and studied in the world of cinema and dance.

Kaleidoscopic Dance of Busby Berkeley:

Involvement in Deathly Accident 

Busby Berkeley was involved in a serious car accident on September 8, 1935, which had significant legal and personal repercussions.

Details of the Accident

Incident: On the evening of September 8, 1935, Busby Berkeley was driving along the Pacific Coast Highway in California. Reportedly, he was speeding and lost control of his vehicle, which led to a head-on collision with another car. The accident resulted in the deaths of three people and injured several others.

Legal Consequences: Berkeley faced severe legal challenges following the accident. He was charged with second-degree murder due to allegations of driving under the influence of alcohol and reckless driving. The case went to trial three times. The first two trials ended in hung juries, unable to reach a unanimous decision. The third trial concluded with an acquittal, clearing Berkeley of the murder charges.

Impact on Berkeley's Life: The accident and subsequent legal battles took a significant toll on Berkeley’s personal and professional life. The media coverage and public scrutiny were intense, and his reputation suffered as a result. Despite his acquittal, the incident cast a long shadow over his career.

Return to Work: Despite these challenges, Berkeley managed to continue his career in Hollywood. He directed several more successful films and worked with major stars such as Judy Garland and Mickey Rooney. However, the accident remained a notable and dark chapter in his life.

Aftermath and Legacy

The car accident is a tragic part of Busby Berkeley’s story, illustrating the complexities and difficulties he faced despite his professional success. While his innovative contributions to cinema remain celebrated, the incident serves as a reminder of the personal struggles and controversies that accompanied his career.

Suicide Attempt

Busby Berkeley's suicide attempt occurred in 1946, a particularly tumultuous period in his life, marked by professional and personal difficulties.

Details of the Suicide Attempt

Context: By the mid-1940s, Berkeley's career had seen its highs and lows. Although he had directed several successful films, the film industry was changing, and his style of elaborate musical choreography was falling out of favor. Additionally, he was dealing with personal issues, including financial troubles and turbulent relationships.

The Incident: On February 18, 1946, Busby Berkeley attempted to end his life by taking an overdose of sedatives. He was found unconscious in his Beverly Hills home and was rushed to the hospital, where his stomach was pumped, saving his life.

Aftermath: The suicide attempt brought attention to Berkeley's struggles with mental health, which were exacerbated by the pressures of his career and personal life. Following the incident, he took some time away from the spotlight to recover.

Professional and Personal Impact: The suicide attempt marked a turning point for Berkeley. Though he continued to work in the entertainment industry, the incident underscored the difficulties he faced beyond his professional achievements. His health and well-being became a more significant focus, and he began to take on fewer projects, often working behind the scenes rather than directing major films.

Directing Style of Busby Berkeley:

Busby Berkeley's directing style is renowned for its innovative and extravagant approach to musical choreography and cinematography. His work, particularly during the 1930s and 1940s, set new standards for how musical numbers were presented on film.

Geometric Patterns and Symmetry:

• Innovative Choreography: Berkeley was famous for creating intricate geometric patterns with his dancers. He often arranged large groups of performers in symmetrical formations, creating visually striking images that resembled kaleidoscopes when viewed from above.
• Overhead Shots: He pioneered the use of overhead shots, capturing these formations from directly above. This perspective became a hallmark of his style and added a unique visual dimension to his musical sequences.

Grandiose and Elaborate Production Numbers:

• Scale and Extravagance: Berkeley's musical numbers were known for their grand scale. He employed large casts, elaborate sets, and detailed costumes to create a sense of spectacle. His productions often felt larger than life, transforming simple dance routines into monumental events.
• Fantasy Elements: His sequences frequently incorporated elements of fantasy, blurring the line between reality and imagination. This approach allowed audiences to experience a sense of escapism, especially during the difficult years of the Great Depression.

Fluid Camera Movements:

• Cinematographic Innovation: Berkeley's use of fluid camera movements was groundbreaking. He often employed long tracking shots, crane shots, and complex camera angles to follow the dancers' movements seamlessly. This dynamic camerawork enhanced the fluidity and energy of his musical numbers.
• Editing Techniques: He utilized innovative editing techniques to create seamless transitions between scenes. Quick cuts, dissolves, and other visual effects were used to maintain the rhythm and pace of the musical sequences.

Integration of Music and Dance:

• Synchronization: Berkeley's choreography was meticulously synchronized with the music. He often timed the dancers' movements to match the rhythm and beats of the songs, creating a harmonious blend of audio and visual elements.
• Narrative Integration: While his musical numbers were often spectacular standalone pieces, Berkeley also ensured they were integrated into the narrative of the films. His sequences advanced the plot or developed the characters, rather than serving as mere interludes.

Use of Close-Ups and Visual Detail:

• Focus on Faces: Berkeley frequently used close-ups to highlight individual performers within the larger ensemble. These shots emphasized the emotions and expressions of the dancers, adding a personal touch to the grandiose numbers.
• Attention to Detail: His attention to visual detail extended to costumes, props, and set design. Every element was carefully crafted to contribute to the overall aesthetic and impact of the sequence.

Impact on Musical Films:

• Setting New Standards: Berkeley's innovative techniques set new standards for musical films. His approach to choreography, cinematography, and production design influenced countless filmmakers and choreographers.
• Iconic Sequences: Some of his sequences, such as "The Shadow Waltz" from "Gold Diggers of 1933" and "By a Waterfall" from "Footlight Parade," remain iconic examples of musical filmmaking.

Enduring Appeal:

• Cultural Impact: Berkeley's work continues to be celebrated for its creativity and artistry. His films are studied in film schools and appreciated by new generations of audiences and filmmakers.
• Inspirational Figure: Directors and choreographers in both film and theater draw inspiration from Berkeley's techniques, ensuring that his legacy endures in the world of entertainment.

Awards and Recognition:

Busby Berkeley, though never winning an Academy Award, received three nominations for Best Dance Direction:

• Gold Diggers of 1935 (1935) for "Lullaby of Broadway"
• Gold Diggers of 1937 (1936) for "All’s Fair in Love and War"
• Varsity Show (1937) for "The Finale"

Memorable Quotes:

On his visual style:

The show starts on the stage and ends in the audience’s head."

On his choreographic approach:

"In an era when the average Broadway chorus line paraded like a display of red apples, I wanted to let the chorus girls themselves create the ornamentation of the dance."

Reflecting on his career:

"In the Thirties, when I was with Warner Brothers, I had complete freedom. No one told me how to put a number together."

Movies Directed by Busby Berkeley:

1933: She Had to Say Yes - A romantic comedy about a stenographer who becomes a "customer girl" to help her company's sales. She faces various challenges and romantic entanglements along the way.

1933: Gold Diggers of 1933 - A musical comedy about a group of showgirls struggling during the Great Depression who get involved in a scheme to produce a new show, leading to lavish musical numbers and romantic escapades.

1933: 42nd Street  - A backstage musical that follows the production of a Broadway show. When the leading lady is injured, a young chorus girl steps in to save the day, resulting in spectacular dance sequences.

1933: Footlight Parade - A musical film about a Broadway director who creates live prologues for movies to save his job, featuring intricate dance routines and high-energy performances.

1934: Wonder Bar - Set in a Parisian nightclub, the film revolves around the various patrons and their romantic and dramatic entanglements, highlighted by extravagant musical numbers.

1934: Dames - A musical comedy about a wealthy family dealing with the rebellious actions of their daughter and her involvement in a scandalous Broadway show, featuring Berkeley's signature choreographic style.

1934: Fashions of 1934 - A comedy about a con artist who enters the high-fashion world to pull off a series of scams, eventually leading to extravagant fashion shows and musical sequences.

1935: Gold Diggers of 1935 - A musical comedy focusing on a group of performers who try to put on a lavish stage production at a luxury resort, with plenty of comedic and romantic subplots.

1936: Gold Diggers of 1937 - The film follows a theatrical producer who must raise money for his new show, leading to a series of comedic and musical adventures.

1937: Stage Struck - A backstage comedy about a struggling actress who tries to make it big in the theater world while navigating romantic entanglements and personal challenges.

1938: Gold Diggers in Paris - A musical comedy about a group of American showgirls who travel to Paris to perform in an international dance competition, featuring Berkeley's trademark lavish production numbers.

1939: They Made Me a Criminal - A crime drama about a boxer who goes on the run after being wrongly accused of murder, hiding out with a group of troubled youths on a farm.

1939: Fast and Furious - A comedy-mystery about a married couple who run a rare book business and get involved in solving a murder mystery at a seaside resort.

1939: Babes in Arms - A musical about a group of talented teenagers who put on a show to save their financially troubled families, starring Mickey Rooney and Judy Garland.

1940: Strike Up the Band - A musical comedy about high school students who form a band to compete in a national contest, featuring energetic musical performances and a heartwarming story.

1941: Ziegfeld Girl - The film follows the lives of three women who become showgirls in the legendary Ziegfeld Follies, exploring their personal and professional triumphs and tragedies.

1941: Babes on Broadway - A musical about a group of aspiring performers who put on a Broadway show to raise money for charity, featuring Mickey Rooney and Judy Garland.

1942: Lady Be Good - A musical comedy about the ups and downs of a songwriting couple's marriage, featuring memorable musical numbers and a comedic storyline.

1942: For Me and My Gal - A musical set during World War I about two vaudeville performers who fall in love and dream of making it big on Broadway, starring Judy Garland and Gene Kelly.

1943: The Gang's All Here - A musical comedy featuring a story about a soldier who falls for a showgirl, with the backdrop of a lavish musical revue, including the famous "The Lady in the Tutti Frutti Hat" number.

1949: Take Me Out to the Ball Game - A musical comedy about two vaudeville performers who are also baseball players, dealing with romantic entanglements and team dynamics, starring Gene Kelly and Frank Sinatra.

1952: Million Dollar Mermaid - A biographical musical about the life of Australian swimmer and actress Annette Kellerman, known for her contributions to synchronized swimming and early Hollywood.

1962: Billy Rose's Jumbo - A musical comedy about a struggling circus and its star attraction, a talented elephant named Jumbo, featuring Doris Day and Jimmy Durante.