Daily Southtown

CATCH A CLASSIC Special Theme: Busby Berkeley

- — Jeff Pfeiffer

TCM, Beginning at 7 a.m.

Turner Classic Movies’ final Monday celebratio­n of the work of legendary musical choreograp­her/director Busby Berkeley concludes with today’s 14-film lineup that runs the gamut from some of his earliest bigscreen work to the last films featuring his contributi­ons. First up is the 1932 romantic adventure drama Bird of Paradise, on which Berkeley was an uncredited choreograp­her for a dance scene. This is followed by three films on which Berkeley served as the overall director: the musical comedies I Live for Love (1935), led by Dolores del Rio, and Bright Lights (1935), starring Joe E. Brown

and Ann Dvorak; and She Had to Say Yes (1933), a drama starring Loretta Young that

marked Berkeley’s directoria­l debut. Next are two short films that include highlights of notable Berkeley-staged dance numbers: Three Cheers for the Girls (1943) is a 16-minute showcase of six production numbers from various Warner Bros. musicals, while the 19-minute Calling All Girls (1942) shows the process that Warner Bros. used to select women for the chorus line in movie musicals, presenting as examples clips from 1930s Berkeley production numbers. Moving back into feature-film territory, the lineup continues with Born to Sing (1942), featuring a finale with a musical number directed by Berkeley, followed by two early 1950s production­s that he choreograp­hed: Two Weeks With Love (1950) and Two Tickets to Broadway (1951). Beginning in prime time and continuing into early tomorrow morning are five films from Berkeley’s later career as a film choreograp­her: Million Dollar Mermaid (pictured) (1952), starring Esther Williams; another Williams-led

musical, Easy to Love (1953); Small Town Girl (1953), featuring Jane Powell, Farley Granger and Ann Miller; Rose Marie (1954), with Ann Blyth and Howard Keel; and Billy Rose’s Jumbo (1962), based on the Rodgers and Hart stage musical and starring Doris Day, Jimmy Durante and Martha Raye, which was Berkeley’s final film as choreograp­her.

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