How Movie Musicals Taught Me to Love Film

When I was a child, the first movie I can remember vividly watching was, The Wizard of Oz (1939). I remember specifically requesting the film to be replayed over and over again while wearing the classic blue and white Dorothy dress everyday until I outgrew it. The movie with its electrifying technicolor and accompanying soundtrack opened my eyes to this enticing art form of visuals and music. The next couple of films I also remember watching early were, Grease (1978) and Hairspray (2005). Grease was specifically shown to my sister and I because it is one of my mother’s favorite movies. The film, with its rockabilly inspired soundtrack and the late 50s aesthetic was something that I was instantly drawn to, laying the foundation for my future love of classic rock, styles and associated visuals. I felt the same way with the film, Hairspray as it likewise takes inspiration from a similar time period in the early 60s. I strongly loved the eccentricity of the film, how captivating the music was and how it was embedded in the storytelling. Each of these films provided me with an early understanding how music and cinema can intersect into a magnetic and dynamic world you can become entrenched within. Reflecting on these early screenings, I’ve been able to see how movie musicals have fostered my love for film. 

As I have started to explore more types of films from around the world, I have also gained an appreciation for learning more about film genres and their origins. Through learning how instrumental movie musicals were in film history, I’ve begun to see the impact that this genre has had on the art form. The first widely recognized movie musical is the 1927 film, The Jazz Singer directed by Alan Crosland. Prior to this film, silent films were the mainstream and while sound effects and music were occasionally incorporated, The Jazz Singer was the first feature-length film that synchronized dialogue sequences. What I find fascinating about this example is the fact that once technology developed to transition from silent to talking films, music quickly became a staple of film and later on became synonymous with the classic Hollywood film. This genre expansion also allowed for the development of other facets of filmmaking, including  with innovation in camera motion to capture choreography and movement of the performers. This in effect drove technological and structural changes allowing filmmakers to experiment with different forms of visual capturing and bold storytelling. 

As well as being a genre of innovation and invention, movie musicals were also an early genre that incorporated diverse storytelling within eccentric and unique capacities. Movie musicals, typically being based on stage production source material, often told stories that highlighted feelings of marginalization and exclusion. Using examples of, Hairspray, The Rocky Horror Picture Show (1975), and Hedwig and the Angry Inch (2001) offered the opportunity for stories of queer and biopic individuals to tell their stories through a theatrical and musical expression. This representation through film allows those stories to reach a wider audience that isn’t kept exclusive to theater and broadway audiences which can be limited in terms of accessibility. It allowed the chance for someone like me to be introduced not only to a world of musicals but to film as well. These films acted as some of the few representations that I had spoken to about the experience of racial discrimination and gender disparity. With the addition of music, it likewise allowed these stories to not completely define the characters or the film, but allowed for a fuller expression of how identity and art can intersect. That further blossomed my love for film and for interdisciplinary forms of artistic expression. 

With writing about my love for movie musicals, I wanted to mention a few of my favorite examples of movie musicals that I think you’d likely love as well. The first is an obvious classic which is, Stanley Donen’s Singing in the Rain (1952) because of how irresistibly charming it is from its technicolor visuals, to the brilliant choreography, to the spectacular performers by the timeless Gene Kelly and Debbie Reynolds. The next is quite similar from its delectable visuals to also having Gene Kelly in it which is, An American in Paris (1951). The other film I would recommend is within my top four favorites films of all time which is, The Umbrellas of Cherbourg (1964) directed by the incomparable Jacques Demy who is a French director that also made other brilliant films including, The Young’s Girls of Rochefort (1967) which is similarly wonderful. The last few films I’ll mention are within my favorite niche of movie musicals that are inspired by sultry jazz and cabaret aesthetics which are Bob Fosse’s, Cabaret (1972) and Sweet Charity (1969) and Rob Marshall’s Chicago (2002). All of these films completely envelope you as you become mesmerized by their strong visual language and addicting music and choreography. These films have become a staple of my love of cinema and have and will continue to bring me effervescent joy for years to come. 

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