From Broadway to Hollywood: The Evolution of the Song in Film

A Song is born

• The history of the American film musical is, in many ways, the history of the American song. From the very first synchronized sound experiments of the early 1900s to the blockbusters of today, songs have been an integral part of cinema, enhancing both story and emotion on screen. In fact, some of the most iconic moments in film are defined by the songs that accompany them – thinks “Over the Rainbow” from The Wizard of Oz or “I Will Always Love You” from The Bodyguard.
• While popular songs have always had a place in film, it was not until the advent of the Hollywood musical in the 1930s that they became truly integrated into the storytelling. This new genre – which reached its height in the 1950s with classics like Singin’ in the Rain and An American in Paris – saw songs being used not just as background music or diegetic performances, but as a means of furthering the plot and fleshing out the characters. In other words, they became an essential part of the fabric of the film.
• The Hollywood musical was not without its predecessors, however. Throughout the silent era, popular songs were often played over Title Cards to set the mood or convey the emotions of a scene. For example, in Charlie Chaplin’s The Gold Rush (1925), “Sweet Adeline” is used to signify our hero’s hope for love, while “You Made Me Love You” accompanies his heartbreak when he is rejected. In this way, songs were used to great effect in silent films, even though they were not yet synchronized with the images on screen.
• With the advent of sound in film, songs began to be use in new and innovative ways. In many early talkies, popular songs were incorporate into the action as diegetic performances. That is, the characters on screen would actually sing them as part of the scene. For example, in Howard Hawks’ musical comedy Bringing Up Baby (1938). Katharine Hepburn’s character sings “I Can’t Give You Anything but Love” to a baby leopard. While in Ernst Lubitsch’s romantic drama The Love Parade (1929). Maurice Chevalier serenades Jeanette MacDonald with “Isn’t It Romantic?” on the streets of Paris.
• However, it was not until the advent of the Hollywood musical. That songs truly became integrated into the fabric of film. This new genre – which reached its height in the 1950s with classics like Singin’ in the Rain. And An American in Paris – saw songs being use not just as background music or diegetic performances. But as a means of furthering the plot and fleshing out the characters. In other words, they became an essential part of the story.
• One of the earliest and most influential examples of this is The Wizard of Oz (1939), in which each song serves a specific purpose in advancing the plot or developing the characters. For instance, “Over the Rainbow” is use to establish Dorothy’s (Judy Garland) longing for a place beyond her mundane existence in Kansas. While “We’re Off to See the Wizard” conveys the sense of adventure and excitement she feels as she sets off on her journey. Similarly, “Ding Dong! The Witch is dead” not only celebrates the demise of the Wicked Witch of the West (Margaret Hamilton). But also marks Dorothy’s transition from child to adult.
• With its use of songs to further the story and develop the characters. The Wizard of Oz set the template for the Hollywood musical. Which would go on to dominate American cinema in the 1940s and 1950s. This new genre reached its height with classics like Singin’ in the Rain (1952) and An American in Paris (1951). Which used songs to great effect in conveying both story and emotion on screen. In fact, some of the most iconic moments in film are define. By the songs that accompany them – think “Over the Rainbow” from The Wizard of Oz or “I Will Always Love You” from The Bodyguard.
• While popular songs have always had a place in film, it was not until the advent of the Hollywood musical. In the 1930s that they became truly integrated into the storytelling. This new genre – which reached its height in the 1950s with classics like Singin’ in the Rain and An American in Paris. Saw songs being use not just as background music or diegetic performances. But as a means of furthering the plot and fleshing out the characters. In other words, they became an essential part of the film.

Conclusion:

Popular songs have always had a place in film. But it was not until the advent of the Hollywood musical in the 1930s. That they became truly integrated into the storytelling. This new genre – which reached its height in the 1950s. With classics like Singin’ in the Rain and An American in Paris. Saw songs being use not just as background music or diegetic performances. But as a means of furthering the plot and fleshing out the characters. In other words, they became an essential part of the story. This use of songs to further the plot and develop the characters set the template for the Hollywood musical. Which would go on to dominate American cinema in the 1940s and 1950s.