Greatest Song and Dance
Musical Moments and Scenes

I - J

Greatest Song and Dance Musical Moments and Scenes
I - J
Title Screen
Movie Title/Year and Scene Descriptions

Idiot's Delight (1939)

Clark Gable made his musical debut in this MGM film (a version of Robert Sherwood's Pulitzer Prize-winning 1936 play) as American entertainer Harry Van. It was notable as a film Gable made in the same year as Gone With the Wind (1939), and Gable's only film in which he sang and danced.

Gable performed a slightly inferior song-dance rendition of Irving Berlin's Puttin' on the Ritz (pictured), with a straw hat, white cane and bevy of six dancing girls (his traveling all-girl troupe of "Les Blondes") behind him.

I'm No Angel (1933)

Mae West was headlined as a floozy lady lion tamer in a small-town circus act named Tira in this bawdy comedy classic. Quotable wisecracks and one-liners, and racy double entendres in her promiscuous dialogue, suggestive songs and body language added to the film's comical plot.

In an early scene, Tira shook down an admiring, visiting suitor in his hotel room, a Chump named Ernest Brown (Wm. B. Davidson). After learning he was from Dallas, she played a record with the song: No One Loves Me Like That Dallas Man (originally titled No One Does It Like That Dallas Man) (pictured), choosing the appropriate city title from among similar records for Frisco and Memphis Men.

The song's racy lyrics had a number of suggestive lines: "Why, brother, he's a wild horse trainer, With a special whip - Gals you'll go insaner When he gets you in his grip..." She sang and danced seductively in front of him as he warmed up to her: "You're certainly givin' me the time of my life, baby" with her quick reply: "Don't say givin'. I don't like that word givin'." She then gave him a long kiss.

Indiana Jones and the Temple of Doom (1984)

The brilliant, incongruous opening credits to this Indiana Jones action-adventure film included a musical scene in crime lord Lao Che's "Obi-wan" Night Club in Shanghai China of 1935.

The American singer/dancer was Wilhelmina "Willie" Scott (Kate Capshaw) singing (in Chinese!) the 1930's hit song Anything Goes (pictured):

"Yi wang si-i wa ye kan dao / Xin li bian yao la jing bao / jin tian zhi Dao / Anything goes!"

The number blossomed into a full-fledged Busby Berkeley-styled production number with curly blonde-wigged, hatted chorines in silver rhinestone-studded outfits tap-dancing in unison, performing splits, and pulling out red-handkerchiefs that transformed into large billowing red banners of cloth.

It's Always Fair Weather (1955)

This Cinemascopic, widescreen MGM musical (a Betty Comden and Adolph Green collaboration that was co-directed by Gene Kelly and Stanley Donen) reprised the story line of On the Town (1949) (although ten years later and more cynical).

Its male stars Gene Kelly (as Ted Riley), Michael Kidd (the famed choreographer in his first on-screen role, as Angie Valentine) and Dan Dailey (as Doug Hallerton) portrayed wartime buddies who performed an amazing opening dance sequence - a trash-can-lid ballet (pictured). [Note: This routine was later recreated by the Yes/No Group and their hit musical STOMP.]

Also memorable was Kelly's solo musical number I Like Myself (pictured) in which Kelly roller-skated (and tap-danced on the skates) on a New York street sidewalk.

The musical also featured Cyd Charisse (as advertising girl Jackie Leighton, wearing a green dress) solo dancing to Baby, You Knock Me Out (pictured) with Stillman's Gym boxers.

Jailhouse Rock (1957)

In this MGM production, the title song and production number was the memorable, wonderfully-choreographed Jailhouse Rock (pictured twice), with rebellious behind-bars Vince Everett (Elvis Presley in his first major dramatic singing role), musicians and dancers dressed in black leather jackets and striped prison uniforms.

The other memorable numbers included:

  • I Want to Be Free
  • Treat Me Nice
  • You're So Square (Baby, I Don't Care) (pictured twice), sung by Presley and a backup group during a pool party

There were also two tender ballads:

  • Don't Leave Me Now (pictured)
  • Young and Beautiful (pictured), sung to music promotoer and love interest Peggy Van Alden (Judy Tyler) in the concluding moments

The Jazz Singer (1927)

This Warner Brothers film by director Alan Crosland - lauded with an honorary statuette at the Academy Awards as "the pioneer outstanding talking picture, which has revolutionized the industry." In actual fact, more audiences saw the film as a silent film rather than as a talkie, due to the non-proliferation of Vitaphone sound systems in theatres.

The landmark film starred singer Al Jolson as cantor's son Jakie Rabinowitz, who chose a career as a singer (with new name Jack Robin) and alienated his Jewish father, while romancing Mary Dale (May McAvoy).

The musical included singer Al Jolson's two most memorable numbers:

  • Toot Toot Tootsie (pictured), preceded by Jolson's scratchy-sounding, ad-libbed warning and introduction to his audience before his dynamic performance: ("Wait a minute! Wait a minute! You ain't heard nothin' yet. Wait a minute, I tell ya, you ain't heard nothin'! Do you wanna hear 'Toot, Toot, Tootsie!'? All right, hold on, hold on. (To the band leader) Lou, Listen. Play 'Toot, Toot, Tootsie!' Three choruses, you understand. In the third chorus I whistle. Now give it to 'em hard and heavy. Go right ahead!")
  • the lengthy scene of a natural conversation between an affectionate Jack and his mother Sara (Eugenie Besserer) during the singing of Irving Berlin's Blue Skies (pictured) at the piano in his home: ("Did you like that, Mama?...I'm glad of it. I'd rather please you than anybody I know of. Oh, darlin' - will you give me something?...You'll never guess. Shut your eyes, Mama. Shut 'em for little Jakie. I'm gonna steal something. (He kissed her and then laughed) I'll give it back to you someday too - you see if I don't. Mama darlin' - if I'm a success in this show, well, we're gonna move from here. Oh yes, we're gonna move up in the Bronx. A lot of nice green grass up there, and a whole lot of people you know...")

Also memorable was Jolson's curtain-closing blackface make-up performance of My Mammy (pictured twice) - dedicated to his mother seated in the Winter Garden Theater audience when he was down on one knee for the final chorus to her, flinging his arms out toward her and the world:

"Mammy! My little Mammy! The sun shines east. The sun shines west. But I know where the sun shines best. It's on my Mammy I'm talkin' about. Nobody elses. My little Mammy! My heart strings are tangled around, Alabamy. Mammy! I'm comin'! I hope I didn't make you wait! Mammy! I'm comin'! Oh God, I hope I'm not late. Mammy! Don't ya know me? It's your little baby! I'd walk a million miles for one of your smiles! My Mammy!"

The Jolson Story (1946) and Jolson Sings Again (1949)

These musical films made up a two-part biopic of the famed show-biz performer Al Jolson (played by Larry Parks in both films), with Jolson's own voice effectively dubbed over the voice of the actor singing many of his favorite tunes.

The first immensely-popular Technicolored film The Jolson Story (1946), received six Academy Awards nominations, including Best Actor (Larry Parks) and Best Supporting Actor (William Demarest), but won only for Best Musical Scoring and Best Sound Recording.

The second film, the sequel Jolson Sings Again (1949), was directed by Henry Levin, replacing Alfred E. Green. It was nominated for three Academy Awards: Best Story & Screenplay, Best Color Cinematography, and Best Scoring of a Musical Picture.

In Jolson Sings Again, Jolson (Larry Parks) agreed to have his life story committed to film in a major Columbia Pictures film - the first film in fact (a "film within a film") -- The Jolson Story.

In a bizarre, remarkable scene, Al Jolson (Larry Parks) watched a portion of the film being made of his life. In the film screening room during the viewing of a segment of Jolson singing Toot Toot Tootsie in blackface, Jolson kept exclaiming that he loved the impersonating actor: "What's going on here? Who's that?...Who's the guy there?...Wonderful! Who was that?" Afterwards, he was introduced to "a young fellow named Larry Parks" - (Larry Parks himself) in a clever split-screen shot - causing a few double-takes of glances!

The Jolson Story (1946)

Jolson Sings Again (1949)

The Jungle Book (1967)

This was a high-spirited animated Disney musical, loosely based upon the tales of Rudyard Kipling.

It included:

  • the Oscar-nominated Bare Necessities (pictured) sung by fun-loving, carefree Baloo the Bear (voice of Phil Harris) to Mowgli (voice of Bruce Reitherman) - the feral human child raised by wolves
  • I Wanna Be Like You (pictured) sung by orangutan King Louie (voice of Louis Prima) to Mowgli

Greatest Song and Dance Musical Movie Moments and Scenes
(alphabetical by film title)
Introduction | A - 1 | A - 2 | B - 1 | B - 2 | B - 3 | C - 1 | C - 2 | D - 1 | D - 2 | E | F - 1 | F - 2 | G - 1 | G - 2
H - 1 | H - 2 | I - J | K | L - 1 | L - 2 | M - 1 | M - 2 | N - O | P - 1 | P - 2 | R - 1 | R - 2 | S - 1 | S - 2 | S - 3 | T | U - V | W | X - Z

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