Editing Musical film (section)

==Hollywood musical films==
[[File:WIZARD OF OZ ORIGINAL POSTER 1939.jpg|thumb|right|[[The Wizard of Oz (1939 film)|''The Wizard of Oz'' (1939)]] is considered one of the greatest movies of all time.]]

===1930–1950: The first classical sound era or First Musical Era===
The 1930s through the early 1950s are considered to be the golden age of the musical film, when the genre's popularity was at its highest in the [[Western world]]. [[Disney]]'s [[Snow White and the Seven Dwarfs (1937 film)|''Snow White and the Seven Dwarfs'']], the earliest Disney animated feature film, was a musical which won an honorary Oscar for [[Walt Disney]] at the [[11th Academy Awards]].

====The first musicals====
Musical short films were made by [[Lee de Forest]] in 1923–24. Beginning in 1926, thousands of [[Vitaphone]] shorts were made, many featuring bands, vocalists, and dancers. The earliest feature-length films with synchronized sound had only a soundtrack of music and occasional sound effects that played while the actors portrayed their characters just as they did in silent films: without audible dialogue.<ref name=KenrickJazz>Kenrick, John. [https://www.musicals101.com/1927-30film.htm "History of Musical Film, 1927-30: Hollywood Learns To Sing"]. Musicals101.com, 2004, accessed May 17, 2010</ref> ''[[The Jazz Singer]]'', released in 1927 by [[Warner Brothers]], was the first to include an audio track including non-[[Diegesis|diegetic]] music and diegetic music, but it had only a short sequence of spoken dialogue. This feature-length film was also a musical, featuring [[Al Jolson]] singing "Dirty Hands, Dirty Face", "Toot, Toot, Tootsie", "[[Blue Skies (1926 song)|Blue Skies]]", and "[[My Mammy]]". Historian [[Scott Eyman]] wrote, "As the film ended and applause grew with the houselights, [[Sam Goldwyn]]'s wife Frances looked around at the celebrities in the crowd. She saw 'terror in all their faces', she said, as if they knew that 'the game they had been playing for years was finally over'."<ref>'"Eyman, Scott. ''The Speed of Sound: Hollywood and the Talkie Revolution'' Simon & Schuster, 1997, p. 160</ref> Still, only isolated sequences featured "live" sound; most of the film had only a synchronous musical score.<ref name=KenrickJazz/> In 1928, Warner Brothers followed this up with another Jolson part-talkie, ''[[The Singing Fool]]'', which was a blockbuster hit.<ref name=KenrickJazz/> Theaters scrambled to install the new sound equipment and to hire [[Broadway theatre|Broadway]] composers to write musicals for the screen.<ref name=KenrickLove>Kenrick, John. [http://www.musicals101.com/1927-30film2.htm "History of Musical Film, 1927-30: Part II"]. Musicals101.com, 2004, accessed May 17, 2010</ref> The first all-talking feature, ''[[Lights of New York (1928 film)|Lights of New York]]'', included a musical sequence in a night club. The enthusiasm of audiences was so great that in less than a year all the major studios were making sound pictures exclusively. ''[[The Broadway Melody]]'' (1929) had a show-biz plot about two sisters competing for a charming song-and-dance man. Advertised by [[Metro-Goldwyn-Mayer|MGM]] as the first "All-Talking, All-Singing, All-Dancing" feature film, it was a hit and won the [[Academy Award for Best Picture]] for 1929. There was a rush by the studios to hire talent from the stage to star in lavishly filmed versions of Broadway hits. ''[[The Love Parade]]'' (Paramount 1929) starred [[Maurice Chevalier]] and newcomer [[Jeanette MacDonald]], written by Broadway veteran [[Guy Bolton]].<ref name=KenrickLove/>

Warner Brothers produced the first screen operetta, ''[[The Desert Song]]'' in 1929. They spared no expense and photographed a large percentage of the film in [[Technicolor]]. This was followed by the first all-color, all-talking musical feature which was entitled ''[[On with the Show (1929 film)|On with the Show]]'' (1929). The most popular film of 1929 was the second all-color, all-talking feature which was entitled ''[[Gold Diggers of Broadway]]'' (1929). This film broke all box office records and remained the highest-grossing film ever produced until 1939. Suddenly, the market became flooded with musicals, revues, and operettas. The following all-color musicals were produced in 1929 and 1930 alone: ''[[The Hollywood Revue of 1929]]'' (1929), ''[[The Show of Shows]]'' (1929), ''[[Sally (1929 film)|Sally]]'' (1929), ''[[The Vagabond King]]'' (1930), ''[[Follow Thru]]'' (1930), ''[[Bright Lights (1930 film)|Bright Lights]]'' (1930), ''[[Golden Dawn (film)|Golden Dawn]]'' (1930), ''[[Hold Everything (1930 film)|Hold Everything]]'' (1930), ''[[The Rogue Song]]'' (1930), ''[[Song of the Flame (film)|Song of the Flame]]'' (1930), ''[[Song of the West]]'' (1930), ''[[Sweet Kitty Bellairs (1930 film)|Sweet Kitty Bellairs]]'' (1930), ''[[Under a Texas Moon]]'' (1930), ''[[Bride of the Regiment]]'' (1930), ''[[Whoopee! (film)|Whoopee!]]'' (1930), ''[[King of Jazz]]'' (1930), ''[[Viennese Nights]]'' (1930), and ''[[Kiss Me Again (1931 film)|Kiss Me Again]]'' (1930). In addition, there were scores of musical features released with color sequences.

Hollywood released more than 100 musical films in 1930, but only 14 in 1931.<ref name=KenrickRodgers>Kenrick, John. [http://www.musicals101.com/1930film.htm "History of Musical Film, 1930s: Part I: 'Hip, Hooray and Ballyhoo'"]. Musicals101.com, 2003, accessed May 17, 2010</ref> By late 1930, audiences had been oversaturated with musicals and studios were forced to cut the music from films that were then being released. For example, ''[[Life of the Party (1930 film)|Life of the Party]]'' (1930) was originally produced as an all-color, all-talking musical comedy. Before it was released, however, the songs were cut out. The same thing happened to ''[[Fifty Million Frenchmen]]'' (1931) and ''[[Manhattan Parade]]'' (1932) both of which had been filmed entirely in [[Technicolor]]. [[Marlene Dietrich]] sang songs successfully in her films, and [[Rodgers and Hart]] wrote a few well-received films, but even their popularity waned by 1932.<ref name=KenrickRodgers/> The public had quickly come to associate color with musicals and thus the decline in their popularity also resulted in a decline in color productions.

====Busby Berkeley====
The taste in musicals revived again in 1933 when director [[Busby Berkeley]] began to enhance the traditional dance number with ideas drawn from the [[Parade (military)|drill]] precision he had experienced as a soldier during [[World War I]]. In films such as ''[[42nd Street (film)|42nd Street]]'' and ''[[Gold Diggers of 1933]]'' (1933), Berkeley choreographed a number of films in his unique style. Berkeley's numbers typically begin on a stage but gradually transcend the limitations of theatrical space: his ingenious routines, involving human bodies forming patterns like a kaleidoscope, could never fit onto a real stage and the intended perspective is viewing from straight above.<ref>Kenrick, John. [http://www.musicals101.com/1930film2.htm "History of Musical Film, 1930s Part II"]. Musicals101.com, 2004, accessed May 17, 2010</ref>

====Musical stars====
Musical stars such as [[Fred Astaire]] and [[Ginger Rogers]] were among the most popular and highly respected personalities in Hollywood during the classical era; the Fred and Ginger pairing was particularly successful, resulting in a number of classic films such as ''[[Top Hat]]'' (1935), ''[[Swing Time (film)|Swing Time]]'' (1936), and ''[[Shall We Dance (1937 film)|Shall We Dance]]'' (1937). Many dramatic actors gladly participated in musicals as a way to break away from their typecasting. For instance, the multi-talented [[James Cagney]] had originally risen to fame as a stage singer and dancer, but his repeated casting in "tough guy" roles and [[mob film]]s gave him few chances to display these talents. Cagney's [[Academy Awards|Oscar]]-winning role in ''[[Yankee Doodle Dandy]]'' (1942) allowed him to sing and dance, and he considered it to be one of his finest moments.

Many comedies (and a few dramas) included their own musical numbers. The [[Marx Brothers]]' films included a musical number in nearly every film, allowing the Brothers to highlight their musical talents. Their final film, entitled ''[[Love Happy]]'' (1949), featured [[Vera-Ellen]], considered to be the best dancer among her colleagues and professionals in the half century.

Similarly, the [[Vaudeville|vaudevillian]] comedian [[W. C. Fields]] joined forces with the comic actress [[Martha Raye]] and the young comedian [[Bob Hope]] in [[Paramount Pictures]] musical anthology ''[[The Big Broadcast of 1938]]''. The film also showcased the talents of several internationally recognized musical artists including: [[Kirsten Flagstad]] (Norwegian operatic soprano), [[Wilfred Pelletier]] (Canadian conductor of the [[Metropolitan Opera|Metropolitan Opera Orchestra]]), [[Tito Guizar]] (Mexican tenor), [[Shep Fields]] conducting his Rippling Rhythm Jazz Orchestra and [[John Serry Sr.]] (Italian-American concert accordionist).<ref>[https://www.imdb.com/title/tt0029912/ ''The Big Broadcast of 1938'' on imdb.con]</ref> In addition to the [[Academy Award for Best Original Song]] (1938), the film earned an [[ASCAP]] Film and Television Award (1989) for Bob Hope's signature song "[[Thanks for the Memory]]".<ref>[https://www.imdb.com/title/tt0029912/awards?ref_=tt_awd ''The Big Broadcast of 1938 - Awards'' on IMDb]</ref>

====The Freed Unit====
[[File:Rock, Rock, Rock! (1956).ogv|thumb|thumbtime=6|upright=1.5|''[[Rock, Rock, Rock (film)|Rock, Rock, Rock]]'', a musical movie from 1956]]During the late 1940s and into the early 1950s, a production unit at [[Metro-Goldwyn-Mayer]] headed by [[Arthur Freed]] made the transition from old-fashioned musical films, whose formula had become repetitive, to something new. (However, they also produced technicolor remakes of such musicals as ''[[Show Boat]]'', which had previously been filmed in the 1930s.) In 1939, Freed was hired as associate producer for the film ''[[Babes in Arms (film)|Babes in Arms]]''. Starting in 1944 with ''[[Meet Me in St. Louis]]'', the Freed Unit worked somewhat independently of its own studio to produce some of the most popular and well-known examples of the genre. The products of this unit include ''[[Easter Parade (film)|Easter Parade]]'' (1948), ''[[On the Town (film)|On the Town]]'' (1949), ''[[An American in Paris (film)|An American in Paris]]'' (1951), ''[[Singin' in the Rain]]'' (1952), ''[[The Band Wagon]]'' (1953) and ''[[Gigi (1958 film)|Gigi]]'' (1958). Non-Freed musicals from the studio included ''[[Seven Brides for Seven Brothers]]'' in 1954 and ''[[High Society (1956 film)|High Society]]'' in 1956, and the studio distributed [[Samuel Goldwyn]]'s ''[[Guys and Dolls (film)|Guys and Dolls]]'' in 1955.

This era saw musical stars become household names, including [[Judy Garland]], [[Gene Kelly]], [[Ann Miller]], [[Donald O'Connor]], [[Cyd Charisse]], [[Mickey Rooney]], [[Vera-Ellen]], [[Jane Powell]], [[Howard Keel]], and [[Kathryn Grayson]]. Fred Astaire was also coaxed out of retirement for ''Easter Parade'' and made a permanent comeback.

====Outside MGM====
The other Hollywood studios proved themselves equally adept at tackling the genre at this time, particularly in the 1950s. Four adaptations of [[Rodgers and Hammerstein]] shows - ''[[Oklahoma! (film)|Oklahoma!]]'', ''[[The King and I (1956 film)|The King and I]]'', ''[[Carousel (film)|Carousel]]'', and ''[[South Pacific (1958 film)|South Pacific]]'' - were all successes, while [[Paramount Pictures]] released ''[[White Christmas (film)|White Christmas]]'' and ''[[Funny Face]]'', two films which used previously written music by Irving Berlin and the Gershwins, respectively. [[Warner Bros.]] produced ''[[Calamity Jane (film)|Calamity Jane]]'' and ''[[A Star Is Born (1954 film)|A Star Is Born]]''; the former film was a vehicle for [[Doris Day]], while the latter provided a big-screen comeback for Judy Garland, who had been out of the spotlight since 1950. Meanwhile, director [[Otto Preminger]], better known for "message pictures", made ''[[Carmen Jones (film)|Carmen Jones]]'' and ''[[Porgy and Bess (film)|Porgy and Bess]]'', both starring [[Dorothy Dandridge]], who is considered the first African American A-list film star. Celebrated director [[Howard Hawks]] also ventured into the genre with ''[[Gentlemen Prefer Blondes (1953 film)|Gentlemen Prefer Blondes]]''.{{Original research section|date=October 2010}}
In the 1960s, 1970s, and continuing up to today, the musical film became less of a bankable genre that could be relied upon for sure-fire hits. Audiences for them lessened and fewer musical films were produced as the genre became less mainstream and more specialized.

===The 1960s musical===
In the 1960s, the critical and box-office success of the films ''[[West Side Story (1961 film)|West Side Story]]'', ''[[Gypsy (1962 film)|Gypsy]]'', ''[[The Music Man (1962 film)|The Music Man]]'', ''[[Bye Bye Birdie (1963 film)|Bye Bye Birdie]]'', ''[[My Fair Lady (film)|My Fair Lady]]'', ''[[Mary Poppins (film)|Mary Poppins]]'', ''[[The Sound of Music (film)|The Sound of Music]]'', ''[[A Funny Thing Happened on the Way to the Forum (film)|A Funny Thing Happened on the Way to the Forum]]'', ''[[The Jungle Book (1967 film)|The Jungle Book]]'', ''[[Thoroughly Modern Millie]]'', ''[[Oliver! (film)|Oliver!]]'', and ''[[Funny Girl (film)|Funny Girl]]'' suggested that the traditional musical was in good health, while French filmmaker [[Jacques Demy]]'s [[jazz]] musicals ''[[The Umbrellas of Cherbourg]]'' and ''[[The Young Girls of Rochefort]]'' were popular with international critics. However popular musical tastes were being heavily affected by [[rock and roll]] and the freedom and youth associated with it, and indeed [[Elvis Presley]] made a few films that have been equated with the old musicals in terms of form. ''[[A Hard Day's Night (film)|A Hard Day's Night]]'' and ''[[Help! (film)|Help!]]'', starring [[the Beatles]], were audacious. Most of the musical films of the 1950s and 1960s such as ''[[Oklahoma! (film)|Oklahoma!]]'' and ''The Sound of Music'' were straightforward adaptations or restagings of successful stage productions. The most successful musicals of the 1960s created specifically for film were ''Mary Poppins'' and ''The Jungle Book'', two of Disney's biggest hits of all time.

The phenomenal box-office performance of ''The Sound of Music'' gave the major Hollywood studios more confidence to produce lengthy, large-budget musicals. Despite the resounding success of some of these films, Hollywood also produced a large number of musical flops in the late 1960s and early 1970s which appeared to seriously misjudge public taste. The commercially and/or critically unsuccessful films included ''[[Camelot (film)|Camelot]]'', ''[[Finian's Rainbow (1968 film)|Finian's Rainbow]]'', ''[[Hello, Dolly! (film)|Hello Dolly!]]'', ''[[Sweet Charity (film)|Sweet Charity]]'', ''[[Doctor Dolittle (film)|Doctor Dolittle]]'', ''[[Half a Sixpence (film)|Half a Sixpence]]'', ''[[The Happiest Millionaire]]'', ''[[Star! (film)|Star!]]'', ''[[Darling Lili]]'', ''[[Goodbye, Mr. Chips (1969 film)|Goodbye, Mr. Chips]]'', ''[[Paint Your Wagon (film)|Paint Your Wagon]]'', ''[[Song of Norway (film)|Song of Norway]]'', ''[[On a Clear Day You Can See Forever (film)|On a Clear Day You Can See Forever]]'', ''[[1776 (film)|1776]]'', ''[[Man of La Mancha (film)|Man of La Mancha]]'', ''[[Lost Horizon (1973 film)|Lost Horizon]]'', and ''[[Mame (film)|Mame]]''. Collectively and individually these failures affected the financial viability of several major studios.

===1970s===
In the 1970s, film culture and the changing demographics of filmgoers placed greater emphasis on gritty realism, while the pure entertainment and theatricality of classical-era Hollywood musicals was seen as old-fashioned. Despite this, ''[[Fiddler on the Roof (film)|Fiddler on the Roof]]'' and ''[[Cabaret (1972 film)|Cabaret]]'' were more traditional musicals closely adapted from stage shows and were strong successes with critics and audiences. [[Sexual revolution in 1960s America|Changing cultural mores]] and the abandonment of the [[Motion Picture Production Code|Hays Code]] in 1968 also contributed to changing tastes in film audiences. The 1973 film of [[Andrew Lloyd Webber]] and [[Tim Rice]]'s ''[[Jesus Christ Superstar (film)|Jesus Christ Superstar]]'' was met with some criticism by religious groups but was well received. By the mid-1970s, filmmakers avoided the genre in favor of using music by popular rock or pop bands as background music, partly in hope of selling a [[soundtrack album]] to fans. ''[[The Rocky Horror Picture Show]]'' was originally released in 1975 and was a critical failure until it started [[Midnight movie|midnight screenings]] in the 1980s where it achieved cult status.  That same year also saw the premiere of the R&B band [[Bloodstone (band) |Bloodstone]]'s movie ''[[Train Ride to Hollywood]]'', but problems in distribution rendered it barely getting token theatrical release.<ref>{{cite news |last1=Szebin |first1=Frederick C.|title=Roberta Collins:'Caged Heat'! Diary of a Drive-In Diva:Partyin' and Bustin'-Out with Pam Grier|url= https://archive.org/details/Femme_Fatales_v07n05/page/n45/mode/1up|accessdate=August 28, 2023 |work=Femme Fatales|publisher=King Features Syndicate, Inc. |date=October 1998 |location=Baltimore, Maryland |page=46}}</ref>  The year 1976 saw the release of the low-budget comic musical, ''[[The First Nudie Musical]]'', released by Paramount. The 1978 film version of ''[[Grease (film)|Grease]]'' was a smash hit; its songs were original compositions done in a 1950s pop style. However, the sequel ''[[Grease 2]]'' (released in 1982) bombed at the box-office. Films about performers which incorporated gritty drama and musical numbers interwoven as a [[Diegesis|diegetic]] part of the storyline were produced, such as ''[[Lady Sings the Blues (film)|Lady Sings the Blues]]'', ''[[All That Jazz (film)|All That Jazz]]'', and ''[[New York, New York (1977 film)|New York, New York]]''. Some musicals made in Britain experimented with the form, such as [[Richard Attenborough]]'s ''[[Oh! What a Lovely War]]'' (released in 1969), [[Alan Parker]]'s ''[[Bugsy Malone]]'' and [[Ken Russell]]'s ''[[Tommy (1975 film)|Tommy]]'' and ''[[Lisztomania (film)|Lisztomania]]''.

A number of film musicals were still being made that were financially and/or critically less successful than in the musical's heyday. They include ''[[1776 (film)|1776]]'', ''[[The Wiz (film)|The Wiz]]'', ''[[At Long Last Love]]'', ''[[Mame (film)|Mame]]'', ''[[Man of La Mancha]]'', ''[[Lost Horizon (1973 film)|Lost Horizon]]'','' [[Godspell]]'', ''[[Phantom of the Paradise]]'', ''[[Funny Lady]]'' ([[Barbra Streisand]]'s sequel to ''[[Funny Girl (film)|Funny Girl]]''), ''[[A Little Night Music (film)|A Little Night Music]]'', and ''[[Hair (film)|Hair]]'' amongst others. The critical wrath against ''[[At Long Last Love]]'', in particular, was so strong that it was never released on home video. Fantasy musical films ''[[Scrooge (1970 film)|Scrooge]]'', ''[[The Blue Bird (1976 film)|The Blue Bird]]'', ''[[The Little Prince (1974 film)|The Little Prince]]'', ''[[Willy Wonka & the Chocolate Factory]]'', ''[[Pete's Dragon (1977 film)|Pete's Dragon]]'', and Disney's ''[[Bedknobs and Broomsticks]]'' were also released in the 1970s, the latter winning the [[Academy Award for Best Visual Effects]].

===1980s to 1990s===
By the 1980s, financiers grew increasingly confident in the musical genre, partly buoyed by the relative health of the musical on [[Broadway theatre|Broadway]] and [[West End theatre|London's West End]]. Productions of the 1980s and 1990s included ''[[The Apple (1980 film)|The Apple]]'', ''[[Xanadu (film)|Xanadu]]'', ''[[The Blues Brothers (film)|The Blues Brothers]]'', ''[[Annie (1982 film)|Annie]]'', ''[[Monty Python's The Meaning of Life]]'', ''[[The Best Little Whorehouse in Texas (film)|The Best Little Whorehouse in Texas]]'', ''[[Victor/Victoria]]'', ''[[Footloose (1984 film)|Footloose]]'', ''[[Fast Forward (film)|Fast Forward]]'', ''[[A Chorus Line (film)|A Chorus Line]]'', ''[[Little Shop of Horrors (1986 film)|Little Shop of Horrors]]'', ''[[Forbidden Zone]]'', ''[[Absolute Beginners (film)|Absolute Beginners]]'', ''[[Labyrinth (1986 film)|Labyrinth]]'', ''[[Newsies]]'', ''[[Evita (1996 film)|Evita]]'', and ''[[Everyone Says I Love You]]''. However, ''[[Can't Stop the Music]]'', starring the [[Village People]], was a calamitous attempt to resurrect the old-style musical and was released to audience indifference in 1980. ''[[Little Shop of Horrors (1986 film)|Little Shop of Horrors]]'' was based on an off-Broadway musical adaptation of a 1960 Roger Corman film, a precursor of later film-to-stage-to-film adaptations, including ''[[The Producers (1968 film)|The Producers]]''.

Many [[animated film]]s of the period – predominately from [[List of Disney theatrical animated features|Disney]] – included traditional musical numbers. [[Howard Ashman]], [[Alan Menken]], and [[Stephen Schwartz (composer)|Stephen Schwartz]] had previous musical theater experience and wrote songs for animated films during this time, supplanting Disney workhorses the [[Sherman Brothers]]. Starting with 1989's ''[[The Little Mermaid (1989 film)|The Little Mermaid]]'', the [[Disney Renaissance]] gave new life to the musical film. Other successful animated musicals included ''[[Aladdin (1992 Disney film)|Aladdin]]'', ''[[The Hunchback of Notre Dame (1996 film)|The Hunchback of Notre Dame]]'', and ''[[Pocahontas (1995 film)|Pocahontas]]'' from Disney proper, ''[[The Nightmare Before Christmas]]'' from Disney division Touchstone Pictures, ''[[The Prince of Egypt]]'' from DreamWorks, ''[[Anastasia (1997 film)|Anastasia]]'' from Fox and Don Bluth, [[Eight Crazy Nights]] from Columbia, and ''[[South Park: Bigger, Longer & Uncut]]'' from Paramount and Warner Bros. [[Beauty and the Beast (1991 film)|''Beauty and the Beast'']], ''[[The Lion King]]'', and others were adapted for the stage after their blockbuster success.

=== 2000–now: The second-classical era or New Musical Era ===

==== 21st-century musicals or New Age ====
In the 21st century, movie musicals were reborn with darker musicals, musical biopics, epic drama musicals and comedy drama musicals such as ''[[O Brother, Where Art Thou?]]'', ''[[Moulin Rouge!]]'', ''[[Chicago (2002 film)|Chicago]]'', ''[[Walk the Line]]'', ''[[Dreamgirls (film)|Dreamgirls]]'', ''[[Sweeney Todd: The Demon Barber of Fleet Street (2007 film)|Sweeney Todd: The Demon Barber of Fleet Street]]'', ''[[Les Misérables (2012 film)|Les Misérables]]'', ''[[La La Land]]'', and ''[[West Side Story (2021 film)|West Side Story]]''; all of which won the [[Golden Globe Award for Best Motion Picture – Musical or Comedy]] in their respective years, while such films as ''[[The Phantom of the Opera (2004 film)|The Phantom of the Opera]]'', ''[[Hairspray (2007 film)|Hairspray]]'', ''[[Mamma Mia! (film)|Mamma Mia!]]'', ''[[Nine (2009 live-action film)|Nine]]'', ''[[Burlesque (2010 American film)|Burlesque]]'', ''[[Into the Woods (film)|Into the Woods]]'', ''[[Sing Street]]'', ''[[The Greatest Showman]]'', ''[[Mary Poppins Returns]]'', ''[[Rocketman (film)|Rocketman]]'', ''[[The Prom (film)|The Prom]]'', ''[[Cyrano (film)|Cyrano]]'', ''[[Tick, Tick... Boom! (film)|Tick, Tick... Boom!]]'', ''[[Elvis (2022 film)|Elvis]]'', ''[[The Color Purple (2023 film)|The Color Purple]]'', and ''[[Wicked (2024 film)|Wicked]]'' were only nominated. ''Chicago'' was also the first musical since ''Oliver!'' to win Best Picture at the Academy Awards.

[[Joshua Oppenheimer]]'s Academy Award-nominated documentary ''[[The Act of Killing]]'' may be considered a nonfiction musical.<ref>{{Cite news|url=https://www2.bfi.org.uk/news-opinion/sight-sound-magazine/interviews/build-my-gallows-high-joshua-oppenheimer-act-killing|title=Build my gallows high: Joshua Oppenheimer on The Act of Killing|work=British Film Institute|access-date=2018-04-29|language=en}}</ref>

One specific musical trend was the rising number of [[jukebox musicals]] based on music from various pop/rock artists on the big screen, some of which based on Broadway shows. Examples of Broadway-based jukebox musical films included ''[[Mamma Mia! (musical)|Mamma Mia]]!'' ([[ABBA]]), ''[[Rock of Ages (2012 film)|Rock of Ages]]'', and ''[[Sunshine on Leith (film)|Sunshine on Leith]]'' ([[The Proclaimers]]). Original ones included ''[[Across the Universe (film)|Across the Universe]]'' ([[The Beatles]]), ''Moulin Rouge!'' (various pop hits), ''[[Idlewild (film)|Idlewild]]'' ([[Outkast]]) and ''[[Yesterday (2019 film)|Yesterday]]'' ([[The Beatles]]).

Disney also returned to musicals with ''Enchanted'', ''[[The Princess and the Frog]]'', ''[[Tangled]]'', ''[[Winnie the Pooh (2011 film)|Winnie the Pooh]]'', ''[[The Muppets (2011 film)|The Muppets]]'', ''[[Frozen (2013 film)|Frozen]]'', ''[[Muppets Most Wanted]]'', ''Into the Woods'', ''[[Moana (2016 film)|Moana]]'', ''Mary Poppins Returns'', ''[[Frozen II]]'', ''[[Stargirl (film)|Stargirl]]'', ''[[Encanto]]'', ''[[Better Nate Than Ever (film)|Better Nate Than Ever]]'', ''[[Hollywood Stargirl]]'', ''[[Disenchanted (film)|Disenchanted]]'', ''[[Wish (film)|Wish]]'', ''[[Moana 2]]'' and ''[[Mufasa: The Lion King]]''. Following a string of successes with [[101 Dalmatians (1996 film)|live]] [[Alice in Wonderland (2010 film)|action]] [[Cinderella (2015 Disney film)|fantasy]] [[Pete's Dragon (2016 film)|adaptations]] of several of their [[Maleficent (film)|animated]] [[The Jungle Book (2016 film)|features]], Disney produced a live action version of ''[[Beauty and the Beast (2017 film)|Beauty and the Beast]]'', the first of this live action fantasy adaptation pack to be an all-out musical, and features new songs as well as new lyrics to both the [[Gaston (song)|Gaston]] number and the reprise of the title song. [[Bill Condon]], who directed ''[[Dreamgirls (film)|Dreamgirls]]'', directed ''Beauty and the Beast''. The second film of this live action fantasy adaptation pack to be an all-out musical was ''[[Aladdin (2019 film)|Aladdin]]'' and features new songs. The third film of this live action fantasy adaptation pack to be an all-out musical was ''[[The Lion King (2019 film)|The Lion King]]'' and features new songs. The fourth film of this live action fantasy adaptation pack to be an all-out musical was ''[[The Little Mermaid (2023 film)|The Little Mermaid]]'' and features new songs with lyrics by [[Lin-Manuel Miranda]], replacing Ashman. [[Pixar]] also produced ''[[Coco (2017 film)|Coco]]'', the first [[computer-animated]] musical film by the company. Other animated musical films include ''[[Happy Feet]]'', ''[[Rio (2011 film)|Rio]]'', ''[[Happy Feet Two]]'', ''[[The Lorax (film)|Dr. Seuss' The Lorax]]'', ''[[Rio 2]]'', ''[[The Book of Life (2014 film)|The Book of Life]]'', ''[[Trolls (film)|Trolls]]'', ''[[Sing (2016 American film)|Sing]]'', ''[[My Little Pony: The Movie (2017 film)|My Little Pony: The Movie]]'', ''[[Smallfoot]]'', ''[[UglyDolls]]'', ''[[Trolls World Tour]]'', ''[[Over the Moon (2020 film)|Over the Moon]]'', ''[[Vivo (film)|Vivo]]'', ''[[Sing 2]]'', ''[[The Bob's Burgers Movie]]'', ''[[Under the Boardwalk (2023 film)|Under the Boardwalk]]'', ''[[Trolls Band Together]]'', ''[[Leo (2023 American film)|Leo]]'', ''[[Thelma the Unicorn]]'', ''[[Spellbound (2024 film)|Spellbound]]'', ''[[KPop Demon Hunters]]'', ''[[Smurfs (film)|Smurfs]]'', ''[[In Your Dreams (film)|In Your Dreams]]'', and ''[[Gabby's Dollhouse: The Movie]]''.

Biopics about music artists and showmen were also big in the 21st century. Examples include ''[[8 Mile (film)|8 Mile]]'' ([[Eminem]]), ''[[Ray (film)|Ray]]'' ([[Ray Charles]]), ''[[Walk the Line]]'' ([[Johnny Cash]] and [[June Carter]]), {{Lang|fr|[[La Vie en rose (film)|La Vie en Rose]]}} ([[Édith Piaf]]), ''[[Notorious (2009 film)|Notorious]]'' ([[Biggie Smalls]]), ''[[Jersey Boys (film)|Jersey Boys]]'' ([[The Four Seasons (band)|The Four Seasons]]) ''[[Love & Mercy (film)|Love & Mercy]]'' ([[Brian Wilson]]), ''[[CrazySexyCool: The TLC Story]]'' ([[TLC (group)|TLC]]), ''[[Aaliyah: The Princess of R&B]]'' ([[Aaliyah]]), ''[[Get on Up (film)|Get on Up]]'' ([[James Brown]]), ''[[Whitney (2015 film)|Whitney]]'' and ''[[Whitney Houston: I Wanna Dance with Somebody|I Wanna Dance With Somebody]]'' ([[Whitney Houston]]), ''[[Straight Outta Compton (film)|Straight Outta Compton]]'' ([[N.W.A]]), ''[[The Greatest Showman]]'' ([[P. T. Barnum]]), ''[[Bohemian Rhapsody (film)|Bohemian Rhapsody]]'' ([[Freddie Mercury]]), ''[[The Dirt (film)|The Dirt]]'' ([[Mötley Crüe]]), ''[[Judy (2019 film)|Judy]]'' ([[Judy Garland]]), ''[[Rocketman (film)|Rocketman]]'' ([[Elton John]]), ''[[Respect (2021 American film)|Respect]]'' ([[Aretha Franklin]]), ''[[Elvis (2022 film)|Elvis]]'' ([[Elvis Presley]]) and ''[[A Complete Unknown]]'' ([[Bob Dylan]]). Grossing over $900 million at the box office ''Bohemian Rhapsody'' is the most commercially successful musical biopic.<ref>{{cite news |title=Bohemian Rhapsody: Queen biopic surpasses $900m at box office |url=https://www.bbc.co.uk/news/entertainment-arts-47939549 |access-date=15 April 2019 |agency=BBC}}</ref>

Director [[Damien Chazelle]] created a musical film called ''[[La La Land]]'', starring [[Ryan Gosling]] and [[Emma Stone]]. It was meant to reintroduce the traditional jazz style of song numbers with influences from the Golden Age of Hollywood and [[Jacques Demy]]'s French musicals while incorporating a contemporary/modern take on the story and characters with balances in fantasy numbers and grounded reality. It received 14 nominations at the [[89th Academy Awards]], tying the record for most nominations with ''[[All About Eve]]'' (1950) and ''[[Titanic (1997 film)|Titanic]]'' (1997), and won the awards for [[Academy Award for Best Director|Best Director]], [[Academy Award for Best Actress|Best Actress]], [[Academy Award for Best Cinematography|Best Cinematography]], [[Academy Award for Best Original Score|Best Original Score]], [[Academy Award for Best Original Song|Best Original Song]], and [[Academy Award for Best Production Design|Best Production Design]].

====Live! television events====
In 2013, [[NBC]] produced ''[[The Sound of Music Live!]]'' as part of their effort for expanded live entertainment events, which became an annual tradition of adaptations of stage musicals, created specifically as live television events. The following years featured ''[[Peter Pan Live!]]'', ''[[The Wiz Live!]]'', ''[[Hairspray Live!]]'', ''[[Jesus Christ Superstar Live in Concert]]'', ''[[Dr. Seuss' The Grinch Musical Live!]]'', and ''[[Annie Live!]]''. [[American Broadcasting Company|ABC]] and [[Fox Broadcasting Company|Fox]] also produced similar events, including ''[[Grease Live!]]'', ''[[A Christmas Story Live!]]'', ''[[Rent: Live]]'', and ''[[The Little Mermaid Live!]]''.<ref>{{Cite web|url=https://www.pastemagazine.com/tv/musicals/live-musicals-on-tv-ranked/|title = Live TV Musicals Ranked, from Worst to Best|date = 6 November 2019}}</ref>