"Berkeley's choreography is important less for its movement of the dancers than for its movement of the camera. To overcome the limitations of sound stages, he ripped out walls and drilled through ceilings and dug trenches for his film crews. When a desired effect could not be accomplished with traditional film equipment, he had his budget expanded to include costs for developing custom rigs. His innovations explored ideas that the stationary camera could not. He wanted to take the audience through waterfalls and windows. He wanted lines of dancers to fall away to reveal scenery that in turn would fall away to expose an even larger setting. His dreams were big, but his determination to see them actualized was even bigger.
Even his worst attempts resulted in eminently watchable movies of exhilarating movement, but his best efforts produced startling effects that bordered on surrealistic dream states. In the quintessential Berkeley films Footlight Parade (1933) and 42nd Street (1933), cameras mounted on tracks are sent soaring past a multitude of dancing legs, flailing arms and orchestra instruments. In all, he directed more than twenty musicals, including an underwater sequence with aquatic star Esther Williams."
(Scott Smith, 6 February 2013, Keyframe)
"The Homage: A vivid, sumptuous homage to Georges Méliès's silent film A Trip to the Moon, suggested by directors Jonathan Dayton and Valerie Faris. The band's initial idea of a Busby Berkeley–inspired video was vetoed when they discovered the Red Hot Chili Peppers had done something similar. There's even a ship in it called the S. S. Melies."
(Josh Winning, 7 April 2010, TotalFilm.com)
Fig.1 The Smashing Pumpkins (1996). "Tonight, Tonight"