Black and white / 104 minutes
That's what I call a good musical.
Obviously WWII propaganda designed to bring back nostalgia for WWI, "For Me and My Gal" is a love story in the exciting world of vaudeville. It's interesting and fun the whole way through, from the grand orchestration of the opening credits, to the both upbeat and tear-jerking ending.
Gene Kelly makes his film debut as vaudevillian Harry Palmer, who is performing in a B-rate single dancing act. Jo Hayden (Judy Garland) performs in a much more polished, but still small-time act with two friends, Jimmy (George Murphy) and Lily (Lucille Duncan). They are playing in a small town on the same night, and when cocky Harry makes a pass at Jo unboarding the train, she immediately detests him.
Later that night, both are drinking coffee when Harry proposes that Jo join his act. She scoffs at him, but then he brings out a rendition of "For Me and My Gal", which he sings badly. In an effort to help, she joins in, and before long, they are performing a wonderful number. They pair up as "Hayden and Palmer", and of course, it isn't long before Jo falls madly in love with Harry. To complicate things, he lusts after Eve Minard (Martha Eggerth), who is a star. Even worse, Harry is drafted into the Army right before it comes his turn to be famous, and the whole group ends up overseas.
Judy is absolutely spectacular in this film. It's one of her first adult roles, and she handles it with sweetness and sensitivity. Her innocence is not at all contrived, and she separates herself, to a large degree, from the one-dimensional roles of her adolescence. She shades her work well.
Judy's musical numbers in "For Me and My Gal" were astoundingly good, and this film provided bountiful opportunities for her to really show her talent. Directed by Busby Berkeley, she pairs up in a difficult tap dance with Gene Kelly in "For Me and My Gal", and that doesn't hold a candle to the sensational "Ballin' the Jack", which in my opinion is the best dance number that she was ever involved in. She keeps right up to speed with his dancing, and their enthusiasm and chemistry is contagious.
Other notable songs that Judy sang were "After You've Gone", which was a big hit both on the radio and in her concert years; "How Ya Gonna Keep Them Down on the Farm", and "When Johnny Come Marching Home".
Supporting characters provided great performances as well, such as Martha Eggerth's charming and beautiful rendition of "Do I Love You?" and Ben Blue's corny tap numbers.
"For Me and My Gal" keeps a good pace, being thoroughly engaging from the beginning to end and never seeming to drag. Just when you think that you've seen the best musical number, a better one pops up five minutes later, and the enthusiasm keeps building and building until the end.
From the very first second that the characters walk off the train and begin talking, the excitement of vaudeville is captured. That form of entertainment was definitely vanishing by 1942, and now, it is so obsolete that most people know very little about it. The film does a great job of glorifying the era both with great spectacles such as "Ballin' the Jack", tunes of the time like "When You Wore a Tulip", and mundane, behind-the-scenes aspects like finding their dressing rooms, arranging music, and riding trains overnight. And of course, it stays true to every vaudevillian's dream: playing the esteemed Palace in New York City.
The DVD has great special features, including two rare Judy shorts, deleted scenes, and a radio production.
It reminded me a lot of "White Christmas", but I like "For Me and My Gal" better because there's more to the acting.
You would like it if you're: a Judy fan, a Gene Kelly fan, interested in vaudeville, or a fan of musical numbers. If you want both sensational songs and great acting, you should watch "For Me and My Gal".
You wouldn't like it if: the only reason I can think of is if you don't like vaudeville. Then it's definitely the wrong movie for you.
Rating: ****
Judy Score: ***
Friday, January 25, 2008
Thursday, January 24, 2008
Bubbles (1929)
Short subject / Black and white / 8 minutes
Once in awhile, a random creation that isn't a big deal at the time is suddenly very valuable, as in the case of this short subject by the Vitaphone company. Filmed as the last subject in a set, "Bubbles" is now popular because of young Frances Gumm, a seven-year-old soloist who would later hit the big time as Judy Garland.
Long thought to be lost, the film was discovered in the last ten years at the Library of Congress. It was originally filmed in primitive two-strip Technicolor, but only the black and white negative survives. The children in this film are from the Ethel Meglin Dance School, which also taught singing and acting, and they had been incorporated into a group called the Vitaphone Kiddies.
The film opens in a cheesy way, with a creepy old man in overalls and a teenage girl blowing bubbles with two children. Notable here is that the teenage girl is Mae Questel, who would later become the voice of Betty Boop. Then, they are transported to a magical world, the "land of let's pretend", where girls of all ages are dancing and warming up.
Judy appears next as the youngest Gumm Sister, singing with Mary Jane (14) and Jimmie (12). They wear strange costumes that look like clown suits. Little Frances Gumm, or "Baby", as they called her, must have been extremely talented, for at the age of seven, she was selected to sing their solo in the number. This is a rare glance into Judy's vaudeville childhood, and she performs her lines with grace and elegance. Though she is not a standout, she definitely has potential.
On the whole, the singing and dancing in "Bubbles" is superb. After having a childhood of dancing myself, I recognize how amazingly talented Meglin's troupes were. Kids, who appear to be under high school age, perform tap dances on pointe, which is a feat I would never even attempt, nor have I seen anyone else do. One cute little girl has an acrobatics solo, and she performs a one-handed front handspring, two front flips, successive front walkovers, back handsprings, and several hard leaps without the aid of even a mat. The tap dancing is good, and the only act that annoys me at all is this overenthusiastic jazz singer who looks like she's never eaten before in her life. The film is cute, like an elementary school talent show, except that all of the acts are actually good.
This is definitely my favorite of all of her shorts, and it's available on the "Meet Me in St. Louis" 2-disc special edition.
You would like this if: you want to see this rare footage of Judy Garland as a child. Also, everybody who grew up dancing or singing should definitely watch it, because it'll bring back good childhood memories with spectacular talent.
You probably wouldn't like this if: children can be annoying to you. Anyone who hates Shirley Temple will hate this. Also, if you don't like corny things, "Bubbles" is probably not a good idea.
Rating: **
Judy Score: ***
Once in awhile, a random creation that isn't a big deal at the time is suddenly very valuable, as in the case of this short subject by the Vitaphone company. Filmed as the last subject in a set, "Bubbles" is now popular because of young Frances Gumm, a seven-year-old soloist who would later hit the big time as Judy Garland.
Long thought to be lost, the film was discovered in the last ten years at the Library of Congress. It was originally filmed in primitive two-strip Technicolor, but only the black and white negative survives. The children in this film are from the Ethel Meglin Dance School, which also taught singing and acting, and they had been incorporated into a group called the Vitaphone Kiddies.
The film opens in a cheesy way, with a creepy old man in overalls and a teenage girl blowing bubbles with two children. Notable here is that the teenage girl is Mae Questel, who would later become the voice of Betty Boop. Then, they are transported to a magical world, the "land of let's pretend", where girls of all ages are dancing and warming up.
Judy appears next as the youngest Gumm Sister, singing with Mary Jane (14) and Jimmie (12). They wear strange costumes that look like clown suits. Little Frances Gumm, or "Baby", as they called her, must have been extremely talented, for at the age of seven, she was selected to sing their solo in the number. This is a rare glance into Judy's vaudeville childhood, and she performs her lines with grace and elegance. Though she is not a standout, she definitely has potential.
On the whole, the singing and dancing in "Bubbles" is superb. After having a childhood of dancing myself, I recognize how amazingly talented Meglin's troupes were. Kids, who appear to be under high school age, perform tap dances on pointe, which is a feat I would never even attempt, nor have I seen anyone else do. One cute little girl has an acrobatics solo, and she performs a one-handed front handspring, two front flips, successive front walkovers, back handsprings, and several hard leaps without the aid of even a mat. The tap dancing is good, and the only act that annoys me at all is this overenthusiastic jazz singer who looks like she's never eaten before in her life. The film is cute, like an elementary school talent show, except that all of the acts are actually good.
This is definitely my favorite of all of her shorts, and it's available on the "Meet Me in St. Louis" 2-disc special edition.
You would like this if: you want to see this rare footage of Judy Garland as a child. Also, everybody who grew up dancing or singing should definitely watch it, because it'll bring back good childhood memories with spectacular talent.
You probably wouldn't like this if: children can be annoying to you. Anyone who hates Shirley Temple will hate this. Also, if you don't like corny things, "Bubbles" is probably not a good idea.
Rating: **
Judy Score: ***
Wednesday, January 16, 2008
La Fiesta de Santa Barbara (1935)
Short subject; color; about 20 minutes.
"La Fiesta de Santa Barbara" contains the only existing recording of the Garland Sisters since 1929, and they appear in a tiny part of the film singing "La Cucaracha". A high point is seeing sisters Suzy (19, who used to be Mary Jane) and Jimmie (17), especially in their solos, and the harmonies of the group are definitely up to par with standards set by their time. This is the last time the Garland Sisters will ever sing together; Suzy would soon marry musician Lee Kahn, and Judy would be signed by MGM only two months later (curiously, the studio filmed this short and didn't notice her then).
Twelve-year-old Judy has a rich and mature voice, and the act obviously revolves around her at this point. She sings the longest solo, the whole first verse of "La Cucaracha", and though she is in the rough, she is definitely a gem. This is the first time Judy is filmed in color, and the last time until the "Wizard of Oz".
Apart from the Garland Sisters, the short has its good and bad moments. Masquerading as a celebration of Santa Barbara's Spanish heritage, it's politically incorrect to the max, making a mockery of Spaniards. Every sentence contains some superficial, ignorent jab posing as comedy, and curiously, Native Americans are represented in small numbers. There is a really lame bullfight that takes about 10 minutes to actually accomplish, and the bull is obviously an actor in a costume.
There are good points, too. The color is lavish for 1935, and the studio dancers do a couple of beautiful numbers. One ingenuitive girl even performs on her pointes, dancing on a table top, for a long period of time. Overall, the film's interesting and fun in a way, but I've yet to watch the whole 20 minutes without skipping at least something.
It is found as a special feature on the DVD of "For Me and My Gal".
You should watch this if: you are interested in seeing the Garland Sisters or the early three-strip Technicolor recordings, you like Spanish things (but you have a good sense of humor), you like to laugh at extreme corniness, and you love watching lush dance numbers.
This might not be a good idea if: you can't stand stereotyping or you're impatient (the Garland Sisters appear, I believe, about 14 minutes into it, and have a BRIEF part).
Rating: *
Judy Score: **
"La Fiesta de Santa Barbara" contains the only existing recording of the Garland Sisters since 1929, and they appear in a tiny part of the film singing "La Cucaracha". A high point is seeing sisters Suzy (19, who used to be Mary Jane) and Jimmie (17), especially in their solos, and the harmonies of the group are definitely up to par with standards set by their time. This is the last time the Garland Sisters will ever sing together; Suzy would soon marry musician Lee Kahn, and Judy would be signed by MGM only two months later (curiously, the studio filmed this short and didn't notice her then).
Twelve-year-old Judy has a rich and mature voice, and the act obviously revolves around her at this point. She sings the longest solo, the whole first verse of "La Cucaracha", and though she is in the rough, she is definitely a gem. This is the first time Judy is filmed in color, and the last time until the "Wizard of Oz".
Apart from the Garland Sisters, the short has its good and bad moments. Masquerading as a celebration of Santa Barbara's Spanish heritage, it's politically incorrect to the max, making a mockery of Spaniards. Every sentence contains some superficial, ignorent jab posing as comedy, and curiously, Native Americans are represented in small numbers. There is a really lame bullfight that takes about 10 minutes to actually accomplish, and the bull is obviously an actor in a costume.
There are good points, too. The color is lavish for 1935, and the studio dancers do a couple of beautiful numbers. One ingenuitive girl even performs on her pointes, dancing on a table top, for a long period of time. Overall, the film's interesting and fun in a way, but I've yet to watch the whole 20 minutes without skipping at least something.
It is found as a special feature on the DVD of "For Me and My Gal".
You should watch this if: you are interested in seeing the Garland Sisters or the early three-strip Technicolor recordings, you like Spanish things (but you have a good sense of humor), you like to laugh at extreme corniness, and you love watching lush dance numbers.
This might not be a good idea if: you can't stand stereotyping or you're impatient (the Garland Sisters appear, I believe, about 14 minutes into it, and have a BRIEF part).
Rating: *
Judy Score: **
Every Sunday (1936)
Short subject; about 10 minutes; black and white
"Every Sunday" is a short film, that most agree was only shown at an exhibitor's convention, that shows Judy Garland and Deanna Durbin shortly after they were signed at MGM. It is the first film of Garland's after she was signed, though she did appear in one MGM short with her sisters a year prior to this.
Judy (Garland) and Edna (Durbin) are trying to save Edna's grandfather's job conducting an orchestra at a local park. They try to convince everybody in town to attend the concert the next Sunday, but alas, no crowd shows up. In one last desperate chance, Edna takes the stage and sings opera, and people begin to come. After she finishes, Judy sings jazz, and does it very well. Her version of "Waltz With a Swing" and "Americana", which were arranged by her teacher, Roger Edens, show her to be full of life and musically correct at the age of thirteen. The girls conclude by singing a duet, the seats now full with an excited audience, and Edna's grandfather gets to keep his job after all.
Legend is that this was a test devised by Louis B. Mayer, and that one girl would be dropped after its completion. Obviously, Garland stayed and Durbin went to Universal, but one account claims that Universal was noted for changing Edna Mae Durbin's name to Deanna before the film was even made, and that it was in Durbin's contract to do this before she switched. Some people say that Mayer said to "drop the fat one" (meaning Garland) and a mistake was made at the front office, and others say that Durbin was chosen to go. Whatever the reason for making this short, it's a good thing it survived, for it contains a rare rave performance by two thirteen-year-olds. It is included on the special features of the DVD "For Me and My Gal".
You will like this if: you want to see Judy's earliest MGM performance (which is amazing), you are interested in opera and classical music, or you want a cute diversion for the kids.
You might not like it if: short subjects with a silly plot irritate you.
Rating: ***
Judy Score: **
"Every Sunday" is a short film, that most agree was only shown at an exhibitor's convention, that shows Judy Garland and Deanna Durbin shortly after they were signed at MGM. It is the first film of Garland's after she was signed, though she did appear in one MGM short with her sisters a year prior to this.
Judy (Garland) and Edna (Durbin) are trying to save Edna's grandfather's job conducting an orchestra at a local park. They try to convince everybody in town to attend the concert the next Sunday, but alas, no crowd shows up. In one last desperate chance, Edna takes the stage and sings opera, and people begin to come. After she finishes, Judy sings jazz, and does it very well. Her version of "Waltz With a Swing" and "Americana", which were arranged by her teacher, Roger Edens, show her to be full of life and musically correct at the age of thirteen. The girls conclude by singing a duet, the seats now full with an excited audience, and Edna's grandfather gets to keep his job after all.
Legend is that this was a test devised by Louis B. Mayer, and that one girl would be dropped after its completion. Obviously, Garland stayed and Durbin went to Universal, but one account claims that Universal was noted for changing Edna Mae Durbin's name to Deanna before the film was even made, and that it was in Durbin's contract to do this before she switched. Some people say that Mayer said to "drop the fat one" (meaning Garland) and a mistake was made at the front office, and others say that Durbin was chosen to go. Whatever the reason for making this short, it's a good thing it survived, for it contains a rare rave performance by two thirteen-year-olds. It is included on the special features of the DVD "For Me and My Gal".
You will like this if: you want to see Judy's earliest MGM performance (which is amazing), you are interested in opera and classical music, or you want a cute diversion for the kids.
You might not like it if: short subjects with a silly plot irritate you.
Rating: ***
Judy Score: **
Ziegfeld Girl (1941)
Black and white / 132 minutes
The lives of three different talented ladies cross in the musical extravaganza "Ziegfeld Girl", directed by Robert Z. Leonard. I actually consider this to be one of my favorite Judy Garland movies, even though her part isn't huge, because the musical numbers and the plot are just so great.
In the 1920's, Florenz Ziegfeld basically created Broadway-style shows with the "Follies" at the New Amsterdam Theatre. The show glorified the American girl with elaborate costumes and scenery (though now Ziegfeld's use of girls as sexpots would definitely be considered inappropriate). The smokiest, most seductive girls would be featured gracefully walking down stairs, while standout singers, dancers, and comediennes such as Fanny Brice and Marilyn Miller rose to stardom through musical numbers. It was the American dream in every way: any pretty girl could be discovered for the shows, and the stars made millions in the days before income taxes.
It happens just this way in "Ziegfeld Girl". Sheila (Lana Turner) is discovered as an elevator operator; Sondra (Hedy Lamarr) is practically forced to join while she is waiting for her violinist husband to finish his audition; and Susan (Judy Garland) is signed after Ziegfeld sees her vaudeville act.
Throughout the film, the girls undergo different struggles. Sondra, whose husband leaves her when he finds out she's going to be a showgirl, fights temptations that arise when she befriends star crooner Frank Merton (Tony Martin). The pair doesn't have outstanding on-screen chemistry, but Lamarr's glamour makes it all right. She seems to be there for decoration, floating through her Ziegfeld scenes like someone who has been hypnotized, and she's sometimes a little one-dimensional in her mooning for her husband. However, Lamarr's performance is solid, and she serves the purpose of being a desirable woman who rises above it all to settle in once more with her husband and lead a normal life.
Though James Stewart and Judy Garland take the first two credits, the film really belongs to new MGM-signee Lana Turner. After playing in a series of small roles, she rises to fame playing Sheila Hale in "Ziegfeld Girl", a diva who never has had the chance to live richly. After she is discovered as an elevator operator in Brooklyn, she becomes mad for the good life, pushing even those out of the way that are meaningful to her. Since she is exceptionally beautiful and poised, she quickly earns a large paycheck and a host of admirers. She moves into a luxurious apartment and begins a love affair with Geoffrey Collis (Ian Hunter), ignoring her loyal suitor Gil (Stewart), whose truck-driving career can't provide her with all the frills that she needs. Sheila eventually has to hit rock bottom before she can put her life into perspective and settle down.
Judy Garland has a comparatively small role in this movie, shining in musical numbers but having by far the simplest plot of any main character. Unglamorous to the max, she pines after her father (Charles Winninger), from whom she has been separated due to the Follies, and she seems very one-dimensional as she reads his letters in a dreamy, childlike fashion. She is stuck in her usual stereotype: plain, gabby, and unsophisticated, but a good friend and a great talent. Rather than rejecting or succumbing to any serious temptations as a star, she innocently grabs a couple of sodas with Sheila's kid brother, which can hardly be called a romance.
"Ziegfeld Girl" has one of the most interesting and quick-moving plots I've seen in any Judy Garland movie, and having three stories incorporated in it makes for some variety. As a man backstage says, "the Follies is real life, sped up", and we see three possible outcomes of a Follies draftee: a wife, a star, and a terribly fallen star.
The songs themselves are rather unmemorable, with the exception of "You Stepped Out of a Dream", sung by Martin, which would later be covered by numerous jazz artists, and "I'm Always Chasing Rainbows", which Garland would sing throughout her career (perhaps a response to "Over the Rainbow" of two years before). Another one that sticks out is the throwaway vaudeville number "Laugh? I Thought I'd Split My Sides", a cute father-daughter routine of Garland and Winninger's that gives Garland a chance to showcase her talents from her childhood days with the Gumm family act.
If you like amazing, outstanding, lavish musical numbers, this film is definitely for you. Busby Berkeley did an amazing job of bringing the Ziegfeld Follies of the 1920's to life. Even in black and white and without fantastic songs, every number was glitzy, glamorous, and polished. Girls walked up and down stairs in inventive, flowing outfits, and a couple of exceptional dance numbers were included. Garland had two good "Follies" scenes, and every bit of coverage I've ever viewed of the Follies convinces me that Berkeley did a good job of staying true to the style of the original shows.
You'll like this if you want: outstanding musical numbers, lots of glitz and glamour, an interesting plotline, and you're interested in old-time Broadway.
This may not be for you if: you don't like Lana Turner (she's in practically every scene with a crybaby sort of attitude), or you aren't very interested in Broadway.
Rating: ****
Judy Score: **
The lives of three different talented ladies cross in the musical extravaganza "Ziegfeld Girl", directed by Robert Z. Leonard. I actually consider this to be one of my favorite Judy Garland movies, even though her part isn't huge, because the musical numbers and the plot are just so great.
In the 1920's, Florenz Ziegfeld basically created Broadway-style shows with the "Follies" at the New Amsterdam Theatre. The show glorified the American girl with elaborate costumes and scenery (though now Ziegfeld's use of girls as sexpots would definitely be considered inappropriate). The smokiest, most seductive girls would be featured gracefully walking down stairs, while standout singers, dancers, and comediennes such as Fanny Brice and Marilyn Miller rose to stardom through musical numbers. It was the American dream in every way: any pretty girl could be discovered for the shows, and the stars made millions in the days before income taxes.
It happens just this way in "Ziegfeld Girl". Sheila (Lana Turner) is discovered as an elevator operator; Sondra (Hedy Lamarr) is practically forced to join while she is waiting for her violinist husband to finish his audition; and Susan (Judy Garland) is signed after Ziegfeld sees her vaudeville act.
Throughout the film, the girls undergo different struggles. Sondra, whose husband leaves her when he finds out she's going to be a showgirl, fights temptations that arise when she befriends star crooner Frank Merton (Tony Martin). The pair doesn't have outstanding on-screen chemistry, but Lamarr's glamour makes it all right. She seems to be there for decoration, floating through her Ziegfeld scenes like someone who has been hypnotized, and she's sometimes a little one-dimensional in her mooning for her husband. However, Lamarr's performance is solid, and she serves the purpose of being a desirable woman who rises above it all to settle in once more with her husband and lead a normal life.
Though James Stewart and Judy Garland take the first two credits, the film really belongs to new MGM-signee Lana Turner. After playing in a series of small roles, she rises to fame playing Sheila Hale in "Ziegfeld Girl", a diva who never has had the chance to live richly. After she is discovered as an elevator operator in Brooklyn, she becomes mad for the good life, pushing even those out of the way that are meaningful to her. Since she is exceptionally beautiful and poised, she quickly earns a large paycheck and a host of admirers. She moves into a luxurious apartment and begins a love affair with Geoffrey Collis (Ian Hunter), ignoring her loyal suitor Gil (Stewart), whose truck-driving career can't provide her with all the frills that she needs. Sheila eventually has to hit rock bottom before she can put her life into perspective and settle down.
Judy Garland has a comparatively small role in this movie, shining in musical numbers but having by far the simplest plot of any main character. Unglamorous to the max, she pines after her father (Charles Winninger), from whom she has been separated due to the Follies, and she seems very one-dimensional as she reads his letters in a dreamy, childlike fashion. She is stuck in her usual stereotype: plain, gabby, and unsophisticated, but a good friend and a great talent. Rather than rejecting or succumbing to any serious temptations as a star, she innocently grabs a couple of sodas with Sheila's kid brother, which can hardly be called a romance.
"Ziegfeld Girl" has one of the most interesting and quick-moving plots I've seen in any Judy Garland movie, and having three stories incorporated in it makes for some variety. As a man backstage says, "the Follies is real life, sped up", and we see three possible outcomes of a Follies draftee: a wife, a star, and a terribly fallen star.
The songs themselves are rather unmemorable, with the exception of "You Stepped Out of a Dream", sung by Martin, which would later be covered by numerous jazz artists, and "I'm Always Chasing Rainbows", which Garland would sing throughout her career (perhaps a response to "Over the Rainbow" of two years before). Another one that sticks out is the throwaway vaudeville number "Laugh? I Thought I'd Split My Sides", a cute father-daughter routine of Garland and Winninger's that gives Garland a chance to showcase her talents from her childhood days with the Gumm family act.
If you like amazing, outstanding, lavish musical numbers, this film is definitely for you. Busby Berkeley did an amazing job of bringing the Ziegfeld Follies of the 1920's to life. Even in black and white and without fantastic songs, every number was glitzy, glamorous, and polished. Girls walked up and down stairs in inventive, flowing outfits, and a couple of exceptional dance numbers were included. Garland had two good "Follies" scenes, and every bit of coverage I've ever viewed of the Follies convinces me that Berkeley did a good job of staying true to the style of the original shows.
You'll like this if you want: outstanding musical numbers, lots of glitz and glamour, an interesting plotline, and you're interested in old-time Broadway.
This may not be for you if: you don't like Lana Turner (she's in practically every scene with a crybaby sort of attitude), or you aren't very interested in Broadway.
Rating: ****
Judy Score: **
Subscribe to:
Comments (Atom)
