Color / 176 mins
After a four-year absence from movies, Judy Garland makes her comeback in the style of a true diva in "A Star Is Born."
In 1950, Judy filmed her last film for MGM, "Summer Stock," and then she was released from her contract due to drug use and personal problems. However, happy times were soon ahead. She met B-rate movie producer Sid Luft, married him, and had a daughter (and later a son). The couple decided to try their hand at a film, "A Star Is Born," produced by Warner Brothers, that put Sid Luft on the A-list.
The film opens in the middle of a Hollywood gala, where Judy's character, Esther Blodgett, is in a singing group with two men that is opening for some of the big acts. The group is onstage singing "Gotta Have Me Go With You" when a hopelessly drunk film star, Norman Maine (James Mason) staggers onto the stage. Esther quickly smoothes over the situation by cleverly dancing with Norman, and after the show, he claims that she saved his life. She, like the rest of the world, considers him a lazy slacker and bids him a friendly goodnight.
Later that evening, she is singing in a club, where she performs the sensational number "The Man That Got Away." Norman just happens to be there, amazingly sober, and starts trying to convince her that she has just what it takes....that extra quality....to be a star. He pleads with her for most of the night to stay in the city and audition for his studio. Although she originally thinks the idea's stupid, she relents at the crack of dawn.
After several weeks, no success has been had for Esther Blodgett, and Norman is out of town filming a movie on location. Feeling duped, she does a series of low-paying commercials and struggles to survive. But finally, Norman returns and gets her an audition at his studio, where the makeup department gives her a ridiculous blond wig and practically clown makeup. She journeys to Norman's trailer, where he helps her wash it off and look natural. She aces the audition and is signed.
Esther returns to the studio the next day having been renamed "Vicki Lester," and all of the staff members seem very impersonal and shallow. However, it isn't long until her first picture is out, which contains a very impressive medley of songs, most notably Judy's version of "Swannee," which she was famous for singing throughout her life. Instantly a star, Esther has no trouble making friends, but irritatingly, Norman seems to want to have nothing to do with her.
Despite the fact that Norman is a severe alcoholic, Esther has fallen completely in love with him and tries to win him over. The two start officially dating. One day, Esther enters the studio to record a song for her latest picture, a lovely, emotional little number called "Here's What I'm Here For." While the orchestra is playing, she steals off to a cozy, darkened little stairwell with Norman. The conductor plays the song back, and unbeknownst to Esther and Norman, a hidden microphone had recorded their whole conversation. Norman is heard popping the question on the record....a very public proposal indeed, but very heartfelt!
Of course, Esther accepts, and the two are gleefully married. They share a tender duet, "It's a New World," on their honeymoon, and all looks happy for the time being. However, it isn't long before trouble comes; having grown tired of Norman's constant drunkenness, the studio fires him for holding up production (not much unlike Judy's personal trauma). Undeterred, Esther still makes money for the family; she is now a big star, and performs an amusing sequence called "Someone at Last" one night for Norman. Though the number is very long, Judy gives a thoroughly energetic performance.
Soon, Esther is nominated for an Academy Award. Predictably, her husband skips the ceremony, but when she wins, he shows up drunk. He makes his way up to the stage and totally embarrasses her by giving a little speech about how he needs a job. It isn't long before another mishap occurs and Norman ends up in jail. Esther pleas with the judge for his release, and he is granted it to stay under her care.
The end of this movie is very shocking, so I won't spoil it here.
Judy is just amazing in this movie. Her skillful artistry is very apparent, for it is clearly her show and displays all of her capabilities. She successfully breaks out of the mold that MGM cast her in of the wide-eyed, innocent young woman, which had not been working well in recent years, and became a real character. As Esther Blodgett, Judy shows all of her vulnerability, charm, wit, and sheer talent. Usually in movies, Judy's problems seemed silly and overdramatized; her trials in "A Star Is Born" were realistic and mature. The work as a whole is much deeper than anything else Judy starred in. She pulled the whole thing off with a grace and serenity that only a fantastic actress could have.
James Mason played a convincing Norman Maine, though he pales in comparison to Judy, and besides the two of them, there aren't really any other characters! "A Star Is Born" is basically a one-woman show starring a dynamite powerhouse.
Besides the actors, other things were great as well. The dialogue is interesting and fast-paced, and the lighting, scenery, and costumes add great flair.
In addition, the Warner Brothers two-sided DVD is loaded with special features, including a reconstruction that puts the film at nearly its original length. In 1983, film historian Ronald Haver found audio versions of the cut sequences and restored "A Star Is Born" to nearly its original length.
Twenty-two years after this movie was made, Barbra Streisand starred in a popular remake.
You would like this movie if: you are a Judy fan at all and want to see her in her element. This movie is also for all different types of fans. Even if you don't relish the forced merriment and sentimentality of her earlier movies, you'd still like this one because it feels much more modern and realistic. It's just a different kind of musical.
You might not want to watch it if: you hate long movies. It runs nearly three hours! It also might not be a good choice if you have bad eyes, because the widescreen version is tiny.
Rating: ****
Judy Score: ****
Wednesday, April 23, 2008
Wednesday, April 16, 2008
In the Good Old Summertime (1949)
Color / 103 mins
"In the good old summertime, in the good old summertime. Strolling through the shady lanes with your baby mine!"
Quaint, lush, and beautiful, the MGM Silver Anniversary picture "In the Good Old Summertime" captures Victorian America with style, grace, and nostalgia. Set in long-ago Chicago, the film takes the viewer back to the happy, simple days of neighborhood shops and community picnics.
The film is essentially a remake of 1940's "The Shop Around the Corner", which starred Margaret Sullavan and James Stewart, and the story would later be turned into Tom Hanks and Meg Ryan's hit "You've Got Mail". In all three movies, store clerks who hate each other fall in love through romantic pen pal letters. Although the plot was by no means original, director Robert Z. Leonard knew how to make it work in a splendidly fun musical comedy.
Andrew Delby Larkin (Van Johnson) narrates the opening sequence, a light musical bit that establishes his industrious, if somewhat goofy character. Though he spends much of his time flirting with pal Louise (Marcia Van Dyke) and reading romantic letters from a mysterious pen pal, he is gainfully employed in the music shop of Otto Oberkugen (S.Z. "Cuddles" Sakall). One day, on his way to work, he knocks over a thoroughly disgusted Veronica Fisher (Judy Garland), who later enters the shop and applies for a position. After doing a better job selling a harp than Andrew, she is hired as the newest staff member, to both parties' disliking. After this, Veronica rushes home to her aunt Addie (Lillian Bronson) and pores over her romantic letter of the day.
After a while, the secret lovers decide to meet up. To both Andrew and Veronica's dismay, Mr. Oberkugen keeps them late on the special night to do inventory, but Veronica makes it to the restaurant with time to spare. Andrew shows up and sees her through the window. He has trouble realizing what has just happened, but joins her and annoys her in the restaurant without letting on that he's the writer. Veronica returns home in tears after having her night of bliss with the secret suitor ruined by Andrew Larkin of all people.
Mr. Oberkugen finally proposes to his longtime cashier Nellie (Spring Byington), and the two throw an engagement party in which a rather skilled barbershop quartet entertains. Judy also sings two numbers, the harmonious "Play That Barbershop Chord" and the flighty, silly "I Don't Care".
After all this, Veronica realizes that she has fallen in love with Andrew, but when she sees him hugging Louise, she is devastated. Andrew quickly devises a plan to dethrone the unknown letter writer and win Veronica's heart.
"In the Good Old Summertime" is simply a delightful movie from the start to finish. As it is one of Judy's last films at MGM, the viewer can see the progression of filmmaking in general from her early movies. The plot is very fast-paced, the dialogue is funny and witty, and the Technicolor is beautiful and easy on the eyes. Every player in the cast is wonderful in his or her role, particularly Van Johnson, who carries the film, and the costumes and sets are impeccable.
Even five years later, MGM was still trying to cash in on the success of 1944's "Meet Me in St. Louis", Judy's biggest movie. Set around the turn of the century, "In the Good Old Summertime" shows nostalgia for old America in much the same way, and Judy is cast as the young girl who has no experience with boys, although she had married twice in real life and had a daughter. She also wore a red dress and hairdo very reminiscient of her famous "Have Yourself a Merry Little Christmas" scene (in "St. Louis"), which was a bad move by MGM, as this similarity only heightened the differences between her 1944 and 1949 demeanor. By this time, Judy's drug use had escalated to the point where she was nearly impossible to work with, and she looks tired and washed-up in this film. She would only make one more movie, "Summer Stock", before being fired from MGM.
Perhaps the weakness of this movie is its rather forgettable slew of musical numbers; while mildly entertaining, none are destined for success except for the old tune "In the Good Old Summertime". However, the score is fantastic, and one cannot help but feel that they have traveled back in time.
You would like this movie if: you love the Victorian era, you're a fan of Van Johnson, you want a good old-fashioned romance movie, you want to see Judy be witty, or....the real treat for some may be the introduction of two-year-old Liza Minnelli in the closing scene!
You probably wouldn't be a big fan if: you're intent on hearing Judy sing tremendously memorable songs, you need big musical numbers, you don't enjoy the somewhat saccharine peace and harmony of the early 1900's.
Rating: ***
Judy score: **
"In the good old summertime, in the good old summertime. Strolling through the shady lanes with your baby mine!"
Quaint, lush, and beautiful, the MGM Silver Anniversary picture "In the Good Old Summertime" captures Victorian America with style, grace, and nostalgia. Set in long-ago Chicago, the film takes the viewer back to the happy, simple days of neighborhood shops and community picnics.
The film is essentially a remake of 1940's "The Shop Around the Corner", which starred Margaret Sullavan and James Stewart, and the story would later be turned into Tom Hanks and Meg Ryan's hit "You've Got Mail". In all three movies, store clerks who hate each other fall in love through romantic pen pal letters. Although the plot was by no means original, director Robert Z. Leonard knew how to make it work in a splendidly fun musical comedy.
Andrew Delby Larkin (Van Johnson) narrates the opening sequence, a light musical bit that establishes his industrious, if somewhat goofy character. Though he spends much of his time flirting with pal Louise (Marcia Van Dyke) and reading romantic letters from a mysterious pen pal, he is gainfully employed in the music shop of Otto Oberkugen (S.Z. "Cuddles" Sakall). One day, on his way to work, he knocks over a thoroughly disgusted Veronica Fisher (Judy Garland), who later enters the shop and applies for a position. After doing a better job selling a harp than Andrew, she is hired as the newest staff member, to both parties' disliking. After this, Veronica rushes home to her aunt Addie (Lillian Bronson) and pores over her romantic letter of the day.
After a while, the secret lovers decide to meet up. To both Andrew and Veronica's dismay, Mr. Oberkugen keeps them late on the special night to do inventory, but Veronica makes it to the restaurant with time to spare. Andrew shows up and sees her through the window. He has trouble realizing what has just happened, but joins her and annoys her in the restaurant without letting on that he's the writer. Veronica returns home in tears after having her night of bliss with the secret suitor ruined by Andrew Larkin of all people.
Mr. Oberkugen finally proposes to his longtime cashier Nellie (Spring Byington), and the two throw an engagement party in which a rather skilled barbershop quartet entertains. Judy also sings two numbers, the harmonious "Play That Barbershop Chord" and the flighty, silly "I Don't Care".
After all this, Veronica realizes that she has fallen in love with Andrew, but when she sees him hugging Louise, she is devastated. Andrew quickly devises a plan to dethrone the unknown letter writer and win Veronica's heart.
"In the Good Old Summertime" is simply a delightful movie from the start to finish. As it is one of Judy's last films at MGM, the viewer can see the progression of filmmaking in general from her early movies. The plot is very fast-paced, the dialogue is funny and witty, and the Technicolor is beautiful and easy on the eyes. Every player in the cast is wonderful in his or her role, particularly Van Johnson, who carries the film, and the costumes and sets are impeccable.
Even five years later, MGM was still trying to cash in on the success of 1944's "Meet Me in St. Louis", Judy's biggest movie. Set around the turn of the century, "In the Good Old Summertime" shows nostalgia for old America in much the same way, and Judy is cast as the young girl who has no experience with boys, although she had married twice in real life and had a daughter. She also wore a red dress and hairdo very reminiscient of her famous "Have Yourself a Merry Little Christmas" scene (in "St. Louis"), which was a bad move by MGM, as this similarity only heightened the differences between her 1944 and 1949 demeanor. By this time, Judy's drug use had escalated to the point where she was nearly impossible to work with, and she looks tired and washed-up in this film. She would only make one more movie, "Summer Stock", before being fired from MGM.
Perhaps the weakness of this movie is its rather forgettable slew of musical numbers; while mildly entertaining, none are destined for success except for the old tune "In the Good Old Summertime". However, the score is fantastic, and one cannot help but feel that they have traveled back in time.
You would like this movie if: you love the Victorian era, you're a fan of Van Johnson, you want a good old-fashioned romance movie, you want to see Judy be witty, or....the real treat for some may be the introduction of two-year-old Liza Minnelli in the closing scene!
You probably wouldn't be a big fan if: you're intent on hearing Judy sing tremendously memorable songs, you need big musical numbers, you don't enjoy the somewhat saccharine peace and harmony of the early 1900's.
Rating: ***
Judy score: **
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