Judy by the Numbers: "On The Atchison Topeka And The Santa Fe"

Anne Marie is tracking Judy Garland's career through musical numbers...

Though we last left Judy Garland in 1944 crooning from a trolley and cementing a (troubled) place in Hollywood history, this week we must catapult two years into the future to rejoin our musical heroine. The reason has to do with the odd nature of the Studio System in general and this series in specific. Judy Garland actually shot two movies between 1944 and 1945, but because one was delayed due to reshoots (therefore getting bumped to next week) and the other was a straight drama (therefore not fitting a series focused on musical numbers), we must travel through the end of WW2 and the beginning of Judy Garland's marriage to Vincente Minnelli. Thus, in 1946 we arrive in... the Old West? 
 
The Movie: The Harvey Girls (1946)
The Songwriters: Johnny Mercer (lyrics), Harry Warren (music)
The Players: Judy Garland, Angela Lansbury, Ray Bolger, Cyd Charisse, & John Hodiak, directed by George Sidney 

The Story: In 1946, Judy Garland hopped off the trolley and onto a train for a Western-style musical entitled The Harvey Girls. I have to admit, while this is by no means Judy Garland's best musical, it remains a personal favorite for three reasons:

1) Judy Garland sings on a train. 
2) It's a musical western genre mashup that misses Oklahoma! by three years and and one saloon fight.
3) Angela Lansbury plays a chorus girl/prostitute named Em. In fact, the movie is a veritable Who's Who of MGM & the Freed Unit, since it also stars baby Cyd Charisse, the return of former Scarecrow Ray Bolger, deadpan alto Virginia O'Brien, and the delightful dulcet tones of Marjorie Main and Chill Wills!

More importantly for Judy, though, this movie shows the Freed Unit's ability to find a winning formula for its tiny Technicolor titan and stick to it. Like Meet Me in St. Louis before it (and many Freed films after it), The Harvey Girls was a musical that leaned heavily on nostalgia; a period piece mixing authentic songs - conveniently taken from the MGM catalogue - with new insta-classics provided by a rotating stable of songwriters. The plots of each of these movies revolves around Judy meeting, loathing, then learning to love a confounded-but-charismatic man; providing ample opportunity for musical numbers, slapstick, and a brightly-colored battle of the sexes. Though this decision may seem limiting, it also further defined Judy Garland at MGM: Judy's image would embrace the tension between modern stardom and nostalgic Americana, a potent symbol of post-war America.

While You Were Away...

If you're just getting back from a long holiday weekend, catch up!

 

We looked back at Dorothy Dandridge in bondage in Tarzan's Peril...
Talked about the open director's chair for the 007 franchise...
Delivered not one but two new podcasts...
Investigated that cursed farm in The Witch in the latest "The Furniture"...
Reviewed the new X-Men film and looked at the career of Tye Sheridan thus far...

...and shared highlights of the month of May including Thelma & Louise, Oscar's Best Bad Girls, Sing Street, and more. If you've been away, there's lots to read.

P.S. And the Best Shot Episode starring Marlene Dietrich with Morocco (1930) and Blonde Venus (1932). 

HMWYBS: Marlene Dietrich Double Feature

For this week's Best Shot episode we featured two Josef Von Sternberg & Marlene Dietrich pictures. The famous Director/Muse pair made seven films together but we asked Best Shot volunteers to do either Morocco (1930) or Blonde Venus (1932), their first two Hollywood pictures. Let's get right to the choices - click on the photos to enjoy the corresponding articles and participating blogs...

MOROCCO (1930)
Directed by Josef Von Sternberg. Cinematography by Lee Garmes
Nominated for 4 Oscars including Cinematography

What becomes a legend most?
-Dancin Dan on Film

It bizarrely holds together even when the seams look like they are going to burst apart at any second from being buffeted by sand...
-Scopophiliac at the Movies

She strikes quite a figure though throughout the film...
-Sorta That Guy 

BLONDE VENUS (1932)
Directed by Josef Von Sternberg. Cinematography by Bert Glennon

An impression she gives you in one moment she might take back with force in the very next...
-The Film Experience

The frame is much less fussy when Helen is in her element.
-Film Mix Tape 

Dietrich, you little so and so!

For this week's Best Shot Episode: Marlene Dietrich. I asked participants to choose either Morocco (1930) or Blonde Venus (1932).

Her most fascinating scene in Blonde Venus: the confession.

Is Marlene Dietrich a good actress? This question haunted me while watching Blonde Venus, the fascinating Pre-Code movie in which Dietrich plays dozens of archetypes within a brisk 93 minutes: loving mother, drunk floozy, hot temptress, frigid lover, forest nymph, martyred saint, gold digger, confident androgyne, isolated immigrant, jaded bitch, dazzling entertainer. It's enough to give you whiplash if you're trying to get a bead on Helen Jones, her cabaret singer / struggling mother in Blonde Venus (1932).

On the one hand she does everything "wrong." She rarely modulates her voice. Her characterizations aren't especially cohesive -- an impression she gives you in one moment she might take back with force in the very next...

Click to read more ...

Beauty vs Beast: Franchise First Class

Jason from MNPP here hoping everyone here in the States had a good holiday weekend and outside the States then just a plain good weekend, period -- I spent a good three hours (including something like half an hour of trailers) of my weekend in the theater watching the new X-Men movie, as did a few of you (not enough to make the studio happy though) and I gotta say I agree with Nat's take on it - mediocre stuff that needed to embrace its silliness more often. I'd love for just one superhero movie to be about something other than superpowers being the worst burden in all the world, ya know?

Anyway I found myself thinking a lot about Jennifer Lawrence during and after the film - god she seemed miserable, didn't she? She delivered her lines with all the passion of a smurf cadaver. That said I wouldn't be surprised if they could coerce her, with dollars, to revisit Mystique in the future... but for the time being at least she has no contractual obligations to her two big franchises. If she chose to from here on out she could make nothing but David O. Russell movies. (Imagine...) So let's look back at what was.

PREVIOUSLY It was Cillian Murphy against Rachel McAdams in a random Red Eye revisit last week, and it was Bay Breezes for everybody - McAdams' flight-bound final girl took just over 60% of the vote. Said Derreck:

"Team Lisa because she was quick and resourceful. They had the oddest chemistry going on to the point where if he wasn't all terroristy, it would have been nice if they went out for a drink at the end of the movie. But you know, murder and all tends to get in the way of that. Always the years, always the love, always the murder."