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Remember when... Okay, scratch the "remember when?" question this time. Unless there are some really really ancient AMPAS members reading. The Oscars weren't televised yet so nobody could remember this one unless they were there.
What was Judy Garland so happy about at the 1939 Oscars? (circa February 1940)
I mean besides sitting with 'The First Lady of MGM' Norma Shearer which would obviously make anyone euphoric.
Judy G was having a good night because The Wizard of Oz was up for six Oscars including Best Picture. It won two music prizes (Best Score and Best Original Song to the very nearly cut "Over the Rainbow"). Judy also won a special juvenile Oscar, presented to her by her frequent co-star Mickey Rooney who had won the year before.
One wonders why they don't still award those. They weren't annual so it took a special performances for the Academy to go there. They only did so 11 times in their first 33 years ending with Hayley Mills for Polyanna (1960)
I can think of several people through the years who would have been relieved if they passed those out instead of letting the kids compete with the grownups. Every time a child is nominated an adult gets bumped out of the shortlist. I mean would Winona Ryder be an Oscar winner today if Anna Paquin had been given a miniature Oscar instead? Would Madeline Kahn have been an Oscar winner for Paper Moon (1973) if Tatum O'Neal hadn't committed category fraud and won doing so for the same film?
Do you think child acting should be judged separately?
If they were still handing them out do you think Thomas Horn would've been the recipient this year since they obviously liked Extremely Loud and Incredibly Close more than critics did?
Perhaps I should have a child acting category at the Film Bitch Awards. I never know who to nominate at the BFCA "Critics Choice" award in their "young actor" category because I always forget to think about child performances.
Silly me. I had the greatest time at the Judy Garland festival at Lincoln Center this week and the movie I didn't write about Presenting Lily Mars was probably my favorite viewing experience. Rent it! Judy was just so funny in it, it was really charming and I liked her chemistry with Van Heflin (I confess I had to look him up since Shane had slipped my mind and I'd never seen his Best Supporting Actor Oscar performance for Johnny Eager (1941). Have any of you seen that one? Is it worth checking out?
But enough about Lily Mars... on to Judy in another incarnation. The Lincoln Center portion of the festival ends tomorrow though the celebration continues at the Paley Center for Television (since Judy did a lot of variety work on TV in the 50s). The last two films I caught were period musicals and here's the first of them.
The Harvey Girls (1946) I always forget that Judy Garland and Angela Lansbury were contemporaries. They were just three years apart in age (Angela is younger) though in this western musical, Lansbury is clearly meant to be the older woman. Or at least the more experienced one, if you know what I'm saying. Angela is a hardened showgirl (i.e. prostitute) at a rowdy saloon (i.e. casino/brothel) and she's just about the only person in the frontier town who isn't thrilled when Judy Garland arrives "On the Atchison Topeka and the Santa Fe".
In fact, that first big ensemble musical number hilarious stops halfway through just so everyone can gawk at Judy as she steps off the train, like she's the most famous beloved celebrity in the world. The showstopping entrance makes no narrative sense whatsoever -- Judy's "Susan Bradley" being a nobody who is about to start work at Harvey's restaurant -- but it makes perfect movie-movie sense because Judy Garland IS famous and beloved. And if there's a musical number already in progress when Garland arrives at the scene it's basically the Red Sea to her Moses.
The town is divided too, right down the middle, between the wild saloon and the proper restaurant. It's basically a battle for both the soul of the town and the town's most powerful man (John Hodiak) with Lansbury and Garland representing for either side. Guess who wins: The good girl or the bad one? The headliner or the newbie (this was only Lansbury's fourth picture)? I'll give you one guess.
The Harvey Girls hasn't aged as well as some of Garland's output. It's pretty creaky and I don't think it's only due to the print we saw that badly needed some restoration and color correction. Part of the problem is that the film grinds to a halt whenever the typically able Garland isn't front and center. Plus, the songs aren't as memorable as those from her other films. Though the young Cyd Charisse is all porcelain loveliness and Angela Lansbury's perma-scowl is amusing the plot points connecting their numbers and several other characters feel insufficiently developed to hold interest in The Harvey Girls as an ensemble piece. It's always "Can we please get back to Garland?" Still, you can't beat that rare opportunity to see Dorothy dance with her Scarecrow again (Ray Bolger). I think she had missed him most of all. B-
Ultra Culture "the stills photographer is here? fetch me my viewfinder at once!" HEE Movie|Line on the weirdly surprising colors of the new EW issue featuring The Help. (More on this film right here very soon.) Wet Asphalt "how to write a book in three days" regarding Michael Moorcock (of Elric of Melnibone fame. Weird that Hollywood's never managed to make that into a franchise) Scott Feinberg thinks The Artist will be a good case study for Oscar. Will a silent film catch on in today's marketplace? lemonwade doesn't mind the lack of Supes' spit curl but don't get him started on those cape pleats. Show BlitzGame of Thrones director Brian Kirk in discussions to helm Thor 2. er... i worry about this. Thor's saving grace was its humor and Game of Thrones biggest problem as a series is its humorlessness (believe me the book has humor... admittedly of the gallows kind. But still) Scene Stealers h-a-t-e-s on The Change-Up consider this opening bit about that trailer moment where infant poo flies at Justin Bateman's face.
I know how Dave feels. In its opening moments “The Change-Up” took a dump in my mouth, and did not relent until the credits rolled.
Ouch. But then the film really does look terrible. Let me know if you see it and can verify.
Anomalous Material top ten movie roles Lady Gaga could have played. (I myself suspect she cannot act. But I'll hold my tongue.) Socialite Life look i love Neil Patrick Harris but should he and David Burtka really be yachting with Elton John? Shouldn't NPH be doing penance for Beastly and The Smurfs? And by penance I mean: searching tirelessly for scripts that are actually worthy of his talent? Because, awards-show hosting aside, isn't it going to waste?
Unearned vacation! Find a good movie NPH.
Off Cinema Daily What "Internet Filtration System" I'm lol'ing despite the fact that i've screwed this up myself in moments of speed typing. (sigh) Tom Shone wonders if Sarah Palin is suffering from post-traumatic stress disorder. It sounds far-fetched until you actually read what he has to say. The Onion "Obama Turns 50 Despite Republican Opposition" hee.
It's amazing how a change in hairstyles affects your perception about someone. People don't talk about this but that's the #1 thing that's most depressing about losing your hair -- if you're someone who is visually oriented that is -- it really cuts down on the number of ways you can modulate your own look and persona. I am my hair ♪
Judy Fest Stirred, Straight Up With a Twist has a detailed look at The Pirate, which is one of the films I sadly missed at the current Judy Garland retrospective here in NYC. Weirdly I've never seen it despite the fact that Gene Kelly and Judy are both among my top dozen or so favorite movie stars of all time. I absolutely disagree with the comments about Gene Kelly's screen persona though since they directly contradict what I wrote in my For Me and My Gal review about his sexual allure. Enthusiasm has notes on the The Pirate and its camp value. Towleroad In this week's column I wrote up a short bit about Presenting Lily Mars (1943) which is my new favorite that I hadn't yet seen from the Garland canon. Let's raise this film's profile, people. It's really funny and quite fresh. I was tempted to slap it in the face and then take it to bed like some prim but randy 40s heroine. Loved Van Heflin in it.
Bless the Walter Reade theater and The Film Society of Lincoln Center. This summer has been so trying in so many ways, but the Judy Garland retrospective is bliss. It helps that the Walter Reade is such a great place to see older films what with great air conditioning, comfortable seats and a big screen. The same can't (unfortunately) be said for the other prime NYC HQ for cinephiles (Film Forum). Anyway, people often think of Judy as an icon of tragic catharsis: heartbreak voice, trembling gesture, short life... but then you see the movies and she's just got charm for miles, a full range from light touch to direct hit, and she's funny and dazzling. Watching her proves far more joyous than tearful though sometimes the two come together.
I caught two consecutive features earlier this week from the brief moment between her ascendance (Dorothy Gale + allthose Mickey Rooney pictures) and adult superstardom (Meet Me In St. Louis). Both pictures were made around her 20th year, as she left teen stardom behind.
For Me and My Gal (1942) This was the first of Judy Garland's three pairings with Gene Kelly (and his film debut!) and the first picture where she alone was billed above the title, indicating Hollywood's new confidence in her bankability. It's a period piece with Gene & Judy playing low rent vaudeville act "Palmer & Hayden". They're attempting to up their game and become headliners at the Palace (New York) just as Judy's brother and all able bodied young men are being shipped off to World War I. Palmer (Kelly) doesn't want to go when the draft hits him and this relentless career drive looks like cowardice and lack of patriotism to everyone including Hayden (Garland).
Two of the movie musical's greatest bond over song and dance. It's a little bit like that famous scene in ONCE (2007) actually, a kindred spirit discovered at the piano.
The film peaks quite early with the title song, a thrilling example of what modern musicals are always forgetting: songs are supposed to move the story along! "For Me and My Gal" was an old standard at the time -- this is essentially a jukebox musical like Singin' in the Rain -- but it's used as a plot device, the performance of which, falsely casual over coffee, is a sneaky ploy by loveable cad Palmer (Kelly) to win innocent Hayden (Kelly) away from her current act.
As anyone who's ever seen Kelly & Garland perform together knows, they're a match. The ploy will work. That swoony soft tenor of Kelly's, the aural equivalent of a randy comfortable blanket for vocal partners to take to their beds, just nuzzles right up to her more powerful alto, and let's it do the heavier breathing while he moves. And oh how he moves. John Fricke, noted Garland historian, was on hand to introduce the film and he shared that Kelly credited Judy with teaching him how to act for the camera. He didn't yet know how subtly you can play for the camera as opposed to the stage (Before this film he'd become a Broadway sensation in "Pal Joey" and Garland lobbied to hand him this debut.). You can see Kelly's learning curve in this film but as a song and dance man, he just can't be beat.
I amend. The film peaks a little later than that, when Judy sings "After You're Gone" which would become a concert staple for her (see below).
You can chalk up the song's staying power to the weird combo of its fickle tempo changes and Garland's unfaltering emotional control of its content. The film version of this number (I couldn't find a good video), takes place in a improvisational hurry because Kelly has been seeing another woman (Márta Eggerth -- more on her in the next post) and is late to their performance. Garland is essentially selling the song AND three separate character and plot points within its ebbs and crescendos: Hayden's ascendance into a confident entertainer who is able to leave her personal drama offstage, a young girl's immediate and unruly love for a man who is clearly trouble, and a maturing woman's worry about their future as partners. The song is prophecy, future tense, but Garland manages to sell her character's past, immediate present and future depending on the note.
Amazing.
The film's second half -- once we arrive at draft dodging and war bond selling patriotism and even an actual grenade throwing war sequence, is weirdly ungainly and choppy. But the film is definitely worth seeing as a milestone in three of the greatest careers within cinema's musical genre: Garland's, Kelly's, and director Busby Berkeley who considered For Me and My Gal his best film. (People aren't always the best judges of their own work but that's still something.
For Me and My Gal (first half: B+; second half: B-)
As exit music, why not Gene Kelly dueting with wee Liza on the title track years and years after her mama's movie hit it big?
Isn't that sweet?
Next up... the other film from this time period, with some interesting similarities Presenting Lily Mars (1943)
The Lincoln Center and the Paley Center here in NYC have joined forces to celebrate the all-singing all-dancing legend that is Judy Garland!
Shout 'Hallelujah', c'mon get happy!"
Once upon a time she was dubbed "The World's Greatest Entertainer." Few celebrities have ever earned their PR self-mythologizing titles the way Judy G did. There's just no beating her for musical pleasure and cathartic heartbreak. And as if her sensational singing and dancing weren't enough, she was a fine actress, too!
I missed the first week of the celebration being in Michigan but I'll see what I can catch for the remainder of the summer program which ends August 9th. If you're not in New York City, you can always follow along at home as best you can with an impromptu DVD festival.
Still to come in the festival are...
Young Judy: Everybody Sing (1938), For Me and My Gal (1942), Presenting Lily Mars (1943).... and of course a handful with Mickey Rooney: Babes in Arms (1939), Andy Hardy Meets Debutante (1940), Strike Up the Band (1940), Babes on Broadway (1941), Life Begins For Andy Hardy (1941) and Girl Crazy (1943)
Peak Judy: Meet Me in St. Louis (1944) *one of my personal all time favorite films*, The Clock (1945) which was her first non-musical dramatic role, The Harvey Girls (1946),Easter Parade (1948), In the Good Old Summertime (1949), Summer Stock (1950), and the legendary A Star is Born (1954) in which Judy gives one of the greatest performances of all time. It should have won her the Oscar with ease.
Late Period Judy: Judgment at Nuremberg (1961) *Judy's final Oscar nomination*, A Child is Waiting (1963) with Burt Lancaster, and the must-see (for its thinly veiled Judy autiobiopic'isms) I Could Go On Singing (1963). Meanwhile, over at The Paley Center there's a longer celebration of her television years which runs through August 18th [more info here].
Watch a Judy Garland film this week! Which would you choose?
Tuesday, February 14, 2012 at 7:00PM 
