La jolie fermière

I think many of the comments posted reflect what many of the posters know about the agonizing production of Judy's final film for MGM. This simple, very corny movie took months and months to shoot and Judy was either late or not appearing or collapsing. Okay. But if we didn't know that, how would we view the finished product? In my opinion none of the stress shows. Garland is by no means "fat" She is at the weight nature--if not MGM--intended. She's on the plump side. She is exquisitely photographed, and well-costumed. She's a farm girl; the over-alls make sense, as well as working to conceal her a bit. The dresses are flattering and designed to give her shape and height. Her face is lovely, still. (Four years later, in "A Star Is Born" she looks harsh and a decade older than her actual age.) Her voice is in top form, especially on "Evening Star" an unjustly forgotten gem. Gene Kelly looks fantastic and gives his all to a movie he didn't want to do. He felt, justifiably, that it was an old Mickey/Judy re-tread. And now, literally, a show was being performed in a barn! But he did it for Judy, who'd given him his movie break in "For Me and My Gal" back in 1941.

It goes on, and meanders, as so many MGM musical do, but it is still a satisfying, enjoyable example of the genre.

And, for all the "hokcum", sentiment and predictable outcomes, "Summer Stock" also offers Judy's best dancing sequence, ever--in any film. For Miss Garland to have risen to the challenge offered, in a movie that offered so few, and in her emotional distress...well, that's genius, folks.

In the canon of MGM musicals of the Golden Age, "Summer Stock" is an overlooked and underrated pleasure. As relaxed as a summer day spent on a farm like the one in the film, this soft shoe of a musical doesn't aim for greatness, though it very nearly reaches it on one or two occasions. Filmed in sunny, bandbox Technicolor, the films opens on Judy Garland singing in her morning shower. She is Jane Falbury, the mistress of a New England farm going to seed. Sassy Marjorie Main is the maid and cook, pretty Gloria DeHaven is her irresponsible sister who has run off to New York to become an actress, and Eddie Bracken is Garland's hopelessly inept fiancee, manager of the local general store. Garland's wry way with a comic line is richly evident in this film, as she trys to deal with one exasperating annoyance after another. She is in superb singing voice, and most charming when she holds one long, belting note to the very end and then, looking into the camera, nearly collapses with mock-exhaustion. Into this bucolic chaos lands handsome Gene Kelly and his troupe of Broadway gypsies, promised by DeHaven that they can use her sister's barn for a summer stock production of Kelly's new musical. With sarcastic assist by Phil Silvers, Kelly sets about convincing a skeptical Garland that one hand can wash the other: if she consents to the barn being used as a theatre, the troupe will help save her foundering farm by performing the daily chores and harvest planting. Of course, all manner of of mishap and misunderstanding ensue; happily, none of them stand in the way of Garland and Kelly performing a handful of enjoyable numbers. After Astaire and Rogers, Garland and Kelly were surely filmdom's most sublime song and dance duo, and they perform one dance here, a jazzed-up "Portland Fancy", which nearly stops the show. Apart from their duets, they shine in solo numbers which are manna to fans of great talent. Both stars ascended greater cinematic heights after this film, Kelly in "Singin In The Rain" and Garland at Warner Bros. for "A Star Is Born", but here in this simple tale are found some of the most compelling examples of their style and grace: Garland singing the yearning "Friendly Star" in the summer moonlight, Kelly whistling "You Wonderful You" on a lonely stage with a discarded newspaper as his partner. But finally, the highlight of the film is to be had by Garland in the big finale at the end. Having been cajoled into joining the troupe for their pre-Broadway opening in her barn, Garland and a phalanx of chorus boys jump off the screen with the Harold Arlen standard "Get Happy". Heralded by the blare of the MGM Studio Orchestra brass section, Garland steps out from behind the black-suited line of men wearing only a tuxedo jacket, black pumps, and a man's hat set rakishly atop her head. Looking chic and sexy, dancing with the boys, she makes the Arlen chestnut her own, and uses her considerable show biz muscle to pull down one of the most memorable performances in musical history. Garland's electrifying number dominates the film's reputation, and deservedly so. It is for one to still marvel how this diminutive, talented actress could, for five or so minutes, turn a breezy, unambitious musical into a great one.

Some moments of this otherwise B-level film are quite astonishing, like Gene Kelly's solo dance with the newspaper or the conversation between Gloria De Haven and Eddie Bracken which gently reveals their affection for each other. But the film, more or less, belongs to Judy Garland- she of the frequently strained health and nerves, who nevertheless made it all look very easy. That said, this is a good one, albeit a corny one. The hillbilly number done with Kelly, Phil Silvers, and the chorus is a bit much, but the film does show off Garland's talent for low-key, witty comedy. And "Get Happy" aside, the 'Portland Fancy' square dance which seamlessly turns into a swing duet with Garland and Kelly is probably the most enjoyable moment of the whole film. (Considering Garland's strength was singing, her dancing was quite impressive.) And my favorite Garland solo is the moonlit ballad "Friendly Star," done almost all in closeup, with the star's beautiful dark eyes on the brink of tears through the whole number. It's a pleasant swan song for her MGM era, but thankfully, her greatest musical (A Star Is Born) was still yet to come.

One reviewer claimed Judy Garland looked overweight and uncomfortable, and to some extent, I agree. She was poorly costumed in ridiculous looking overalls for much of the film. In the black/white show number, while most of the girls wore sleek showgirl outfits, Ms. Garland's dress looked like someone got it stuck in a sewing machine.

That said, I adored this movie because of the performances. Gene Kelly is absolutely stunning...a gorgeous man with a gorgeous voice and dance ability that would make the best Broadway "hoofer" jealous. His scenes and songs with Judy were top-notch.

I had never seen this film until recently, and I was delighted to see "Get Happy" was a part of this film. It's one of the highlights of the movie, along with a special tap dance routine Gene Kelly has with a creaky floorboard and a piece of newspaper (wow, is all I can say about that one).

See this movie because of the stars...they carried it. A truly fun and enjoyable film, despite its flaws.

I actually made a point to see this film after reading about Miss Garland. The final "Get Happy" scene was shot weeks after the film wrapped and Miss Garland was sent to a "clinic"...she was called back only weeks later and fell into a deep depression and was, suppposedly, not in good good shape mentally as she shot that scene but if you notice, she is at least 20 pounds lighter in the scene than the rest of the film. I think this just shows how brilliant Miss Garland really was, to be so troubled but still nail the scene and song that would later be a staple in her act...she truly had something in her that few have ever and will ever possess.