Thoroughbreds Don't Cry

MGM didn't quite know what to do with Judy Garland for the first two years she was under studio contract. After her song 'You Made Me Love You (I Didn't Want to Do It)' to Clark Gable's photograph in her short appearance in "Broadway Melody of 1938," the studio felt it had something unique in the mid-teen actress. Finding a script where it was contoured to her personality, MGM gave Garland her first lead in a movie in November 1937's "Thoroughbreds Don't Cry," with Mickey Rooney. The motion picture became the first of eight the two starred together, creating one of Hollywood's more famous and lovable pairings.

"Thoroughbreds Don't Cry" displays "the talents of Garland and Rooney as they were both on the cusp of superstardom," observed film critic Patrick Nash. "He is all energy and gruff attitude. Her wide-open face and big voice were already fully developed as was her natural comic flair. The movie is worth watching for one reason: to see the moment when Judy Garland just turned 15 and an almost 17 Mickey Rooney created their legendary onscreen chemistry and teamwork."

"Thoroughbreds Don't Cry" was intended to be a low-budgeted 'juvenile' fare with Rooney as a cock-sure horse jockey. He was supposed to play second fiddle to the studio's premier childhood actor, Freddie Bartholomew, but Freddie's adopted mother Aunt Cissy was haggling with MGM over his new contract. The studio then hired the young New Zealand acting sensation Ronald Sinclair to replace Bartholomew, playing arch-rival-turned friend Roger Calverton to Mickey. Roger is the grandson of Sir Peter Calverton (C. Aubrey Smith), who brought his English-raised prize horse over to the United States to be in America's top race, The Cup. Sinclair's Hollywood acting was short-lived: he eventually became producer/director Roger Corman's full-time editor after serving in World War Two.

Judy's role was a last-minute insertion by MGM scriptwriters. She's Cricket West, the daughter of Mother Ralph (Sophie Tucker), who runs a boarding house for the horse track's young jockeys, including Timmie Donovan (Mickey Rooney). Cricket has an eye towards Roger, who sees his grandfather dying, leaving him nothing in his will but his horse. Wanting to make peace between the two rivals, Cricket persuades Timmie to be friends with Roger, agreeing to ride his horse until he gets suspended for throwing a race. With little racing experience, Rogers is forced to ride the horse himself for the Cup.

The exciting horse racing footage seen in "Thoroughbreds Don't Cry" was filmed in the recently-open Santa Anita racetrack, the first bonafide horse track to operate in Southern California. Before its construction, Los Angeles horse racing fans had to journey across the Mexican border into Tijuana to enjoy the sport. When teenager Rooney became of legal age, the actor would spend many afternoons betting on his favorite horses at Santa Anita.

Mickey had become friends with Judy years earlier while both were attending Viola Lawler's Hollywood Professional School. Rooney proceeded Garland in Hollywood, first appearing in front of the camera in 1927. Mickey's popularity soared with the long-running Andy Hardy movies, the first of sixteen filmed in 1937's 'A Family Affair.' Rooney later remarked "Thoroughbreds Don't Cry" was an eye-opener for Garland, who began to feel she might have a future in acting. "Judy and I went to the preview together," recalled Rooney, "and as we watched ourselves on the screen, I sneaked a look every so often at Judy. She seemed rapt by what she saw up there: her own movie persona taking shape. I think it was that night that Judy's star was born." This was the first time Garland saw her credits top-billed. She later appeared in a couple of Andy Hardy movies, including 1938's "Andy Hardy Meets Debutante." Theirs was a close friendship which lasted until her untimely death in 1969.

The first film to feature Mickey Rooney and Judy Garland came up short in the music department as there was only one song written for the film Got A Brand New Pair Of Shoes and it was Judy's. I've a feeling that a lot might have been left on the cutting room floor because Sophie Tucker was also in this film as Judy's grandmother and she sung not a note.

Thoroughbreds Don't Cry features Mickey as a jockey famous for his daring come from behind wins in the stretch and Judy the granddaughter of Sophie Tucker who runs a jockey's boardinghouse where Mickey resides. Into their lives comes C. Aubrey Smith and his young grandson Ronald Sinclair who are titled, but cash poor with only one asset, a prize winning stakes horse called The Pooka. Yes, I do believe it is named for that spirit who manifested himself as a six foot white rabbit in Harvey.

Mickey's the best there is at his profession, but he's fatally compromised because of a no-good gambler of a father in Charles D. Brown who pretends he's on death's door. That's to extort a pledge from Mickey to throw the race The Pooka is running in. Mickey does it and finds out he's been framed. He's put everybody in a jackpot because of this and there is one death that results from it.

Ronald Sinclair substitutes nicely for Freddie Bartholomew who this role was originally intended. But the chemistry with Mickey and Judy was readily apparent and MGM would team them several more times until Words And Music in 1948 which was Mickey's last film for MGM.

But I like more singing and dancing when I see Mickey and Judy and I think more was originally intended. Just the mere fact that Sophie Tucker was in the film leads me to believe she must have had a number that ended up on the cutting room floor. Perhaps one day we'll see a director's cut.

The racing sequences at Santa Anita were handled well, the track was only a few years old at the time and the movie land crowd were frequent visitors and owners of race horses out there. I've seen newsreel footage of Mickey Rooney enjoying the sport of kings there when he was not on a shooting schedule.

Thoroughbreds Don't Cry is a good start for a most auspicious star team, but a whole lot better was to come.

A rum affair. Always noted as Judy's first teaming with Mickey Rooney, but her love interest is Ronald Sinclair, and the plot is more interested in the boys', ahem, friendship. I am bored by constant readings of old movies as coded gay, but you can't ignore the scenes when the boy owner and his jockey move together on horseback, or a protracted episode of Timmie massaging Roger's legs and trying to keep Cricket out of the room. As a jockey Timmie specialises in 'coming from behind'.

Another mystery concerns casting. MGM's first thought was to reunite their British boy wonder, Freddie Bartholomew, with C. Aubrey Smith, reprising the grandfather-grandson relationship of 'Little Lord Fauntleroy'. Barthlomew reportedly dropped out due to a contract fight; yet he stars in the trailer introducing Sinclair, falsely, as an old pal. Judy wrote that he had been dropped when his voice broke.

Sinclair was a New Zealander and not quite as veddy veddy British as most kids from over the water in pre-war Hollywood. Though obliged to wear short pants in most scenes, he does okay in the puppy-love passages with Judy, but soon faded as an actor, transforming into the editor of Roger Corman's horror films.

Rooney, already in the Jolson class for self-confidence, breezes through the plot's twists (one of them, involving his crooked dad, is ingenious) and displays his gift for emoting without seeming soppy. The great C. Aubrey is only in the first half but scores in contriving to make Timmie hitch a ride on The Pookah. Did Cricket get her unusual monicker as a play on the ball game Smith and the English Colony brought to California?

Judy's role is undercooked: her showbiz ambitions remain unfulfilled and her main task is to feed Sophie Tucker, repeating their double act in 'Broadway Melody of 1938'. Again Tucker is cast as a den mother: she does some sleuthing but no singing. Judy's only song, delivered while barred from the massage, is 'Got a Pair of New Shoes'. This was later picked up by Eleanor Powell, star of 'BM38', for her cabaret tap dancing; also Smith and Tucker reappeared in Powell's last vehicle, 'Sensations of 1945'.

A poignant note: uncredited as one of the track stewards is Francis X. Bushman, the rival of Ramon Novarro in 'Ben Hur', MGM's biggest silent picture. From chariot race to horse race in 12 years: a long way down.

In nine subsequent movies Garland and Rooney would cement their status as America's prototypical teenagers- but not yet in this jolly little programmer.

Young English boy (Ronald Sinclair) wants a jockey (Mickey Rooney) to ride his horse in an upcoming race. But the jockey's an arrogant jerk who doesn't want anything to do with the kid. Enter cutie Judy Garland, the niece of Rooney's landlady. She befriends Sinclair and gets Rooney to agree to ride his horse. Things are complicated when Mickey's crooked dad asks him to throw the race.

A rather pedestrian plot sparked some by the delightful Judy and energetic Mickey. This was the very first movie Mickey and Judy Garland did together. Nice support from C. Aubrey Smith and Sophie Tucker, who sadly does not sing. A watchable flick but nothing special.

In a role obviously intended for an absent Freddie Bartholomew, British teenager Ronald Sinclair (as Roger Calverton) arrives in the United States with his grandfather's potentially prize-winning horse "Pookah". At the race-track, young Sinclair admires brash jockey Mickey Rooney (as Timmie Donovan) and wants him to ride "The Pookah" to victory. Sinclair meets perky Judy Garland (as Cricket West) at Mr. Rooney's boarding house, which is run by her assertive aunt Sophie Tucker...

Rooney is typically commanding and Sinclair is a good stand-in for Bartholomew. Accurately predicting she will be a successful singer and actress, Ms. Garland shines in support. Of the other jockeys, tough Frankie Darro (as "Dink" Reid) stands out; he will try to beat Sinclair in the climactic big race. The ending suggests the three leads, plus Ms. Tucker and funny Forrester Harvey (as Wilkins) were on their way to a potential series. The title "Goin' to Town" would have fit nicely...

The most interesting scene has Rooney ardently massaging Sinclair's upper thighs while Garland, outside the bedroom, sings about "Goin' to Town". If director Alfred E. Green asked Rooney to try and avoid Sinclair's buttocks, the advice was ignored. Also, Rooney repeatedly pulls down Sinclair's pants and throws him on his bed. This comes after an unintentionally sexual scene with Rooney teaching Sinclair how to ride a horse. Today, this sort of horseplay is interpreted differently.

****** Thoroughbreds Don't Cry (11/25/37) Alfred E. Green ~ Ronald Sinclair, Mickey Rooney, Judy Garland, Sophie Tucker