Gene & Judy! “For Me and My Gal” 1942

Gene Kelly and Judy Garland teamed for the first time in "For Me and My Gal."

MGM’s For Me and My Gal boasts two firsts: This was Gene Kelly’s film debut and Judy Garland’s bow in getting billed above the title. The 1942 musical drama may not be as well-remembered as some of Gene and Judy’s best efforts. For Me and My Gal was a big hit on a modest budget, which is always the best bottom line in Hollywood’s book. Gene was given the lead over George Murphy at the last minute, and when Kelly scored, he began a long association with MGM. For Judy, to carry this film meant that Metro’s faith in her was justified.

Judy Garland & Gene Kelly rehearsing in "For Me and My Gal."

Gene Kelly and Judy Garland were on the cusp of 30 and 20 when they filmed For Me and My Gal. Male stars enjoyed a longer shelf life in Hollywood than their female counterparts. Imagine if Metro starred Judy in her first film at age 30—no way. Kelly had done some work on stage, including Pal Joey. Gene’s Irish good looks, athletic build, charm, decent acting ability, and great dancing—all made him a versatile and valued performer. Personally, my only pet peeve with Gene Kelly was his tendency to preen, as if “Look at me!” He didn’t need to.

Judy Garland spars romantically with Gene Kelly in "For Me and My Gal."

Judy Garland truly warrants her name above the title as Jo Hayden. Judy is in youthful voice and good humor, a nimble dancer and a natural in her dramatic scenes. The star is so strong in all the major categories of performing, it’s no wonder MGM considered her their greatest asset. Though some Judy Garland’s films may seem slight by today’s standards, looking over her filmography, Judy’s box office was mighty strong. Only a few of Garland’s first and last films failed to perform, the rest made mountains of money for MGM. This goes a long way to explain why they put up with her problems for so long.

Judy Garland got her name above the title for the first time in "For Me and My Gal."

For Me and My Gal has a major flaw: the story is a clichéd soap opera, set to music. Every time something good happens to Gene and Judy’s vaudeville performers, you just know heartbreak lurks in the next scene. But the two stars ably handle the tear-jerking as well as the song and dance numbers.

Judy Garland, flanked by George Murphy & Gene Kelly in "For Me & My Gal."

This story makes Ziegfeld Girl look like a hard-hitting documentary. Since For Me and My Gal was filmed in the first half of ’42, it looks like this musical morphed into a wartime story, as well. The film’s characters all go off to WWI in gung-ho fashion, to promote patriotic spirit in audiences for the U.S. entry into WWII. The climactic scenes, when Gene’s Harry Palmer redeems himself on the war front, feels especially tacked on. The latter half of the film has plenty of nostalgic WWI-era songs, beautifully sung by Garland and company. MGM was now in full war time propaganda mode, at the behest of FDR. When Judy appears in the finale in uniform, it’s a distinctly World War Two uniform! There’s even a tagline at the finale to buy war bonds.

Judy Garland's "WWI" uniform in "For Me and My Gal."

The most important aspect of For Me and My Gal is to just enjoy great talents Gene Kelly and Judy Garland, at the height of their youthful energy and appeal. Watching “Ballin’ The Jack,” I was amazed by Gene’s high-energy performing, but also admired how nimble Judy was as a dancer, as well. Judy’s great number “After You’re Gone,” is just stunning for this young star.

Gene Kelly & Judy Garland make beautiful music together in "For Me & My Gal."

Interestingly, two show biz up and comers have significant but unbilled performances: future director Richard Quine as Judy’s kid brother and Keenan Wynn as the couple’s tough agent. Wynn would soon become one of MGM’s great character actors.

Richard Quine is unbilled as Judy's kid brother who goes off to war.
Quine later became a director with a knack for romance and comedy.

Busby Berkeley was a rather odd choice as director. He usually helmed splashy musicals, filmed in ‘40s Technicolor. Here, Busby is directing a modestly budgeted dramatic musical in black and white. The dance numbers, which he didn’t even direct, are filmed in straightforward vaudeville style. No busy Busby stunts here!

The supporting cast is fine, save for a very annoying opera singer, who is Judy’s love rival. Why, you ask? MGM honcho L.B. Mayer was obsessed with “class” and was forever overcompensating with his Anglophile fantasies. This opera singer is shrill and looks old enough to be Judy’s mother! It’s the same mentality that gave us Kitty Carlisle and Allan Jones disrupting A Night at the Opera or the semi-operatic ingénues in Mickey and Judy movies. Metro also created the short-termed opera craze with Jeannette MacDonald and Nelson Eddy.

George Murphy, Judy Garland, and Gene Kelly in 1942's "For Me and My Gal."

If you can suspend disbelief with the ‘40s MGM sentiment, you will enjoy Gene and Judy, in all their youthful exuberance and talented glory in For Me and My Gal.

Here’s a much more elaborate musical starring Judy Garland, with Lana Turner and Hedy Lamarr! My look at 1941’s Ziegfeld Girl: https://ricksrealreel.blogspot.com/2021/02/ziegfeld-girl-1941.html

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Is this the secret MGM handshake? Joan visits Judy on the "For Me and My Gal" set.

 

‘Ziegfeld Girl’ 1941

Hedy Lamarr, Judy Garland, and Lana Turner are a magnificent MGM trio in "Ziegfeld Girl."

 

Lana Turner proved to be a most worthy MGM star in "Ziegfeld Girl.”

From bit parts to “B” pictures, Lana Turner made her Hollywood climb to the top in just four years. Turner’s breakout year was 1941, in four films, starting with Ziegfeld Girl. Then Dr. Jekyll and Mr. Hyde was unleashed. Next came Lana’s first teaming with Clark Gable, Honky Tonk, one of her hugest hits. And last, another popular pairing, with Robert Taylor, in Johnny Eager. From then on, Lana Turner was a Movie Star. There were dramatic ups and downs, as with most MGM divas. Still, Lana remained a top leading lady through Madame X in 1966. A 25 year run is remarkable in Hollywood, especially for a woman.

Lana & Jimmy share a laugh on the set.

Ironically, Turner is fourth-billed, though her part is the biggest and juiciest. Jimmy Stewart got top billing as her boyfriend, as he just came off The Philadelphia Story. Co-stars Judy Garland and Hedy Lamarr both play noticeably smaller roles than Turner.

When Lana Turner was first signed by MGM, the plan was to make her “the next Harlow.” Jean had died suddenly at age 26, and Turner signed at Metro the next year in 1938, and stayed until 1956. In reality, Lana was groomed to be the next Joan Crawford, who would soon leave Metro after Turner became a star. MGM loved their “great ladies,” like Norma Shearer, Greer Garson, and Deborah Kerr. But Metro had their sexy stars that often played girls from the wrong side of the tracks, whose movies the public flocked to: Jean Harlow, Joan Crawford, and Lana Turner. Later, Elizabeth Taylor was a hybrid of both!

MGM's "3 Girls" movie!

Ziegfeld Girl is really the idealized world of MGM, rather than a tribute to Flo Ziegfeld’s reign on Broadway. Edward Everett Horton is the never seen Flo’s leg man, so to speak. They find perfect “All-American girls” everywhere. Here, Horton meets elevator operator Sheila Regan (Lana Turner) and gives her his card. Hedy Lamarr happens to be at a Ziegfeld audition for violinist husband. One look at lovely Lamarr and she’s hired. Judy Garland’s vaudeville singer Susan Gallagher actually has to get by on her talent! One trip to Flo’s office and he’s got tickets to her show. Show biz fame and fortune are just that easy in MGM’s world.

On opening night, director John Slayton (Paul Kelly) gives the new girls advice that sounds more like a disclaimer:

 “Listen, kids! I've got something important to say to you. Now, except for a couple of hardened veterans, you're all new to the big time. In a few minutes, you're going on in your first number. Do you know what that means? It means you're Ziegfeld girls. It means you're going to have all the opportunities of a lifetime crowded into a couple of hours. And all the temptations. Some of you are gonna wind up with your names in electric lights. Some of you are gonna wind up with a husband and kids. And some of you are gonna wind up—well, not so good. Now, I know what I'm talking about because I've seen all three happen. But, whatever it is, don't blame the Follies; because, it would've happened even if you were still where Mr. Ziegfeld found you. It just might have taken a little longer. So remember this, kids, and it comes straight from Mr. Ziegfeld: "The Follies is life in one stiff jolt, life running instead of walking, life speeded up to a mile a minute. But if you've got the right stuff, the pace won't bother you. And if you haven't, you'll come a cropper. It's strictly up to you."

Did Lana Turner think she was the property of MGM? My guess is NO!

The set up is a film favorite, “the three girls” story, straight from the “silents” through TV’s Charlie’s Angels and beyond. Each “girl” is usually an archetype: the smart one, the gorgeous one, and the tragic/bad one. Like most of this genre, the men are incidental at best, boring at worst.

Ziegfeld Girl’s story was considered clichéd even in ’41, but that didn’t stop Jacqueline Susann from borrowing from movies like this for her ’66 opus Valley of the Dolls—with yes, three dolls. Hedy Lamarr’s Sandra Kolter is an inspiration for VOTD’s Jennifer North, the beauty who prefers a happy home life. Lana Turner’s Sheila is a much nicer Neely O’Hara, the star who can’t handle fame. Ironically, Judy Garland is the sensible Anne Welles type, who just happens to be a great talent. It’s an eyebrow raiser, near the finale, when Lana’s showgirl drunkenly falls onstage, and Judy’s Susan wonders, “How could a girl do that to her career?”

Book learnin' was given lip service at MGM!

What’s amusing about the director’s lecture is that many of MGM’s great stars gave studio head Louis B. Mayer even greater headaches. Three of the biggest offenders star in this film! Between Turner, Lamarr, and Garland, the women totaled 19 marriages! In the “MGM family,” aside from multiple marriages, the stars’ scandals, mobsters ties, nude films, booze, pills, brushes with the law, suicide attempts, and closeted sexuality, all kept MGM enforcer Eddie Mannix busy for decades.

I’ve mostly seen Lana Turner’s later films, where Lana was often lacquered and posturing. But after watching Turner’s key MGM films, especially Ziegfeld Girl, one can easily see her appeal and Lana’s long hold on audiences. Turner is softly pretty, almost cherubic here. And Lana is certainly glam as she becomes a big showgirl for Flo Ziegfeld, despite being quite petite. Lana hadn’t gone platinum yet, hence her character gets called “Red,” or “Flatbush,” to remind us of Sheila’s humble origins. Every time I heard either name, I kept looking for Susan Hayward. In these rags to riches sagas, the story and the stars are more engaging on the way up, as opposed to the stardom, followed by—naturally—heartbreak!

Lana Turner as Sheila Regan, who rises from elevator operator to Ziegfeld showgirl!

Turner, considering her short time in films, plays most believably, and her Sheila has all the big dramatic scenes. Lana acts very well, even considering the acting style of the era, especially at Metro. Turner’s Sheila goes from sassy, energetic, good girl who loves her family to the big star who doesn’t want to travel back to the wrong side of the tracks. Sheila has her devoted but wise maid spritz the air with perfume above our sleeping beauty each morning. When the big star starts to “day” drink, Sheila brushes off Susan’s warnings (coming from Judy Garland!). She then slips into a bubble bath, in full hair and makeup, sporting an encrusted jewel bow in her hair. One scene that falls a bit flat, after Stewart’s Gil leaves in a huff, Lana’s unhappy star quizzes her maid about the number of her various valuables. When the maid asks what for, Lana shrieks dramatically, “I’m counting my blessings!”

Lana's lush of a star is about to take a bubble bath, looking like this!

Once Sheila hits the skids, Turner is surprisingly good as the slumming star. When she’s scrounging in dive bars for a drink, she reminded me of Lana’s latter day unlucky lady, Madame X. Of course, Lana’s final film walk down the stairs made film history for famous exits.

Lana's showgirl on the skids a rehearsal for "Madame X."

Lana Turner’s early movies make sense of her enduring stardom. Turner didn’t have the animal magnetism of Rita or Ava, the great humor of Lombard or Sheridan, the perfect beauty of Hedy or Liz, or the class of Gene Tierney or Grace Kelly. Lana Turner was more like a prettier, sexier Betty Grable. Lana was the All-American girl, but more sensual, feminine, and with an edge. As Turner’s early stardom evolved, she became a bit slimmer, a lot more blonde, and stylized into the Lana Turner sex bomb of The Postman Always Rings Twice, and beyond. Watching Turner in her younger years is to watch Lana at her most likeable.

Hedy Lamarr as a reluctant showgirl, here with Tony Martin, as a dull love interest.

Hedy Lamarr, who enjoys the revisionist reputation as “Hedy the inventor,” has one of her most naturalistic roles here. And while Lamarr’s part isn’t the longest, it’s refreshing to see her presented as a human being. I have mostly seen Lamarr in her exotic roles, as the stone-faced beauty bathed in lavish costumes and shadows, or as the fiery femme fatale. And I never found her particularly compelling in either persona. Lamarr didn’t have that innate talent, charisma, or fire to pull such roles off. That’s why her film career instantly evaporated after she left MGM. On a much smaller scale, Hedy is much more accessible as Ziegfeld Girl’s Sandra, the reluctant showgirl. She’s working for the money, honey, all to help her violinist husband. A bit like Dolls’ Jennifer, Lamarr’s Sandra conveys bemusement over her beauty and sincerity to her leading man and the other characters. Lamarr doesn’t have a riveting role here. But Hedy is believable and she holds her own just fine with Rose Hobart, as a crooner’s wife, in their confrontation. And aside from the showgirl scenes, Hedy is understated in her hair and makeup. Of course, Lamarr is a wow to look at in her “You Stepped Out of a Dream” number.

Hedy's Sandra the showgirl, in the aptly titled number, "You Stepped Out of a Dream."

As Susan Gallagher, Judy Garland handles humor and drama with surprising aplomb, considering she’s only 18. PS—Lana Turner was just 19 during filming! Judy’s young voice is heavenly here. Her version of “I’m Always Chasing Rainbows” is pure and deeply felt. After dropping the vaudeville take that Susan’s father rehearsed with her, Garland sings a simple, superb version. And it’s a cliché moment when everyone stops to listen to her, and when she’s finished, a star is born! You know what? Judy’s vocals are such a knockout here, that you’d stop in your tracks, too. I love the interplay between Judy and Lana in this scene, when Sheila asks the director to give Susan another chance, and then watches. You sense the camaraderie between the two young stars, and it’s sweet. The “Minnie from Trinidad” number is fun, but given the lightweight number, the elephantine production feels overbearing. And once again, MGM busts out the “tropical makeup” on their star!

Judy Garland in "Minnie From Trinidad." MGM gives a star the "tropical" makeup once again!

Despite top billing, James Stewart is stuck in a supporting part that any MGM second stringer could have played, like James Craig or Robert Sterling. If he’d come to Metro a bit sooner, John Hodiak would have been perfect. If they had, Metro could have treated the part accordingly, and a cut some minutes off this overlong musical. Coming off a string of hits since his big break through in ’39, this must have been a come down for Stewart. And Ziegfeld Girl would be Jimmy’s last movie at Metro, before he went off to war. As truck driver turned bootlegger Gil Young, Stewart is Sheila’s nagging conscience. While he is sore that she is kicking up her heels onstage and off, Gil’s solution is to become a bootlegger, which undercuts his moral high ground. Hey, this was a different, more overtly sexist era! While Stewart does what he can with the role, and it’s far more built up than the other male characters, John Garfield could have played this in his sleep.

The other men in the Ziegfeld girls’ lives include Philip Dorn and Tony Martin, vying over Lamarr. They are the violinist and married crooner, respectively, and the two performers don’t bring much to the paper thin parts. Jackie Cooper is in his male ingénue phase and he does well enough, as Lana’s brother who’s sweet on Judy’s singer. Ian Hunter is sincere as the sugar daddy who wants to marry Lana’s showgirl. Dan Dailey has a very early role as the boxer who hits on Turner’s Sheila, who brushes him off. He’s quite believably repellant, especially when he rubs Sheila’s nose in her downfall.

Star watching is a big reason to watch Ziegfeld Girl, here’s a few: Edward Everett Horton is always great fun as the wily talent scout; Charles Winninger gets a number of moments to shine as Judy’s vaudeville vet dad; Eve Arden is the wisecracking, veteran showgirl; and Felix Bressart as the violinist’s mentor.

MGM girls designed by Adrian. Glam or gaga? 

Busby Berkeley’s choreography and Adrian’s costumes are both eye-popping, though in an over the top way. Berkeley’s contributions, while stunning, drag on to stupefaction. Speaking of drag, Adrian’s costumes are lavish, but so outlandish that they reminded me of a cross between Pee Wee’s Playhouse and Bob Mackie’s most extreme Cher wear. The tropical costumes especially are so literal, with the showgirls wearing sculpted flowers, fish, and sea shells, etc., that they look like Halloween costumes.

One look at Adrian's showgirl getups and you can see he was one of Bob Mackie's inspirations!

Robert Z. Leonard, one of Metro’s top studio directors, handles his cast well, and they perform their roles and bits of business winningly. The storytelling, however, drags as much as the musical numbers. Marguerite Roberts and Sonya Levien wrote the screenplay, which is very wisecracking, to the point of playing like an old movie parody.

Lana Turner makes a dramatic exit in "Ziegfeld Girl," one of her famous film moments!

Ultimately, Ziegfeld Girl is all about the MGM girls. Especially one—Miss Lana Turner. Was Lana a good actress? Turner’s reputation seems to be shifting toward the revisionist territory of being heralded as an unsung great actress, much like Joan Crawford. Like Joan, no one ever doubted that Lana was a great star. That in itself is an achievement, especially as such an enduring star. The few times that Lana was called upon to do some real acting, I think Lana acquitted herself quite well. As for most of her films, Lana played the movie star persona perfectly.

Check out my take on one of Lana’s latter day hit, Imitation of Life: https://ricksrealreel.blogspot.com/2017/12/imitation-of-life-1959.html

Here’s a tribute I wrote about Judy on the 50^th anniversary of her passing:

https://ricksrealreel.blogspot.com/2019/06/what-if-judy-garland-hadnt-gone-over.html

And here’s my look at Hedy Lamarr’s last film, The Female Animal:

https://ricksrealreel.blogspot.com/2019/06/hedys-last-hurrah-as-female-animal-1958.html

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The billing doesn't jive with size of the stars' roles--that's show biz

 

 

 

 

 

 

Judy & Fred Lead an Elegant ‘Easter Parade’ 1948

Garland, Astaire, & the cast sing and dance to a bevy of Irving Berlin songs.

I finally watched MGM’s Easter Parade for the first time two days before Easter, 2020! While I love old-time songs, period movie musicals usually seem too precious to me. However, Easter Parade is playful with the musical conventions it employs, and avoids the obvious pitfalls.

Some film folk have criticized Easter Parade’s tissue thin plot. This Metro musical was before the blockbuster musicals of the ‘50s and ‘60s, usually bolstered by a literary basis. The scenario “boy meets girl,” who banter, bicker, break up, meet back up beaus, but reconcile by the last reel is an old movie staple. And Easter Parade stars Fred Astaire and Judy Garland performed in many of them! I can accept most movie conventions of the past as long as they’re not beyond the pale. If ‘40s movie musical conventions are an irritant to you, let Easter Parade pass you by.

Fred Astaire is astounding in the 'Steppin' Out' number, nearly six minutes of dancing.

Fred Astaire came out of early retirement to take over for Gene Kelly, as dance man Don Hewes. His partner, diva Nadine Hale—Ann Miller in her first MGM movie—ditches him to go solo. Hewes is determined to show she’s dispensable, so he hires singing waitress Hannah Brown, played by Judy Garland. Perfectionist Hewes hectors Hannah, not a stretch, since Fred was one in real life! Soon, the dancing duo is in sync. Hewes young pal is a stage door Johnny—Peter Lawford—who bounces back and forth between Nadine and Hannah, when Hewes wavers. It doesn’t take a film buff to figure out who will be paired up by the finale, but the fun is in the performing.

In fine form at almost 50, Fred Astaire's first 'Easter Parade' number, "Drum Crazy."

Astaire was pushing 50 in Easter Parade, but his dancing is as elegant and energetic as ever. Fred’s opening, “Drum Crazy,” set in a toy store, is a playful blast. My favorite is “Steppin’ Out with My Baby.” Sporting MGM’s “tropical” makeup for this jazzy number, Astaire transcends this with out of this world dancing. The nearly six minute number’s showstopper is when Fred is filmed dancing in slow motion, while his backup dancers perform in real time.

Ann Miller, looking fab and dancing like a dervish, in her first Metro film.

For those familiar with Ann Miller in her latter day black beehive and kewpie doll makeup, will be stunned by Annie at the height of her beauty. Miller’s dancing is incredibly energetic. “Dancin’ the Blues Away” made me dizzy with all of Miller’s dervish spins.  Peter Lawford is basically the male ingénue, and no singer or dancer. As someone who only saw Lawford act in his later dissipated days, I was pleasantly surprised to find handsome Peter warm and charming.

Judy Garland and Peter Lawford at the peak of their youth and MGM stardom.

Last—and best—is Judy Garland. Growing up, I mainly recall Judy as Dorothy in The Wizard of Oz. I later saw A Star is Born; though impressed, Judy seemed a bit physically and emotionally frayed, even then.

Fred & Judy are great fun in "We're a Couple of Swells." Garland later got much mileage out of this musical motif.

What a delight then, to find Judy Garland cooking on all burners in Easter Parade. Judy looks and sounds marvelous as the slip of a thing that becomes a sophisticated star. Garland is in great humor and spirits, and her camaraderie with Astaire is apparent. Irene designed the superb women’s costumes, and Garland’s look stylish and understated. No surprise that Judy’s in great voice here, but her energetic dancing and clowning shines, too. I was especially knocked out by Judy and Fred’s hoofing to “When the Midnight Choo-Choo Leaves For Alabam.’”

 Easter Parade is delightfully effervescent and light on its feet, a real Easter treat.

This promotional art captures the spirit of 'Easter Parade.'

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Judy and Fred in their "Easter Parade" finery!

What if Judy Garland Hadn’t Gone Over the Rainbow?

Imagine a long life & film career for Judy Garland, on the 55^th anniversary of her passing.

When Doris Day found out in 2017 that she was actually born in 1922, not 1924 as she thought, Day became officially born the same year as Judy Garland.

How ironic that Doris Day passed away May 13, 2019, having celebrated her 97^th birthday April 3, as we commemorated 50 years since Judy Garland’s passing on June 22, 1969. (Now it's 55 years later, when Janis Paige, born the same year, died at 101.) This Doris connection made me wonder: “What if Judy Garland had lived a happy and healthy life? What if she had kept on working? What if Judy had lived as long as 97?”

Doris Day and Judy Garland on the set of 'A Star is Born,' with James Mason.
It's amazing to think that Doris outlived Judy by 50 years!

Don’t laugh. Judy’s Harvey Girls co-star Angela Lansbury was born just three years later than Garland and worked until nearly the end of her life, at almost 97. There’s Tony Bennett, who was born four years after Judy, and has worked with generations of younger performers.

Tony Bennett with Judy on her 1963 TV series. Just four years younger than Judy,
 Tony lived till 96 and passed away July 21, 2023.

It’s interesting that Doris Day essentially retired in 1975, after her TV special, Doris Day Today. This was a mere six years after Judy Garland died. However, like Elizabeth Taylor, Day found a mid-life cause that was close to her heart, and it became her second career: advocate for animals. Doris certainly could have continued working in show business, had she chose. If Judy had lived a stable life, she could have, as well.

MGM stars Lena, Frank, & Judy when they were young. If Judy had lived a happy & healthy life, Garland would have enjoyed as long a career as both Horne and Sinatra did.

I started thinking, what roles could Judy Garland have played had she kept her health, looks, and most importantly, her voice?  I’m just riffing on “What if?” For those who say that her tragedies were part of her persona, let’s imagine that Judy was just your average long-lived superstar with the usual amounts of dry spells and comebacks—like Garland pals Frank Sinatra or Lena Horne, for instance. Just play along and pretend that Judy had enjoyed a long life and career. Please don’t take my film role suggestions as perfect only for Judy Garland, or as a slam to the actresses who played the parts—though in some cases, Judy would have been an obvious improvement! I just think that Garland would have been a viable possibility for the films I bring up, especially if she had retained her superstar status, like the later Barbra Streisand.

This is said to be Judy's last publicity photo for MGM. If only the reality of
Garland's life matched this lovely photo.

In reality, it is a jolt to think that Judy Garland was just 28 when she was finished at MGM. Or only 34 when Garland made her first and greatest comeback, the ‘54 remake of A Star is Born. (Doris Day would have been much fresher as the up and coming star, than Judy at this point—yes, I know I’ll catch hell for writing that!) Or that Judy was just over 40 when she made her last big comeback, on her legendary TV variety show.

An elegant shot of '50s Judy Garland by Richard Avedon.
THIS is how I picture Judy as a '50s film star.

Yet, if Judy Garland had been of sound mind and body, she would have not been replaced on two Fred Astaire movies, 1949’s The Barkleys of Broadway and ‘51’s Royal Wedding, both varying successes. The biggie that Judy was dismissed from was 1950’s Annie Get Your Gun. A Broadway smash for Ethel Merman, this should have been a guaranteed Garland hit. If Judy had been stable, she would have been in a strong bargaining position over issues that upset her, namely director Busby Berkeley. Instead, Garland’s never-ending issues got her fired. The part of Annie Oakley would have given Judy a fine opportunity to show off her raucous humor and sing the hell out of Annie’s classic tunes. I wonder why MGM borrowed Paramount’s high-strung Betty Hutton as a replacement, rather than Doris Day, who later played her own western gal at WB, as Calamity Jane!

The ’51 remake of Showboat was a property earmarked for Garland, though MGM was concerned about how to beef up the secondary role of Julie Laverne for Judy. Regardless the size, it was a juicy part, with two great torch songs, “Can’t Help Lovin’ Dat Man” and “Bill.” Julie would have been a change of pace for Judy, with glamour and tragedy. It became a huge MGM hit, with Ava Gardner giving a great performance as the tragic singer. (PS- I never believed Lena Horne’s oft-repeated tale that she was to play Julie, until MGM got cold feet.)

Here is my own “what if?” list for Judy Garland:

A more dramatic but still musical Judy for "I'll Cry Tomorrow?"

I’ll Cry Tomorrow, 1955. If Garland had still been at Metro, Judy would certainly have been given the role of troubled alcoholic singer Lillian Roth. The songs, the men, the mother-daughter drama, would have been a field day for Judy. And casting Judy in Cry could have been the same dramatic departure for her that MGM’s same year musical drama Love Me or Leave Me was for Doris Day.

South Pacific, 1958. I always found Mitzi Gaynor as Nellie Forbush a bit of a puzzler, since she wasn’t really big box office, or even in films much longer after this film. Again, I wonder why Doris Day wasn’t sought out, though I have read questionable Hollywood anecdotes as to why. Had Judy maintained her film status, she might have been a great Nellie Forbush, too. This also would have been a great chance for Judy to play a mature romantic, instead of the gushing ingénue. I can just imagine Garland performing “I’m Gonna Wash That Man Right Outa My Hair.” And who wouldn’t want to hear Judy sing “Some Enchanted Evening?” Though some dismissed her as too old, Judy was just 36 at the time, the same age as when Mary Martin played it to acclaim on Broadway.

Picture Judy Garland and Liza Minnelli as Mama Rose and Gypsy.

Gypsy, 1962. Mama Rose is THE film role Judy should have played. She was about the same age as the real Mama, vaudeville was her background, and she had a stage mother of her own as a reference point. And how mind-blowing if daughter Liza Minnelli had played Gypsy—again the right age for the role—imagine that! Aside from the talent of the mother-daughter duo, the dynamic would have been so powerful. To those who claim Merman was robbed of a chance to recreate her greatest role on film, they don’t call it show business for nothing. Ethel already had two chances at Hollywood stardom and never really went over with movie audiences. Too broad, in every sense! If Judy had it together, instead of creating off-stage drama on WB’s A Star is Born, Jack Warner certainly would have picked her for Mama Rose over Rosalind Russell, who had just recently given WB a big hit with Auntie Mame. While Rose was The Merm’s finest hour on Broadway, Judy at her acting and vocal best would have been just as great, on film.

I see this photograph and imagine Judy belting out "Rose's Turn" from 'Gypsy!'

Hello, Dolly! 1969. Imagine if Judy had kept her box office clout—remember that Doris Day was then still playing leading ladies. 47-year-old Judy Garland could have made a great Dolly Levi, the middle-aged widow matchmaker, instead of 27-year-old Barbra Streisand, who had just ONE movie under her belt. Ironically, this came out the year that Judy died, when in an alternate reality, she could have been the go-to star with box office prestige to carry one of these behemoth ‘60s musicals, when studios were routinely miscasting stars like Babs, Clint Eastwood, and Vanessa Redgrave in the name of box office insurance. Judy’s droll humor, warmth, big personality and voice would have taken the sting out of Carol Channing not getting to play her Broadway role on film.

This elegant shot of Judy Garland makes me think she'd have made a fine 'Mame!'

Mame, 1974.  I can visualize Judy at her most Kay Thompson-esque elegant as Auntie Mame. At 52, Garland still would have been younger than Lucille Ball! I read comments by fans who still wail over the fact that Angela Lansbury was robbed of her Broadway triumph, proving that she could be a leading lady. Yes, onstage. At the time, Angela had not yet become a household name with Murder, She Wrote, and all the lovely work that followed because of that new-found fame. Lansbury recalled Judy visiting her backstage during Mame’s Broadway run, saying, “Angie, I’d give anything to play this part.” Lansbury tried to be encouraging, but they both knew why it could never be. I recall reading that the show’s producers wanted Judy to do a touring production, but were wary because she was such a reliability liability. I bet if Garland had been still around and on her best game, she would have nailed the movie Mame.

Judy, looking more like Vera Charles than Mame, with former co-star Angela
Lansbury in NYC. Judy was performing in concert and Angela in her stage triumph,
 'Mame.' Just three years younger than Judy, Lansbury lived till Oct.11, 2022.

A Little Night Music, 1977.  Picture Judy Garland at 55, as a sophisticated actress of a certain age: romantic in beautiful period gowns, bittersweet and wistful, and singing Send in the Clowns. Personally, I’d also imagine someone other than director Hal Prince, fine onstage/failure on film, directing this cinema version of Stephen Sondheim’s classic. Could Vincente Minnelli have mustered one more charming musical? Stanley Donen? Or, how about Mike Nichols?

A sophisticated Judy as Desiree Armfeldt, singing 'Send in the Clowns?' YES!

Just think of how many miscast musicals alone Judy could have saved! But let’s not forget that Judy was also a strong dramatic performer. And that Garland had a flair for comedy, too. It’s been written that Judy was considered for The Three Faces of Eve. What about Judy in Tennessee Williams, as Alexandra Del Lago, in Metro’s Sweet Bird of Youth? Would Judy have been teamed with Jack Lemmon? Dick Van Dyke? Both were just three years younger than Garland. Judy certainly would have re-teamed in the ‘50s with Gene or Fred in some Metro musical. What about a Judy movie with Sinatra or Dino? The trio was so great together on the TV special that got Garland her TV series. Would she have worked with Fosse or Sondheim? Would Bob Fosse have cooked up a musical for Judy and Liza? Would Judy have been singing “I’m Still Here” in Follies? Would Judy have teamed up with Barbra again on a TV special, after Streisand had made one of her early appearances on Garland’s show? The possibilities seem endless.

Imagine Judy Garland without all the emotional baggage from having been a show biz baby, born in a trunk, and singing for her (and everyone else’s) supper. Imagine Judy not addicted to pills and booze. Imagine Garland not prematurely aged and deceased. Some say that tragedy was a key part of the Judy mystique. Maybe, but I prefer my legends long-lived, creative, and happy. I’m not a fetishist for stars who die young and tragically. I always wonder what could have been.

Happy endings often happen only in Hollywood movies, not in real life. Doris Day was one of the lucky few to get hers. I just wish that Judy Garland had got happy, and got a happy ending, too. To quote Hemingway’s unhappy ending in The Sun Also Rises, “Isn’t it pretty to think so?”

A lovely daydream: A long life, on camera and off, for Judy Garland.
Luckily, she's still remembered and revered.