I COULD GO ON SINGING

Garland sings with the school boys

I COULD GO ON SINGING (1963). Director: Ronald Neame.

"I've held on to every bit of rubbish in life, and thrown all the good bits away."

"Alone. It's an awful word. And I know what it means."

Jenny Bowman (Judy Garland) had a child with lover David Donne (Dirk Bogarde) years before, but wouldn't give up her singing career to marry him or care for their child. Now she's a big success doing a tour in London, Donne is also a successful doctor, and their son is a charming young lad, Matt (Gregory Phillips) in boarding school. Once she meets Matt, Jenny realizes she wants the boy to be part of her life on a permanent basis, but is that the best thing for the boy and is it possible for David to forget -- and forgive -- the past? 

Garland's final film is clearly fashioned for her talents -- at times you get the distinct impression she's only playing a variation of herself (although playing it well) --  and she comes through with flying colors, and Bogarde is also excellent; the two play marvelously together. They get fine support from Phillips as the boy and Jack Klugman as Jenny's manager. One could quibble that this is primarily a showcase for Garland's singing talents, and that the characters and storyline could use a lot more fleshing out, but the film boasts beautiful widescreen photography and handsome production values to go with the first-rate performances. As for Garland's singing, this film probably illustrates why her fans found her legendary even when she was near the end of her life. Her performances of the title tune, "All By Myself," and especially "It Never Was You" and "Hello, Bluebird, Hello" make it clear that the gal was one hell of a gifted singer with strong interpretive skills to say the least. A very charming scene has Garland at the piano singing along with the British schoolboys, including her son, who have just given a performance of "H.M.S. Pinafore." Some of Garland's dialogue sounds like snippets from her own life.  This film presents the Garland mystique far better than End of the Rainbow. This was Garland's last movie.

Verdict: A fitting filmic swan song for Judy Garland. ***.  

A STAR IS BORN (1954)

Judy Garland and James Mason

A STAR IS BORN (1954). Director: George Cukor.

Esther Blodgett (Judy Garland) ignites the interest of movie star Norman Maine (James Mason) when he drunkenly stumbles upon the stage where she is performing a number for a Hollywood "Night of Stars" benefit. Esther is by no means a star, but rather a vocalist with a popular band. Norman is so impressed by Esther that he arranges a screen test for her and is instrumental in her taking over the lead role of a new musical production. Eventually Esther -- rechristened "Vicki Lester" by the studio -- and Norman marry, but as her career hits the heights and she does become a certified star, Norman's heavy drinking and bad behavior pay a toll ... 

The Man That Got Away

I've seen this version of the venerable story more than once in the past few years and my opinion of it waxes and wanes. I have now come to the conclusion that it is a very good and very entertaining classic motion picture, and the best version ever of this bit of Hollywood folklore. In previous years I may have been reacting negatively to the obsessive, near-hysterical reaction among some Garland fans who may have ruined many a screening of the picture. I first saw the film on television decades ago, chopped up by commercial interruptions and missing scenes that had even made the final theatrical cut. Color and cinemascope were lost. Now the film can be seen in its original three hour length in widescreen technicolor and stereophonic sound -- boy what a difference!

Born in a Trunk

There are times when you do get the impression that this is strictly A Judy Garland Extravaganza with the woman taking centerstage in one musical number after another and to hell with the story. But in the final quarter the film does get back to the central romantic relationship between Esther and Norman, and as for all of the musical numbers -- well, A Star is Born is a musical, after all, and the production numbers, featuring a luminescent and ultra-talented Garland at the top of her form, are extremely well-done and give the film its vitality. The long Born in a Trunk sequence is also quite stylish and memorable. 

Norman Maine overhears that he's washed up forever

Garland gives a terrific performance, and those who claim the Oscar was stolen from her may be correct. This time around I didn't find her overly mannered or too neurotic but pretty much on-target in her portrayal. Let's not forget James Mason, who is near-superb as the charming, dissipated Norman, who can be a pretty mean drunk when he wants to be. There is a lot we don't learn about Norman, unfortunately, which might have made him a bit more sympathetic, although when we see Mason as Maine in his bed listening to the studio boss tell Esther how washed up her husband is, you can't help but feel a stab of pity. 

Garland with Charles Bickford

Charles Bickford makes his mark as the studio boss, and he has two wonderful scenes with Mason in the Maine home and at the sanitorium where Norman is hopefully drying out. Bickford also figures in a especially well-written dressing room sequence when Esther tells of how helpless she feels trying to succor Norman and how there are times when she actually hates him due to his failure to control his drinking and all of his broken promises. Jack Carson also scores as the long-suffering publicity man who has had to put up with Norman's drunken antics for too long a time. Tommy Noonan is fine as Esther's friend, the band leader Danny, who gives her a needed pep talk, and there are bits from Irving Bacon as Norman's butler, Percy Helton as a drunk, Arthur Space as a court clerk, Frank Ferguson as a judge, Tristram Coffin as an assistant director, Grady Sutton as a reporter, and Richard Webb as a winner at the Oscar ceremony, and many, many other familiar names who show up only briefly. 

Get That Long Face Lost

In addition to Born in a Trunk, which includes a rendition of Swanee, the other song numbers include It's a New World, What am I here for? and Get That Long Face Lost which features two cute black children. Arguably the best number is The Man That Got Away, superbly delivered by Garland. One might wonder why she smiles during this torchiest of torch songs, but it may reflect a sheer joy in singing, and in this excellent Harold Arlen-Ira Gershwin song. (Arlen and Gershwin did the other numbers, aside from Born in a Trunk and Swanee). I confess that I've always found the number Garland does for Norman in her living room to be a little tiresome, but you can't win 'em all. In any case, Sam Leavitt's cinematography is first-class, as is Cukor's direction. 

Norman accidentally smacks Esther at the Oscar ceremony

Some things you just have to take with a grain of salt. Why would Norman Maine insist that Esther have a screen test when he's never actually seen her act, just sing? Sure her interpretive singing skills are impressive, but that doesn't mean she can act. Still, this is Hollywood. Based on the initial reviews and audience reaction, everyone expected A Star is Born to be a tremendous hit, but the studio cut forty minutes out of it so there could be more showings. I'm not certain if that really would have hurt the box office, but in any case the movie lost money and Garland only made two more pictures. Her big comeback was both a triumph and a failure. 

Verdict: A hell of a lot of work went into this picture and it shows! ***1/2.  

A STAR IS BORN: JUDY GARLAND AND THE FILM THAT GOT AWAY

A STAR IS BORN: Judy Garland and the Film That Got Away. Lorna Luft and Jeffrey Vance. Running Press; 2018. 

"Every song was attenuated to such a length that I thought I was going mad ... after we had endured montage after montage and repetition after repetition, I found myself wishing that dear enchanting Judy was at the bottom of the sea." -- Noel Coward.

This generously illustrated coffee table tome, co-written by Judy Garland's daughter Lorna Luft, takes an exhaustive look at A Star is Born and especially examines why a film that won much critical acclaim and should have had boffo box office, died on the vine after the studio cut the running time in order to fit in more screenings. This was to be Garland's big comeback film, and while she did do a couple of movies afterward, her days as a major film star were over. The book looks into the previous versions of the story, as well as the Barbra Streisand version (which was a commercial success), and recounts Garland's career and personal life both before, during, and after the making of A Star is Born. Luft is blunt about her father, Sid Luft, and his abilities (or lack thereof) as a producer. The final sections of the book delve into the reconstruction of the film, which is now available on DVD so the reader/viewer can judge for themselves if the film -- and Garland -- are overpraised or not. The section on Garland's gay fans is somewhat unintentionally comical and a bit dated all told. But this is a very good bet for Garland fans! And while I quite understand where Noel Coward was coming from (see quote above) I can't say that I agree. Some of the other individuals involved in the film, such as James Mason, might have come in for a little more praise. 

Verdict: Attractive, well-written volume on a classic motion picture and its tormented star. ***.

JUDY'S CREAM OF WHEAT

JUDY'S CREAM OF WHEAT. 

My friend Ed Walters brought this to my attention, a mock commercial for Cream of Wheat featuring Judy Garland and Liza Minelli. This is an affectionate spoof of the larger-than-life lady and her intense dramatic style (both of acting and singing) and I confess I find it hilarious and have watched it over and over again. (You never know what will strike your funny bone!) 

This was put together on youtube by a group called the Punchy Players, who have done quite a few of these spoofs, some more successful than others; this is one of their best. The voices are done to perfection by Jeff Marquis, who co-wrote the short with producer Chris Tassin. Marquis gets across the essence of the ladies personalities as well as Garland's unique singing style.

You can watch the video here. 

Verdict: Lots of fun! ***. 

GET HAPPY: THE LIFE OF JUDY GARLAND

GET HAPPY: THE LIFE OF JUDY GARLAND. Gerald Clarke. Dell/Random House. 2000.  

Here is another book that traces the life of the famous singer-actress in generally sympathetic fashion. Clarke looks at Garland's early life and her parents, her emergence as an MGM star, her struggles with diet and pills and more pills, her numerous affairs, marriages and divorces, and even her movies and concerts. There are some things in the tome that give one pause, however. The notion that Judy's mother, the homely Ethel Gumm, was trading sexual favors for consideration for her daughter, seems ludicrous, but to be fair Clarke says whether this is true or not "is impossible to say." Clarke is largely sympathetic to Judy's father, a theater owner, but there is a big difference between a man who is simply gay or bi and a married man who hits on teenage boys -- Clarke doesn't seem to get that if this was true the man was a predator. Clarke also seems too credible when presented with alleged evidence -- a letter -- that Tyrone Power was madly in love [!] with Garland. In those days (and even today) actors would have done anything to cover up even an inference of homosexuality. Clarke also states that Garland "occasionally enjoyed a frolic with another woman" but refuses to label her as bisexual -- huh? Still, Get Happy is well-written, and has some solid information to go with the more suspect material.

Verdict: Generally worthwhile if imperfect Garland bio. ***. 

EVERYBODY SING

Judy Garland

EVERYBODY SING (1938). Director: Edwin L. Marin.

Judy Bellaire (Judy Garland of Presenting Lily Mars) belongs to a theatrical family, but she keeps getting thrown out of one school after another because she prefers swing music to classical and is therefore considered a "corrupting" influence. The rest of the household consists of her playwright father Hilary (Reginald Owen); her actress mother Diana (Billie Burke); the housekeeper Olga (Fanny Brice), who used to work in vaudeville; and the handsome cook, Ricky (Allan Jones of Reckless), who is moonlighting as a singer at a posh cafe. Judy also has a sister named Sylvia (Lynne  Carver), who is struck on Ricky and vice versa. Judy wants to help get needed money for the cash-poor family by singing at the same cafe, but has to resort to subterfuge when her parents deny her permission to do so. Meanwhile Hilary tries to mount his own show but objects to his wife's acting partner, Jerrold Hope (Reginald Gardiner).

Bus song: Garland, Carver, Jones and Gardiner

This aptly-titled MGM movie is a real charmer, thanks to the cast, some good song numbers, and an amiable disposition throughout, although Judy's attitude (as expressed in one of the song numbers) that classical music is passe is obnoxious. She gets to sing the snappy "Melody Fair," Jones warbles "The One I Love," much of the cast does an operatic pastiche -- based on Verdian melodies -- on a bus; and Fanny Brice [The Great Ziegfeld], who is wonderful, does "Dainty Me," as well as a Baby Schnooks number with Garland. Jones also reprises "Comsi Comsa" from A Night at the Opera. Monty Woolley shows up briefly as a producer and he adds to the fun as well. When they made dithery Bille Burke, they certainly broke the mold.

Verdict: Not just for Garland fans, but they will especially enjoy this. ***.

CHARLES WALTERS: THE DIRECTOR WHO MADE HOLLYWOOD DANCE

CHARLES WALTERS: THE DIRECTOR WHO MADE HOLLYWOOD DANCE. Brent Phillips. University Press of Kentucky; 2017.

This excellent biography looks at the life and work of Charles Walters, who started out as a dancer, became a choreographer for both stage and film, and then directed many notable movies at MGM and elsewhere. Walters lived with a male partner, his agent, for many years, was good friends with everyone from Judy Garland to Esther Williams to Lucille Ball (working with the latter on TV specials as well as Du Barry Was a Lady, for which he did the choreography), and by all accounts was a likable and amiable Hollywood presence. The movies Walters directed include Good News, Easy to Love, Summer Stock, Jumbo, Lili, Torch Song with Joan Crawford, High Society, The Glass Slipper, and The Unsinkable Molly Brown, among others. Well-researched and bolstered with interviews, this bio has amusing behind-the-scenes anecdotes a'plenty,and also explores Walters' approach.to "cine-dance" -- dance in the movies. 

Verdict: First-rate look at an unsung Hollywood figure. ***1/2.

ZIEGFELD FOLLIES

Kelly, Astaire and Garland

ZIEGFELD FOLLIES (1945). Director: Vincente Minellli.

9 years after he starred as The Great Ziegfeld, William Powell reprised his role of Flo Ziegfeld -- sort of. In the opening moments of Ziegfeld Follies, the great impresario is seen in Hollywood's idea of heaven pontificating on the Follies, and wondering what they would look like if the Follies still existed today. Voila! First puppetoons are used to depict the original Follies; then suddenly there's a stage and we see a series of acts with contemporary stars such as Lena Horne, Lucille Ball, Kathryn Grayson, Virginia O\Brian, and many others. After about half an hour the movie is almost stopped dead by a long and mostly unfunny skit with Keenan Wynn trying to make a phone call. A later sketch with Victor Moore as a man arrested for expectorating on the subway and Edward Arnold as his lawyer is much better, as is another sketch with Fanny Brice (who was actually in the original Follies) and Hume Cronyn as a couple who have a winning sweepstakes ticket and William Frawley as their landlord. A bit with Red Skelton playing a TV announcer who gets drunk reminds one of the later "Vitavegamin" routine on I Love Lucy. James Melton and Marion Bell sing a duet from La traviata, but are not that impressive. Fred Astaire [Royal Wedding] does two dance numbers with Lucille Bremer [Till the Clouds Roll By], but the highlight of the picture is his dance with Gene Kelly -- the only time the two danced together in the movies. The other highlight is Judy Garland playing an affected star in a production number with several handsome male dancers. Garland also appeared in Ziegfeld Girl.

Verdict: Although this has no story, it still manages to be entertaining. ***.

SNAKES AND LADDERS Dirk Bogarde

SNAKES AND LADDERS. Dirk Bogarde. 1978; Chatto and Windus.

By the time this book came out, Bogarde had already written one autobiography which only went up to age eighteen. I was more interested in this second volume, which covered his career as an actor. Bogarde begins with large sections on his military career, pretty much glosses over his role as Dr. Simon Sparrow in the "doctor" films, and goes into more detail on working with (exasperating) close friend Judy Garland on I Could Go On Singing. He also describes his working relationship with Luchino Visconti, who directed him in The Damned and Death in Venice. Bogarde relates how he decided to star in Victim, about a closeted married gay man being blackmailed, after virtually every other actor turned the role down. Ironically, Bogarde doesn't come out about his own sexuality, but if you read between the lines it is clear that he had a long-time partnership with his theatrical manager Anthony Forwood, who was briefly married to Glynis Johns; Bogarde never married. (Forwood was also an actor who appeared in such films as the British Black Widow.) Snakes and Ladders is very well-written by Bogarde himself, but I just wish there had been a lot more about individual pictures -- there's not one word about one of his best films, Libel, for instance -- his co-workers, on the set anecdotes, and the like. But then, Bogarde was not out to write a "typical" show biz memoir.  One suspects, however, that if he had been more forthright on his sexuality, the book would have had even more depth and resonance. The idea of his starring in Victim when he himself was closeted, is striking in its bravery.

Verdict: Not exactly "dishy," but a pretty good read. ***.

THE MANY FACES OF HENRY BRANDON

Edge of Darkness

HENRY BRANDON (1912 - 1990). Born Henry Kleinbach in Berlin.

I always got a kick out of watching the evil Barnaby in Laurel and Hardy's Babes in Toyland (aka March of the Wooden Soldiers), but little did I realize when I was a child that the actor playing the old wretch was only 22 at the time -- and that the actor, Henry Kleinbach, was also Henry Brandon, who appeared in a great many movies, starred in The Drums of Fu Manchu, and was one of those versatile actors, along the lines of Jay Novello, who got so lost in the role that he, unfairly, never became quite famous.

Anything -- and I mean anything -- you'd like to know about Brandon has been exhaustively covered on the web site Poseidon's Underworld, and you can read about Brandon, his life and career right here. (You can even learn about his strange connection to Judy Garland!) Loads of photographs, too!

Babes in Toyland as Barnaby

 Other Brandon appearances were in Doomed to  Die, The Land Unknown, Jungle Jim, Tarzan's  Magic Fountain, Captain Sindbad, Secret Agent  X-9, and even Auntie Mame, among many others.  (Notice how in virtually every one of these I  refer to "the incredibly versatile Henry  Brandon!")

 Brandon also did TV, appearing on everything  from Bourbon Street Beat to Kolchak.  the Night  Stalker.

Lady Godiva of Coventry

The Searchers

BABES IN ARMS

BABES IN ARMS (1939). Director: Busby Berkeley.

When some old vaudevillians leave town to go on tour, their children decide to put on their own show.  That's the plot of this okay Mickey Rooney-Judy Garland "let's put on a show" musical. This is based on a Rodgers and Hart stage musical, but the only songs by the team that are left are the title tune and "Where or When?," which I believe was from another show. ("The Lady is a Tramp" from Pal Joey plays in the background of one scene.) As usual, some of the "kids" in this are a bit too old, such as Douglas McPhail and real-life wife Betty Jaynes, both of whom have beautiful semi-operatic voices (they do "Where or When?"). Mickey and Judy are in splendid form, of course, and we see footage of Rooney when he was a small boy performing in vaudeville. Of the older cast, which includes Guy Kibbee,  Margaret Hamilton, Henry Hull and Ann Shoemaker, Charles Winninger [Three Smart Girls] is a stand-out as Mickey's father, Joe Moran. Johnny Sheffield of Bomba fame also has a small role. Judy sings "I Cried for You," Mickey does an excellent impression of Gable, and there's a memorable finale in "God's Country." McPhail had hoped to have a career along the lines of Nelson Eddy, but when it didn't materialize and he and Jaynes got divorced, the poor guy took his own life at age thirty.

Verdict: Not the best Mickey-Judy musical but fun enough. **1/2.

WORDS AND MUSIC

Mickey as Lorenz Hart and Judy as herself

WORDS AND MUSIC (1948). Director: Norman Taurog.

"... strange places with strange people ..."

Richard Rodgers (Tom Drake) and Lorenz Hart (Mickey Rooney) become a highly popular song-writing duo and a theatrical force to be reckoned with. This is a heavily fictionalized biography that completely suppresses Hart's homosexuality and alcoholism, and instead makes the man unlucky in love. The highlights of the film are the musical interludes: Judy Garland, playing herself, singing "I Wish I Were In Love Again" with Mickey; and doing a solo on "Johnny One-Note." Lena Horne scores with "Where or When? " and "The Lady is a Tramp,"  and Mel Torme does "Blue Moon." Then there's the excellent "Slaughter on Tenth Avenue" from On Your Toes with Gene Kelly at the top of his game. Rooney is as superb as ever, Drake [Betrayed Women] is fine as Rodgers, and Marshall Thompson plays associate Herbert Fields. Perry Como plays a fictional character in the film, and while his acting isn't bad, his singing style (at that time) apes Bing Crosby shamelessly. Janet Leigh has a nice turn as Rodgers' wife, as does Ann Sothern as Joyce, but the best one can say about Betty Garrett is that she's utterly unexciting. The picture is very handsomely produced, but the narration is unnecessary. To cap it all off we've got "With a Song in My Heart," one of Rodgers most beautiful melodies.

Verdict: Not the real story but colorful and entertaining. ***.

BABES ON BROADWAY

The irrepressible Mickey as Carmen Miranda!

BABES ON BROADWAY (1941). Director: Busby Berkeley.

Tommy Williams (Mickey Rooney) and Penny Morris (Judy Garland) are talented young people who dream of being on Broadway. Penny gets the idea of putting on a show to raise money for some orphans to get a vacation in the country, but when Tommy learns of a possible engagement in Philadelphia, he's ready to chuck the whole thing until his conscience catches up with him. (The point is made that aspiring artists are often thinking more of themselves than others when it comes to charitable performances.) Like most of the Rooney-Garland musicals, this one is sheer fantasy in terms of how to get on Broadway, but the duo are in top form and the picture is quite entertaining. The highlights include Mickey doing one number as Carmen Miranda, and another as Cyrano de Bergerac. Ray McDonald [All Ashore] is a stand-out, especially when he dances, and there's a cute little kid (Richard Hall of Shadow of the Thin Man) who plays a number on the piano. The excellent song numbers include "How About You?'; "Hoedown," and especially "Carry On," which in a sobering moment refers to the London Blitz. Burton Lane was one of the composers.

Verdict: An unbeatable combo of Rooney and Garland. ***.

STRIKE UP THE BAND

Mickey!

STRIKE UP THE BAND (1940). Director: Busby Berkeley.

High school student Jimmy Connors (Mickey Rooney) has one passion: playing the drums in a band. Mary Holden (Judy Garland) has just one passion: Jimmy Connors. Mary can also sing quite well. Jimmy wants to take his band to Chicago to play on Paul Whiteman's radio show in a band competition, but where oh where can  he get the money for traveling expenses. Just when the money is raised, a dear friend, Willie (Larry Nunn), becomes seriously ill and needs an operation ... The sentiment is thick  but somehow never overbearing in this charming musical which boasts the talents of Rooney and Garland, both of whom are typically superb. Larry Nunn offers a highly appealing and sympathetic portrait of Willie, who has a hopeless crush on Mary and proposes -- at thirteen! William Tracy [Terry and the Pirates] and June Preisser [Judge Hardy and Son] play two more of the kids, most of whom look like they've been out of high school for quite a few years. The title tune was composed by Gershwin, but the other songs are by Freed and Edens, including the memorable "Our Love Affair," expertly warbled by Garland, and "I Ain't Got Nobody." (Garland's torch song, "The Curse of an Aching Heart," was cut.) Ann Shoemaker [Seventeen] plays Jimmy's mother, who has always wanted him to be a doctor. While Shoemaker is always good, in this she just seems to come on too strong and smothering.  Nunn was a very talented child actor but his film career only lasted eight years.

Verdict: Rooney and Garland in top form! ***.

THOROUGHBREDS DON'T CRY

Ronald Sinclair, Mickey Rooney and Judy Garland

THOROUGHBREDS DON'T CRY (1937). Director: Alfred E. Green.

Young Roger Calverton (Ronald Sinclair) travels to America in the company of his beloved grandfather (C. Aubrey Smith); the old man's employee, Wilkins (Forrester Harvey); and their horse, which they hope to enter in a race. They induce a  brash jockey, Timmie Donovan (Mickey Rooney) to ride the horse, but fate intervenes in the form of Timmie's miserable father (Charles D. Brown), who claims he desperately needs an iron lung or else he'll die. Timmie is importuned to throw the race, leading to tragedy ... Thoroughbreds Don't Cry was an early hit for Rooney, but he's also got Judy Garland (their very first teaming) -- who for once isn't in love with Rooney's character -- and the inestimable Ronald Sinclair, who proves more than a match for Rooney's thespian skill. Sophie Tucker makes her mark as the woman who runs the boarding house where many jockeys, and Garland, live. Garland does a great rendition of "Goin' to Town." Frankie Darro appears briefly as another nasty jockey. Darro and especially Sinclair were extremely talented child actors, but the former was often relegated to bit parts as he got older, and Sinclair retired from acting only five years later, becoming an editor and producer of several Roger Corman flicks and working on everything from The Amazing Colossal Man to Dr. Goldfoot and the Bikimi Machine to Island Claws. Despite some charming moments and the uniformly excellent acting from the cast, Thoroughbreds can't quite seem to overcome its dated quality, and the whole movie at times seems a little unreal.

Verdict: Not Mickey's best. **1/2.

TILL THE CLOUDS ROLL BY

Ol' Blue-eyes sings "Ol' Man River" 

TILL THE CLOUDS ROLL BY (1946). Director: Richard Whorf.

Till the Clouds Roll By purports to be a biopic of composer Jerome Kern (Robert Walker). It opens with a twenty minute recreation of the opening night of Kern's masterpiece, Show Boat, and then goes downhill -- at least in the dramatic sense -- from there. It would have been better for all concerned to forget the fictionalized "plot" and simply present one number after another. Some of the basic facts of Kern's life are accurate: oversleeping kept him off of the ill-fated Lusitania upon which he was to sail with impresario Charles Frohman; and he did meet his wife, Eva (Dorothy Patrick of House by the River), in England, although under somewhat different circumstances. But the movie invents a completely fictional character, James Hessler (Van Heflin), a widower-arranger, who works with Kern and helps him to become a major success. Equally fictional is Hessler's daughter, Sally, who is played by Joan Wells as a child and Lucille Bremer as an adult (both are very good), and a lot of dumb drama is worked up over show biz aspirant Sally losing her big number to star Marilyn Miller (Judy Garland) and running off to unknown parts because of it. None of it has anything to do with Kern. But while this aspect of the film is dull, there are still some memorable moments in the movie, such as: Lena Horne singing "Can't Help Lovin' That Man" from Show Boat and "Why Was I Born?"; Angela Lansbury and chorus cuties on swings for "How'd You Like to Spoon with Me?"; the dancing for the title tune, which features June Allyson and Ray McDonald; Garland as Maxwell interpreting "Look for the Silver Lining;" "I Won't Dance" with Van Johnson and the aforementioned Bremer [Ruthless]; and Tony Martin doing "Make Believe" and "All the Things You Are." You wouldn't think that Frank Sinatra, however wonderful he was, could do much with "Ol' Man River" but he delivers in his own inimitable style. Other performers include Kathryn Grayson as Magnolia in Show Boat; Virginia O'Brien doing her frozen face shtick; and Dinah Shore doing a couple of numbers nicely without quite being on everyone else's level. The absolute low-light of the film is June Allyson croaking out a song about "Cleopatterer." Walker is okay as Kern, but looks nothing like him, while Heflin does more than his best with his character, and Paul Langton [Murder is My Beat] is fine as lyricist Oscar Hammerstein. Ironically, five years later the same studio, MGM, did a full-length version of Show Boat but instead of Lena Horne hired the completely Caucasian Ava Gardner to play the mulatto character of Julie; Kathryn Grayson, of course, remained as Magnolia. All of the musical numbers in this were expertly staged by Robert Alton except for Garland's numbers, which were handled for her by Vincente Minelli.

Verdict: There's still much to admire in this half-baked supposed biography. **1/2.

ZEIGFELD GIRL

HIGH CAMP: Judy Garland on top of poles

ZIEGFELD GIRL (1941). Director: Robert Z. Leonard.

Three young ladies are chosen to join Ziegfeld's Follies (Ziegfeld himself is never seen): Sandra (Hedy Lamarr), who is married to a jealous, out-of-work violinist, Franz (Philip Dorn) but is courted by the handsome singer, Frank (Tony Martin); Sheila (Lana Turner), who has a truck-driving boyfriend, Gil (James Stewart) but who is drawn to the wealthy Geoffrey (Ian Hunter); and Susan (Judy Garland), who has been working for years with her has-been father, "Pop" Gallagher (Charles Winninger), who is afraid he'll be nothing without her. Pop tries to get Susan to sing in a hokey, super-fast, old-fashioned style -- as the director, John (Paul Kelly) puts it "they quit beating a song to death ten years ago" -- but when she delivers "I'm Always Chasing Rainbows" as a ballad the whole audience is moved. (Of course, it makes little sense that the diminutive Garland would ever have been hired as a showgirl, and in one scene in fact she is told that she is not a showgirl, so I'm not certain what she was supposed to be doing before her singing talent was discovered.) This is one of probably dozens of films that look at the trials and tribulations of three women hoping for success in show business -- you can even include Valley of the Dolls in the bunch, for that matter -- and while the melodramatics are cliched and not that interesting, the picture is still quite entertaining. Busby Berkeley put together the production numbers, the best of which is Garland's "Minnie from Trinidad," which definitely turns into high-camp when Garland is lifted high above the stage atop poles at the finale! Garland is swell, Lamarr is beautiful and effective, and Turner isn't quite up to her more dramatic scenes, in which she tends to over-act, to put it mildly. Turner is chosen to be the gal who nearly winds up in the gutter, but even when she becomes a drunk she still looks glamorous! Jimmy Stewart is miscast and somewhat perfunctory in this, although he gets plenty of scenes. Eve Arden shows up once or twice doing her usual schtick; Fay Holden appears briefly as Lana's mother ("I didn't raise my boy to be a Ziegfeld girl," she says to Jackie Cooper when he imitates his sister); Paul Kelly orders the show girls around but isn't really given a character to play; and Tony Martin has a handsome face, a beautiful voice, and is charmingly smarmy as Frank. There are notable if quite small, supporting performances from Rose Hobart as Martin's neglected wife, and Renie Riano [Nancy Drew -- Detective]  as Annie, Lana's wise-cracking maid. I've no doubt Ziegfeld gals, especially the more popular ones, were paid comparatively well, but Lana's apartment looks like something a major film star like Joan Crawford might have lived in! But that's the movies! NOTE: Not to be confused with The Great Ziegfeld in which the great Ziegfeld actually appeared.

Verdict: Likable musical with attractive players. *** out of 4.

THE OTHER SIDE OF THE RAINBOW: WITH JUDY GARLAND ON THE DAWN PATROL

THE OTHER SIDE OF THE RAINBOW: With JUDY GARLAND on the Dawn Patrol. Mel Torme. Galahad; 1970.

Mel Torme, who had a successful career as a singer in his own right, was importuned to sign up as the musical director of the new Judy Garland Show for television during a slow period. Torme's marriage was also breaking up at the same time, and dealing with the difficult, mercurial, and neurotic Garland while also dealing with his unhappy wife almost gave him nervous prostration. Then there was the usual behind-the-scenes backstabbing and power plays that are generally a part of TV shows where more than one ego is wrestling for control. Due to her consumption of pills and liquor, Garland went through mood swings and personality changes and the crew and co-stars never knew if the lady would even show up for the rehearsals and taping and how good -- or how bad -- she would be if she did. Torme talks about the best and worst moments of the show, and many of these bits can be seen on youtube. While The Other Side of the Rainbow is a good and fast read, the details of how this show was put together by an insider may be more interesting than the already familiar and unpleasant stuff about dipsomaniac Garland. Torme gives the woman her due as a great singer and entertainer, but underneath the praise you can tell there was some honest hatred of Garland over her two-faced and unfair dealings with Torme. For one thing, she sort of tried to push him out after she developed a hankering for young singer, Bobby Cole.

Verdict: Anything you ever wanted to know about The Judy Garland Show and a good look at the inner workings of a dying TV series as well. ***.

JUDY & LIZA & ROBERT & FREDDIE & DAVID & SUE & ME

JUDY and LIZA and ROBERT and FREDDIE and DAVID and SUE and ME. Stevie Phillips. St. Martin's Press; 2015.

Picture this: The wife of David Begelman, who is having an affair with Judy Garland, knocks on the door of the latter's hotel room, and the two women get into a screaming, hair-pulling, vicious scratch and claw cat-fight while the staff of the prestigious hotel try gingerly to tear them apart. Sounds good; sounds dishy? Did this really happen, or was it wildly exaggerated? Who knows? That's what most readers will be interested in -- the dirt and the hysteria -- and Phillips is only too anxious to deliver. I admit I'm caught in the middle when it comes to this book. On one hand I get a little tired of obsessive fans of any celebrity who get hysterical if an author says anything even the least bit naughty or remotely human about that celebrity. On the other hand, Judy and Liza does tend to seem like one more example of a writer picking apart a corpse. Like other writers before her -- John Carlyle of Under the Rainbow comes to mind --  the essentially unknown Phillips attaches herself to Garland because she knows a book written without her on the cover will sell very few copies.

Stevie Phillips worked for David Begelman and Freddie Fields at their agency, where she was first assigned the difficult task of tending to an often inebriated, drug-addicted Garland as she went on the tour that would eventually lead to her comeback. [The stuff Phillips gleefully digs up on Garland makes the Broadway show End of the Rainbow seem like an old-time Disney movie in comparison.] After she finally parted from Garland, Phillips became an agent for her daughter, Liza Minelli (Robert Redford, Al Pacino, and others soon followed -- for a time), and helped to build up her career until Minelli [Cabaret] ultimately betrayed her. Judy and Liza is in part a memoir of Phillips' "life" with Garland, in part a biography which shows how far she rose in the business despite being a woman. She freely admits that she was in it for herself, not for women in general, but her claim that she later embraced feminism may seem a little hollow what with her first independent producing project being The Best Little Whorehouse in Texas.

Although Phillips admits that Garland had a sense of humor, the author doesn't seem to see the humor in many of the situations she describes, incidents that Garland would probably have heartily chortled over herself. True, some of these situations were hardly amusing and were more pathetic than anything else. Phillips understandably lost patience with Garland's behavior and stayed with her as her lap dog out of blind ambition. Along the way Phillips bashes anyone who might have angered her while saying what wonderful friends they all were. Robert Redford went to another agency -- BAM! he has too many moles on his face. Super-agent Sue Mengers got more press than Phillips did -- BAM! Mengers was practically a fat cow. It's one thing for her to bash former boss, lover and crook David Begelman, but she's absolutely vile about the poor guy who closed down the real whorehouse in Texas that the play and movie were based upon -- apparently he ticked her off as well -- and seems to have it in for lesbians in general. First we're to believe that Garland made a crude pass at Phillips. That Garland may have been gay or bisexual is one thing; that she would have the poor taste to virtually try to molest the rather homely Phillips is something else. In the book's most hilarious and suspect scene, Phillips suggests that a whole bevy of voracious lesbians tried to have their way with her in a dressing room. Maybe this is Phillips' fantasy ...!

Which brings us to the book's credibility. It has already been mentioned by others that apparently Phillips has never been mentioned in any Garland biographies. Some of the anecdotes, such as the aforementioned cat-fight, seem exaggerated if not fabricated. There's probably enough true stuff in the book to make the rest seem plausible, and there's no secret that Garland was hardly the first or last star to be so difficult to deal with as to be nearly monstrous at times. While one can applaud Phillips' becoming successful in a male-dominated profession, she never comes off like a likable person. She admits dumping her first husband, whom she never loved, and marrying two more glamorous types who turned out to be stinkers (according to her); she is now alone in her dotage.

What Judy and Liza and Robert makes clear is that, as Phillips states, there really is no loyalty in Hollywood. While professing her love and admiration for Garland, she drags the woman out kicking and screaming on every other page, illustrating the worst aspects of Garland's character  -- and the author's.

Verdict: Undeniably a good read, and well-written (much of this is quite well-done and entertaining), but it's mostly gossip, and even on that level is not a must-read. **1/2 out of four.

LIFE BEGINS FOR ANDY HARDY

LIFE BEGINS FOR ANDY HARDY (1941). Director: George B. Seitz.

"A child? Listen Andy Hardy, my mother just bought me an evening gown that has no visible means of support!" -- Betsy

"What is the world coming to?" -- Andy

"Somebody's dead -- it doesn't seem right unless somebody cries."

Although 18-year-old Andy Hardy (Mickey Rooney) has been offered a college scholarship, he decides to wait a month and see what living and working alone in the big city, Manhattan, will be like -- "today I am a man," he declares as he drives away from Carvel with ever-hopeful Betsy Booth (Judy Garland). Although previously he had run from a sophisticated city woman as if she had the plague, in this outing he has better luck with a vivacious if slightly shady secretary named Jennitt (Patricia Dane). A genuinely nice young man, Andy offers to share his room with a young aspiring dancer, Jimmy (Ray McDonald), who has become homeless. Meanwhile Betsy does her best to help a proud Andy while he struggles to find work, finally settling at Consolidated Stocks and Bonds, run by the gruff Mr. Maddox (Lester Matthews). And then an unexpected tragedy occurs ... Life Begins for Andy Hardy is one of the best Hardy films, with an excellent script by Agnes Christine Johnson that provides plenty of very funny moments along with more sobering sequences. Rooney and Garland are both simply superb, with the latter looking especially pretty in this entry. Dane [Rio Rita], McDonald [Presenting Lily Mars] and Matthews [The Adventures of Dr. Fu Manchu] give top-notch performances as well. The picture continues directly after Andy Hardy's Private Secretary, and almost  immediately Andy and Polly (Ann Rutherford) decide to split up amicably. Marion is not seen, and Beezy (George Breakston), now a milkman, and Aunt Millie (Sara Haden) appear only briefly. As usual, Fay Holden is wonderful as Mrs. Hardy. There's an interesting scene when Andy implies that one is washed up at around age thirty, and the Judge (Lewis Stone) all too clearly is thinking of his own age and his lost youth.  Life Begins for Andy Hardy is occasionally on the sappy side -- those evil big city women and so on! -- but it's very entertaining. Mercifully scenes involving a priest and rabbi, undoubtedly concerning a certain character's death, were left on the cutting room floor.

Verdict: The best of the Hardys? ***1/2.