Judy Garland Week: Favourite Duets

It would be very easy for me to concoct a list of my twenty favourite Garland duets. Narrowing it down to five was rather difficult and there are some missing that will probably be seen as gaping holes to some fans. But these five touched me and I've got fond memories of them.

5. 'You're So Right For Me' with Mickey Rooney

Rooney appearing on The Judy Garland Show produced this magical number that not only shows off their evidently close friendship but also Judy's undiminished dancing skills (I love it when she kicks her shoes off prior to the dance). The energy and love in this number is undeniable and it makes me smile every time.

4. 'Walkin' My Baby Back Home' with Bing Crosby

This may only be short but it's gorgeous. I love the way Judy and Bing's voices work together in all their duets and this one allows you to visualise the scene through the words alone, and the impish smile Judy puts into the lyrics. 

3. 'Chicago' with Liza Minnelli

The Palladium concert recording is rightly considered one of the highlights of Judy's career and I think this song pretty much sums up its brilliance. Watching Judy sing while Liza dances is just wonderful, and the fun they both seem to be having on stage with each other is fantastic to watch. Their energy's infectious - I never get away from this song without a smile.

2. 'Friendship Duet' with Ethel Merman

This number was the one that spurred me on to listen to more of Judy's later work. The energy in this medley is unbelievable and I love the fact that Judy loses it during 'You're Just in Love' and gets straight back into the song. As she says, when they're singing together, what can go wrong? Nothing you can't fix. 

1. 'You've Got Me Where You Want Me' with Bing Crosby

Another unusual choice for number one? Maybe. But, as I said before, Judy and Bing together are magical and this song holds a special place in my heart as one of the first that made me sit up and pay attention to Judy the singer as opposed to Dorothy Gale. It's probably no coincidence that it was recorded in 1945, at the pinnacle of her MGM years, and it betrays all the affection and humour in her voice that she showed off so brilliantly in Meet Me in St. Louis and The Harvey Girls. There are so many gorgeous duets with Bing including the amusing 'Connecticut', 'Something to Remember You By', 'You're Just in Love' and 'People Will Say We're in Love' but this, for me, is one of their best.

I Said Love - Or Did I?

There's a wonderful little song in Robert and Elizabeth called 'I Said Love' which, as the title suggests, is Robert Browning affirming his feelings to Elizabeth Barrett via the helpful medium of song. It's a gorgeous little number, here are some of the lyrics:

"I said love, and I mean love

Let's be clear from the start

Something very strange has happened

Happened here, in my heart

Friendship can be quite delightful

Having friends is very nice

But my dear friend I must warn you

Merely friendship won't suffice..."

Good in it's way - and I do adore it - but perhaps a little too on-topic. I've been thinking a lot lately about how my characters admit they love each other. Most of the time it feels too contrived, as though the words have to be so irritatingly bland just to get it over with. Centuries of literature, music and film have rather dulled the meaning somewhat. So I'm trying to persuade my characters to say it without saying it. Donald O'Connor offers a good example of what I mean in Call Me Madam as he woos a princess played by Vera-Ellen:

The last few seconds and Donald's 'I'll shut up, your highness' make me giggle every time. But this is less about my love for the great dancer and more about my lack of love for...love. That scene's a perfect example of how to say it without actually saying it. Of course, this is Hollywood and the words are spoken later but do they have to be?

I feel like my characters roll their eyes at me when I force such hackneyed words into their mouths. Something that is massively helpful in 'showing' love is The Emotion Thesaurus, a wonderful little book that's all about conveying character emotions in realistic ways. The 'love' entry is very interesting, particularly the 'cues of suppressed love' - my characters utilise those quite often! It's proof that emotions are better off bubbling beneath the surface than being articulated every other scene. 

Now I just need to remember that. When I want to say love I should say something else. Maybe if I do need to spell it out then it isn't love in the first place... 

Although, sometimes, you do need to be told. I mean, sometimes you're just completely oblivious and Ethel Merman needs to give you a nudge:

"You don't need analysing

It is not so surprising

That you feel very strange but nice

Your heart goes pitter-patter

I know just what's the matter

Because I've been there once or twice

Put your head on my shoulder

You need someone who's older

A rubdown with a velvet glove

There is nothing you can take

To relieve that pleasant ache

You're not sick

You're just in love."