Judy Garland Week: Favourite Film Performances

Looking at Judy's film career, there are numerous song performances in films that stand out. Picking just five is a tricky task but, again, I've chosen ones that mean something to me personally. Of the ones I've excluded from this list, some will find their way into the large list of song favourites on Friday. Others miss both lists just because there are too many of them to choose from. For instance, I adore her rendition of 'Easter Parade' with Fred Astaire but there's no room for it. Similarly, 'Better Luck Next Time' from that same film is captivating and 'Have Yourself a Merry Christmas' breaks my heart every time. I'm beginning to think I needed a larger list! However, here are five of my favourites from Judy's film career...

5. 'On the Atchison, Topeka and the Santa Fe' from The Harvey Girls

It may seem strange to select a number that Judy only appears in half of but, boy, what a half. This production number centres on the disembarkation of the women into the town of Sandrock. Judy emerges last and is utterly captivating. Perhaps what I love most are the little touches between her and Ray Bolger. It's sweet and a nice reunion film for them. Unfortunately, the only clip I could find only shows Judy's half of the song and it's in black and white! 

4. 'The Man That Got Away' from A Star is Born

What can be said about this one? It's a stunning song with Judy perhaps at the height of her vocal powers (though I change my mind weekly about that) and this rendition ebbs and flows perfectly. You live a lifetime in a song and that little wink at the end... Wow. 

3. 'I Don't Care' from In the Good Old Summertime

This jolly little number is full of energy and the message behind it is probably why I adore it so much. However, seeing her dance that silly little dance and swing round the pole always makes me smile. From one her lesser-known films - and one where she's so very, very funny - this is a gem.

2. 'For Me and My Gal' from For Me and My Gal

I heard a shortened version of the song long before I watched the film, which half-prepared me for how much I'd enjoy the number but not quite. Judy and Gene singing and dancing together is something particularly special and this song epitomises their shared brilliance. (Though see down below for a little bonus number that I also wanted to share...)

1. 'Over the Rainbow' from The Wizard of Oz

How could this not be number one? It's not only the song that triggered my love affair with Judy but also the one that captivated millions across the world. Whenever you think of Judy you have to think of her as Dorothy and this song never, ever gets old.

(Bonus - 'Portland Fancy' from Summer Stock)

I just love this dance a lot...

A Little Serenity

When I went on a cruise in October, the majority of the entertainment on board was grating to say the least. Cabaret acts and bad classical, not much in the middle. There was one singer and one pianist who captured my heart but, apart from those exceptions, the ship was a mass of noise with people everywhere, people practically coming out of my nose. Even so, I managed to find a little piece of serenity in the strangest place.

The buffet was understandably packed at mealtimes. You couldn't hear yourself think, let alone hear the music they put on in the background - I fail to see why they bothered really. But one afternoon, when I was pretty upset to be honest, I ventured in to afternoon tea. It was quiet, exceptionally quiet. I took a seat (and a few scones), leaned back and closed my eyes. Then opened them again. I could hear the music. What's more, it was Judy Garland and Gene Kelly singing 'For Me and My Gal'.

The beauty of being me is that it usually only takes me seconds to identify the song I'm listening to. From the first bars I knew this was the full-length screen version of the song, not the shorted recording Judy and Gene recorded to promote the film. I started singing softly, tapping along to the music. The way I felt at that particular moment, I couldn't help myself. Judy and Gene were just the tonic I needed and everybody else could take a running jump off the back of the ship.

I became aware, though, that I wasn't the only one singing and tapping. A few tables down to my left there was an elderly gentleman, also sat alone, doing the same thing. For the length of the song, we quietly duetted, both descending into some sort of conducting during the long instrumental. I closed my eyes, picturing that dance in the back of mind, but I was still acutely aware of my singing partner.

The song ended. His wife returned and we exchanged a smile. That was it. I never saw him again. But, for a few moments on a crowded ship, I'd located serenity. The fact that it involved Judy dancing with Gene shouldn't surprise anybody, least of all me.

Lessons in Romance from Judy Garland and Company

I've been ruminating on this post for some time but today seemed the ideal time to write it. As regular visitors to this blog will know, I adore Judy Garland and I'm a writer (not necessarily in that order but who knows?). I've been thinking a lot lately about what makes a good romance and there's a conversation in my favourite Judy film The Harvey Girls that sums it up neatly.

Susan Bradley is part of a group of women trying to bring some civilisation to a town dominated by vice. Ned Trent is the owner of the gambling and dancing den across the street. Of course, they find themselves attracted to each other, but it's not that simple. Susan and Ned meet in the valley when he's decided that his own course of action must be to move his establishment to another town.

Susan - What do you expect me to say?
Ned - I don't know. I guess I hoped you'd be glad. Might make it easier for me to leave.
Susan - All right, then, I'm glad. I only wish you'd left a long time ago.
Ned - So do I. Maybe it wouldn't have happened then.
Susan - What?
Ned - Meeting you. 
Susan - Yes, that was bad, wasn't it? Two people as far apart as we are.
Ned - Yes. Now, for the first time in my life, I've got things to remember.
Susan - I take it that you don't like memories, Mr Trent.
Ned - They don't pay off. They keep you awake nights.
Susan - Will you be awake many nights, Ned?
Ned - Every night. I'll always be wondering if I should've stayed.
Susan - Well, you couldn't. And even if you did it wouldn't make any difference because you'd just be giving into me. A thing like this can't be one-sided, we both have to give in, both of us together. 
Ned - Where would that put us?
Susan - No place in this world. Because it just can't be done.

They go their separate ways. But then comes the twist. Ned decides to stay in Sandrock and gladly waves the train goodbye. Meanwhile, Susan has decided that she will be a dancing girl if Ned wants her to be and is on the train. Ned races after the train on his horse and they reunite, aware that they both gave in and can therefore live happily ever after.

For me, that's the key of a great romance: both characters have to sacrifice something, or they perceive themselves to be sacrificing something. You see it time and again in my favourite musicals but I can't think of a more articulate example than The Harvey Girls.

Romance is about beating the odds, overcoming hurdles, getting to that happily ever after. What happens then, of course, we rarely see in the world of musical film. Do Mr and Mrs Don Lockwood create a storm as a beautiful husband and wife duo after the conclusion of Singin' in the Rain? In many musicals, you have to ask whether the husband will actually give up his vices: Sky Masterson from Guys and Dolls and Ned Trent himself are good examples of that. Some musicals do stray to the happily ever after and show it for the fallacy it can be (Carousel and Showboat strike me as excellent examples) but if you're looking for a romance to tug at your heartstrings in Hollywood musicals then you can't do much better than looking at Judy Garland's movies or, for that matter, Gene Kelly's or Doris Day's.

My post last Valentine's Day celebrated my favourite romantic musical songs - with a twist.

Be a Curious Clown

It was the immortal Cole Porter who advised us all to 'be a clown'. Alas, I can't stand on my head and my jokes are rubbish. But it did get me thinking about what it takes to succeed in writing.

You can take on the most serious and challenging subjects in the world but if all you focus on are the bleak aspects you might leave your reader feeling exceptionally depressed. That's why Coronation Street is beloved by fans: it usually contains the right mixture of humour and heartache. I can't watch Eastenders any more due to the sinking feeling I get that the world may be grinding to a slow and painful halt. I've previously blogged about indulging the whimsy in my soul in my short stories but I think I could apply it easily enough to novels as well.

I want to tackle difficult topics but mostly I just want to ask questions, whether they're difficult or madcap. I often find that looking at something in a slightly different way produces some interesting words. I remember vividly travelling on a train from Lincoln to Doncaster when I doing my undergraduate degree and suddenly asking myself, quite seriously, why grated cheese tasted so much better than sliced. I didn't have a notebook with me at the time so I jotted the beginning of a short short to that effect on the back of a form I was supposed to hand in somewhere. The form was never handed in and I didn't finish the short story. I might return to that pressing question later in life though.

In the film The Pirate Gene Kelly and Judy Garland sing 'Be a Clown' as the final number of the movie. Judy's clown thinks she's very smart because she keeps dodging out of the way of a pin bopping her on the head and Gene's clown keeps getting bopped instead. Of course, her luck runs out. Sometimes the build-up of anticipation can lead to a more rewarding pay-off. If your character is jumping over metaphorical manholes throughout your story make sure he falls into at least one metaphorical pit before you're finished.

Ask yourself the basic questions every step of the way: why is my character doing this, what can this lead to, where is he going, what is the absolute worst that could happen next.

But do remember what Cole Porter cautioned - 'be a major poet and you'll owe it for years'. The things we do for our craft.