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

FYI: I put my movie overflow on my FB movie page. Check it out & join!  

https://www.facebook.com/groups/178488909366865/

 

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

 

Elvis’ Iconic TV “Comeback Special” 1968

Presley's 1968 TV special proved that Elvis was back!

I was astounded to learn that Elvis Presley, prior to his ’68 NBC “comeback special,” had not performed live since he got out of the Army. One of the most dynamic performers, Elvis wasn’t doing what he did best. Instead, Presley cranked out what was once called "drive-in movies." The response to his TV special was so great that Elvis did a Las Vegas residency a year later, and then took to touring with a vengeance—which may have been his undoing.

Though Elvis Presley's special was the number one show of the week, when it aired Dec. 3, and the highest rated program of the 1968-9 season, it got zero Emmy nominations. This reminded me that Elvis won three Grammys in his music career—for his gospel music. Sometimes the greatest artists in their fields are the least rewarded when it comes to awards from the industry.   

Elvis Presley decided to shake up his stagnant career with this TV special.

       

Allan Blye and Chris Bearde wrote the special, and they later went on to write for The Sonny and Cher Comedy Hour, which also gave those flagging pop stars’ a big career boost. At first, Elvis’ special was to be Christmas themed, per manager Colonel Tom Parker's wishes. But Presley thought that was too square, as did director Steve Binder. It's been noted elsewhere that Elvis performing casually surrounded by musicians and audience was a preview of MTV Unplugged. This was a unique opportunity for Presley to strip away the glitz of his movie image and proved that he was still the King of Rock.

Elvis sharing a laugh with director Steve Binder, on the set of Presley's TV special.

Elvis Presley easily showed that he still looked and sounded great. He performed some his favorite songs in a loose storyline. For the mini-concert/jam session, Presley wore the memorable black leather jumpsuit. He also sported some awesome suits, one that made him look like a rock version of Rhett Butler.

What is outrageous to me is that the show’s creators had to scramble for an audience come taping time, because Colonel Parker was lackadaisical in the handpicked audience he had promised. So, the producers found most of their audience in nearby restaurants and bars! 

The special opens with “Trouble” and “Guitar Man.” This is done so dang stylishly, that it looks like a forerunner to an MTV video. Elvis in huge close-up, then shown in black, save for red scarf, performs both numbers with great energy and confidence. The background gradually changes to silhouettes of guys with guitars in blocks, recalling “Jailhouse Rock.” The number ends with Elvis standing in a giant red neon light version of his name—talk about branding!

Elvis Presley in the red-hot opening number, "Trouble/Guitar Man."

The iconic Black Leather suit session starts with one of Elvis’ early numbers, “Lawdy Miss Clawdy.” Presley had an amazing voice live, his small audience is enraptured, and Elvis is obviously having a great time with them and his one-time playing buddies. “Baby, What Do You Want Me To Do?” stops when Elvis makes fun of his lip curl, "which I did for 29 pictures.”

He then stands up for his next song, looking like a million in that suit, which would make Harry Styles green with envy. Funny, I thought Elvis was on the short side, like so many of his contemporary heartthrobs. Presley looks long and leggy in that slim cut black leather. And I love that powerhouse rock opening to “Heartbreak Hotel.” The audiences goes nuts when he launches into “Hound Dog,” and is that really pre-stardom Cheryl Ladd in yellow, sitting in the front row, as rumor has it? Ladd would have been 17. Probably not, but it does look like her!

Some folks on the Internet think this is a young Cheryl Ladd in the audience.
Likely not, but there is a resemblance.

“All Shook Up” gets the sexy treatment, grunts and all. Elvis is very physical here, agile and all animal energy. Presley effortlessly slips into ballad mode in one his best, “I Can't Help Falling in Love with You,” though the orchestration and back up is intrusive.

Elvis gives a wow version of “Jailhouse Rock.” Some critics compared his energy unfavorably to the past... like when he was 18. Presley's a pistol here! He then plays around on “Love Me Tender,” but then gets serious and sells the song.

Elvis Presley in the "unplugged" mini-concert segment, with very adoring fans!

Presley introduces the gospel segment, one of the show's best, by talking about how he and others who have come along in rock music owe a debt to gospel and rhythm and blues. This belies the notion that Elvis just appropriated black music. He grew up with it, was actually immersed in it, and always acknowledged those roots. 

Love Elvis in his red suit and Darlene Love and the Blossoms with their white dresses, who come out snapping their fingers to the beat! “Where Could I Go But the Lord?” gets things started. “Up Above My Head” kicks it up a notch, with the back-up singers and dancers getting their moments to shine. With Elvis in charge, he leads them into the showstopper “Saved,” and they all knock this one out of the park.

Elvis and The Blossoms (the great Darlene Love at right!) --love Presley's red suit!

Then, back to the black leather jump suit mini-concert, where Elvis’ guitar-playing was showcased on “Baby, What Do You Want Me to Do?” Presley then segues into “Blue Christmas,” an all-time fave of mine. And Presley’s, too!

The effect Presley had on his audience is demonstrated here. Elvis is very playful with the audience and increasingly relaxed as the show goes on. “One Night with You” gets them standing up, with his musician pal holding the mike stand for Elvis! “Memories” has the women melting. Again, Presley was a great ballad singer as well as rocker. The mesmerized looks of adoration... wow!

The “Nothingville” segment shows Elvis in all denim, backed by neon highway lines! He then reprises “Guitar Man,” which leads into him slumming through a shady side of town. Shouldn’t have this come before the “Gospel” section, finding redemption?

Elvis Presley takes a walk on the wild side in blue denim in "Nothingville."

The sexiness of this segment is very ‘60s, like the other staged segments, but comes off a bit dated. Still, it’s fun and there’s some great classic tunes mixed with the new material that strings these songs together. “Let Yourself Go” gets by but “Big Boss Man” and “Little Egypt” are great fun. The latter has Elvis sporting a glittering gold suit, another nod to the past. Elvis the peacock changes suits several times here, during another chorus of “Trouble.” Back to his audience and in black leather, a finale of “Guitar Man” and he walks off into the highway set.

Elvis sings one more chorus of "Guitar Man" before heading off that highway set.

"If I Can Dream" was specifically written for Elvis by Earl Grant, for this special. Grant took how Presley felt about the recent Martin Luther King assassination and wrote this song. Also noteworthy, Robert F. Kennedy was assassinated during the making of this special. Naturally, controlling Colonel Tom Parker didn't like the song, but Elvis insisted on recording the number, and it later became Presley’s biggest hit in years.

“If I Can Dream” was a nod to Martin Luther King much in the way Judy Garland performed “The Battle Hymn of the Republic” on her legendary series as a tribute to JFK, who had just been assassinated. In both cases, their respective networks were leery, but both stars insisted. And the result was two memorable, heartfelt performances.

Elvis Presley gives his all for the finale, "If I Can Dream."

This finale, so powerful, has Elvis singing his heart out in a white suit, who just says a simple farewell when he’s done. Elvis has been gone 45 years this Aug. 18, 2022—one of many singers gone before his time. This special proves that at 33, Elvis Presley still had a few great years left.

Stay golden, Elvis Presley!

Here’s one of my favorite Presley pictures, Loving You, with Elvis at 22!  https://ricksrealreel.blogspot.com/2019/08/elvis-presley-fans-still-loving-you-1957.html

And here’s my take on the very first bio pic of Presley, 1979’s Elvis, with Kurt Russell, directed by John Carpenter:

https://ricksrealreel.blogspot.com/2022/07/kurt-russell-excels-as-elvis-1979.html

Elvis Presley's "Comeback Special" proved that he hadn't left the building just yet.

Sharon Tate: More Than a “Doll”

Sharon Tate as Jennifer North in 1967's "Valley of the Dolls."

So much as been written about Sharon Tate’s tragic ending, that I wanted to write about her brief but intriguing career, and what might have become of the lovely young starlet. Sharon Tate's resume is pretty slim. Somewhat like Marilyn, you get more of a feeling for her charisma by looking at the many photos taken of Sharon than in her few film roles.

Sharon Tate in "Valley of the Dolls." She reminds me of her good friend & equally gorgeous Joanna Pettet here. 

In the early '60s, Tate got a few bit parts on TV shows and played a recurring role on The Beverly Hillbillies, in a black wig. This was producer Martin Ransohoff’s idea, co-founder of Filmways. Ransohoff wanted Sharon to get more camera experience, but without being recognized! The TV producer was also getting into feature films and put Sharon under personal contract. He cast her in the occult thriller, Eye of the Devil, when Kim Novak had just been replaced by Deborah Kerr. Tate got a lot of attention from the film, though it bombed. Sharon’s otherworldly demeanor and spellbinding beauty reminded me of Kim Novak in Bell, Book, and Candle—though Devil was a suspense film.

Sharon Tate as the scary Odile in 1966's "Eye of the Devil."

Then came two more duds with producer Ransohoff: beach party parody Don't Make Waves and Roman Polanski's spoof The Fearless Vampire Killers. In Don’t Make Waves, Sharon plays beach girl Malibu and seems to have been an inspiration for Bo Derek in 1979’s 10. Tate’s innkeeper’s daughter in Polanski’s Vampire Killers film is a classic saucy beauty, like Kim Novak as Moll Flanders. Both stars fared far better as modern day blondes rather than period era redheads. A few critics commented that Tate had a natural flair for comedy in both films.

Sharon Tate as Malibu in 1967's "Don't Make Waves." Inspiration for Bo Derek's beach girl in 1979's "10?

To recap, under personal contract with Martin Ransohoff, Sharon Tate made Devil, Waves, and Vampire Killers, oh my. This was a far cry from the studio system days, where a starlet was carefully brought up the ranks—this was the hit or miss ‘60s. These movies have their cult fans, but for most audiences, they are forgotten oddities. 

Sharon Tate as Sarah, the innkeeper's daughter, in 1967's "Those Fearless Vampire Killers," which introduced her to Roman Polanski.

Valley of the Dolls, with Sharon Tate as Jennifer North, is the 1967 film for which the actress is most famous. The salacious soap made a fortune but got some of the worst reviews of any '60s film. Ironically, Fox starlet Raquel Welch was offered the part of Jennifer but turned it down, fearing she’d be typecast as “the body beautiful.” Raquel was certainly more statuesque than slim Sharon, but was typecast anyway, and missed the chance to star in a hit movie.  Yet Welch would not have brought the warmth or vulnerability that Tate possessed.

Though Sharon Tate possessed a lovely figure, she was hardly "top-heavy,"
as constantly commented upon throughout "Valley of the Dolls."

On the set of Dolls, veteran reporter Bobbie Wygant asked Tate if she had read the Jacqueline Susann book. Sharon answered yes, adding that she liked the character Jennifer best, for that’s who she had the most sympathy. Like so many starlets, Tate had been touted as the next Marilyn Monroe, in Sharon’s case, by the Saturday Evening Post. Sharon quickly nixed that notion, telling Wygant that there was only one Marilyn: “Nobody could ever be Marilyn Monroe.” Good answer! Ironically, Tate was making Dolls at 20^th Century Fox, where MM had been under contract. I must say that as hard as Tarantino tried in Once Upon a Time in Hollywood with Margot Robbie, there is also only one Sharon Tate. Robbie may be a good actress, but she didn’t have Sharon’s ethereal quality, not to mention Tate’s exquisite bone structure and expressive doe eyes.

When Wygant asked Tate what her long term goals were, and Sharon’s answer was smart and realistic:  “I want to remain myself as much as possible.”

Sharon's Jennifer North ends her life near the finale of "Valley of the Dolls."

Though Dolls author Jacqueline Susann based Jennifer North on her good friend, tragic starlet Carole Landis, Jackie couldn’t help but be influenced by tragic death of Marilyn Monroe in ’62, when she was writing Dolls. There are echoes of Marilyn in the film version of Dolls. The suicide scene, with reporters asking impertinent questions about Jen, such as her measurements, recalls the scene at Monroe’s bungalow the morning after her death.

I watched screen tests of Sharon as Jennifer and thought she came off even better than in the actual movie scenes. And I noticed reader comments saying the same thing. I do know that some of the Dolls actresses did not enjoy working with old-school studio director Mark Robson, who may have intimidated shy Sharon. But in her big scenes, such as Tony’s illness and Jen’s diagnosis, Tate’s quite touching. One thing Sharon had in common with Marilyn was that Tate also had those wistful eyes, even when she was smiling.

Sharon Tate at 24 as Jennifer North in "Valley of the Dolls."

Some people have downgraded Sharon’s performance as Jen, citing her as beautiful but no-talent. I wonder if that’s because in the movie, the other characters are constantly objectifying Jen, while telling her she has no talent. Jen even says so herself. Perhaps audiences thought Sharon was just playing herself. Tate may have not had the greatest range, but she could certainly identify with Jennifer.

Sharon Tate was a wow in this Travilla gown in "Valley of the Dolls." The designer also dressed Marilyn Monroe in several films, including "Gentleman Prefer Blondes."

The next year came yet another spoof, 1968’s The Wrecking Crew, the last and lowest grossing of Dean Martin's Matt Helm spy satires. Sharon Tate’s Freya is a beautiful, glasses-wearing bumbler, rather like Marilyn Monroe in How to Marry a Millionaire. Tate’s last film was an international comedy, 12 + 1. During filming she was newly pregnant, and the film was released after her death, in 1970.

Sharon Tate as Freya, the bumbling agent in 1968's "The Wrecking Crew."

Terry-Thomas remembered Sharon in his 1990 autobiography: "On the first day of filming 12+1, on location in London's Jermyn Street, Sharon Tate came up and introduced herself. She said, quietly, 'I must tell you something before we start working together. I can't act, but I somehow get by without anyone realizing, so don't worry.' Actually, Sharon turned out to share a distinction with Lena Horne, they were the only two performers I ever knew who were entirely 'natural' before the camera. Everybody else, method actors (and T-T too!) automatically took on a different stance and manner, as soon as the cameras started rolling. So there were no difficulties with Sharon. We were like a double act. She was nice, intelligent, and pretty."

Sharon Tate as Pat in "12+ 1." Sharon was in her early pregnancy during filming.
The European comedy was released in 1970, after her death.

Where would Sharon Tate’s life and career have gone had she lived?

If Jane Fonda couldn't make a go of it with her European playboy director-husband, Roger Vadim, surely Sharon wouldn't have, either. So, what actress avenue would Sharon have gone down? Reclusive, like Kim Novak? Multiple marriages, like Elizabeth Taylor? Live-in boyfriends, like Jacqueline Bisset? Marry well and/or happily, and retire? For some reason, I don’t think she would have gone the Marilyn route, with breakdowns and addiction. Who can say, really?

In my mind, Sharon Tate, Jacqueline Bisset, and Sharon’s BFF Joanna Pettet were the three young film beauties of the late '60s, and all had a hard time getting good roles, often just cast for their looks or as “the girl.” My guess is, in reality, if Sharon didn't just retire, she would have ended up on TV. The early ‘70s cinema was still casting realistic looking actresses like Karen Black. And pretty girls that got cast usually got panned: Candice Bergen, Ali MacGraw, and later, Cybill Shepherd. Perhaps Tate would have caught the eye of Aaron Spelling and become an angel. Why not? Sharon was in the same age range as the original Charlie’s Angels. Or perhaps she could have starred in a prime-time soap—Sharon Tate as Krystle Carrington?  Tate was just a few months younger than Linda Evans, who also had an episodic ‘60s career and a dominating husband.

I can see Sharon Tate as Jill Munroe on "Charlie's Angels." Sharon also had the "three girls" thing down, too. Perhaps if the show had been on in the '60s, Parkins could have played Kelly, and Duke as Sabrina!

Interesting that when a star dies young, they get locked in time, and while eternal, gradually seem far away. On January 24, 2023, Sharon Tate would have turned 80. Sharon’s been gone for over 50 years, a life and career suddenly ended. I choose to look at Tate’s beauty and career, not who and how they ended her life.

Here’s my fun look at “dream team” casting for Valley of the Dolls: https://ricksrealreel.blogspot.com/2017/07/different-dolls-for-valley-of-dolls.html

 

When Sharon as Jen warily watches her "art" films, I flashed on Kim Novak as world-weary star Lylah Clare doing the same the following year. And that Tate would have been much more age-appropriate as that starlet! But who needed both "Dolls" & "Lylah" on their resume!

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Kim Novak as Elsa Brinkmann/Lylah Clare.