Doris Day Emotes Mightily in ‘Midnight Lace’ 1960

Doris Day is stalked by an unseen villain in 1960's suspense film "Midnight Lace."

Midnight Lace is one of those film perennials, the "woman in jeopardy" movie genre. Doris Day has made several, Julie, The Man Who Knew Too Much, and Midnight Lace.

As far as Doris Day’s performance is concerned, Midnight Lace falls in the middle. Some critics and fans have raved over her performance, citing that Day should have been Oscar-nominated. Others have cited that her hysteria was over the top, like her turn as Julie. While Doris could have been reigned in a bit as the hysterical heiress, there are several striking scenes where Day is most effective.

In case you're wondering what the title of "Midnight Lace" means!
Doris dons this ensemble at a rather odd point in this 1960 thriller.

This is one of those movies where you turn off your brain and just enjoy the thrills. The story is filled with more red herrings than a smokehouse. Nearly every supporting character has a seemingly sinister moment that makes them a suspect. 

Some of the 1960 "modern" attitudes toward the crank caller feel more than archaic, even for the time. It's eye-rolling how the other characters, including the detective, who all seem to want to brush it off as a prank or the imagination of Day's Kit. My two hurdles with this film: Why does Kit hang on the line while she's being threatened and degraded, instead of just hanging up? It's over 30 minutes into this movie before the detective has the bright idea for the couple to get a new phone number. The other is the caller's voice, which we occasionally hear, that is high-pitched and disembodied. Unfortunately, it inspires hilarity instead of hysteria, since the voice sounds like Pee Wee Herman acting villainous!

Why doesn't Doris Day's tormented heroine just say, "Sorry, wrong number?"

Doris Day plays an heiress who has been married three months to a wealthy business man, Tony Preston (Rex Harrison). She seems to have no purpose but to shop and feel neglected, but is kind and pleasant. Tony's a hard working business man who is always begging off personal plans to take meetings. The contrived plot only has Kit picking up the phone when the crank caller rings. Kit also experiences various near-miss physical mishaps—construction beams crashing, elevators stalling, shoved in front of a bus, etc. By the last act of the film Doris' Kit is a movie diva mess.

It's worth nearly getting clobbered by a construction beam if you get to meet
John Gavin! Doris Day in 1960's "Midnight Lace."

Even the best of this genre can be contrived, and depend on a suspension of disbelief. Without giving away the story, the villain seems rather obvious, and the red herrings more than a bit fishy! It’s best to enjoy the excellent cast of pros, the atmosphere, and lavish settings. While not as cheesy as Ross Hunter's same year Portrait in Black, the story doesn't withstand scrutiny.

Doris Day & Rex Harrison play newlyweds whose bliss is being blown by a
threatening caller to the usually sunny Day, in 1960's "Midnight Lace."

Rex Harrison as the husband is smoothly professional, but it's hard to understand why Day's heiress would marry this man 15 years her senior, when he's not particularly attentive. And Day's reactions to her situation seem a bit naive for a woman nearly 40. Doris must once again be playing younger, as she's referenced that way a couple of times. Also sexist and eye-rolling is when Day's Auntie Mame-ish Myrna Loy makes a number of self-deprecating cracks about aging, when she's just three years older than Rex Harrison. So, what else is new in Hollywood?!

"Rex, if you're only 3 years younger than me, why am I getting all the 'old' lines?"

Myrna Loy plays Doris Day's aunt in 1960's suspense drama "Midnight Lace."

The same is true for Kit's neighbor friend Peg, played by Natasha Parry. She's 30ish and attractive in a Dana Wynter way. And who turns out to be her mostly off-camera sailor husband? Anthony Dawson, also 15 years older, who looks like Trevor Howard's corpse!

Anthony Dawson plays much-talked about, seldom-seen neighbor Peg's sailor hubby.
Odd couple, since she is played by lovely Natasha Parry, in "Midnight Lace."

On the other hand, there's John Gavin, at the height of his hunkiness as the construction manager next door. He's also rather dull, like a male Kim Novak.

John Gavin's construction manager seems taken with Doris Day's harried heiress
in 1960's thriller "Midnight Lace."

And what would a Britain-set mystery be without a pipe smoking detective played by John Williams? At 70, Herbert Marshall seems feeble as a business associate with spending issues, and who would die six years later. Roddy McDowall is once again the unctuous underling who oozes smarmy charm and snide threats. Hermione Baddeley plays the gabby pub maid, of course! There are many familiar faces in this film, which makes it more fun to watch.

John Williams as the British detective with the pipe, natch, in "Midnight Lace."

Doris Day gets the beauty treatment by Ross Hunter's fave cinematographer Russell Metty. Day's costumes, always a star in her movies from Pillow Talk on, are by Irene, one of the more subtle designers in Hollywood. Day’s clothes look sleek and classy. And the hats? Well, they are a product of their time.

There's some location shooting in London, but this hothouse thriller was filmed at Universal. David Miller, a solid studio director, does the best he can with the material.

This scene has a Hitchcock quality, where the blonde heroine senses imminent danger.
Doris Day as the heiress in distress, in 1960's "Midnight Lace."

As for Day, she resisted this role after Julie caused her great stress. But her producer husband Martin Melcher persisted. Day used her trauma from a physically abusive first marriage for her hysteria scenes. While some feel over the top, like the elevator scene where she has a moment that rivals “I’ll have what she’s having” from When Harry Met Sally, the rest feel realistic, like her final meltdown on the staircase. Some critics have accused her of being shrill, like Elizabeth Taylor in some of her more emotional roles. My thought: Is anger or hysteria supposed to sound pretty?

Is Doris Day's heiress off her beam or is she being harassed? Watch "Midnight Lace!"

Doris Day was a pro, but didn't enjoy this type of role, and never did again. Perhaps her fans agreed. While this film was moderately successful, Day's comedies before and after did far better at the box office. Still, Midnight Lace is mindlessly entertaining popcorn movie, and a glam treat for Day fans.

Here’s my tribute essay to Doris Day here: https://ricksrealreel.blogspot.com/2017/04/a-latter-day-doris-day-fan-fesses-up.html

Doris Day unnerved but unbowed, in the final moment of 1960's "Midnight Lace."

'Teacher’s Pet' 1958

Both Clark Gable & Doris Day's characters have lessons to learn in "Teacher's Pet."

Teacher’s Pet was made in the midst of Doris Day’s 20 year movie career. Hollywood’s girl next door starred opposite almost all of the golden era’s leading man greats. Doris worked well with them all, and Clark Gable was no exception. In 1958’s Teacher’s Pet, as modern journalism teacher Erica Stone, Doris is warm and intelligent; Clark is playful but pragmatic as the old-style news editor. While both play to their very specific personas, Day and Gable are completely natural in front of the camera and totally believable as their journalist characters.

Doris Day's DA hairdo in "Teacher's Pet" would soon be DOA with "Pillow Talk!"

Clark is Jim Gannon, an old-school city desk editor. As an old-school Hollywood icon, Gable was perfect casting. Though a life of cigarettes and alcohol made him look older than 56, this was not unusual for classic Hollywood heroes. Sadly, Gable was dead less than two years after Teacher’s Pet was released. It was still common to cast much younger actresses as co-stars. Doris Day was 35 when this rom-com was filmed, and clean-living Day lived to be 97.

Doris Day & Clark Gable make a solid team in "Teacher's Pet."

I was a former newsroom journalist and there was some smart stuff in this film, issues that exist to this day. I came into news at the tail end of this movie’s depicted era. The whiff of old-school journalism, where some staff reeked of cigarette smoke and longed for the good old days of a bottle in their desk drawer. In Teacher’s Pet, papers were trying to stay in the black, losing space to the ads that kept the lights on. And the battle of opinions over whether to get a college education versus on-the-job training is still a relevant topic.

Clark Gable's city editor with hot news item Mamie Van Doren in "Teacher's Pet."

Teacher’s Pet was more of a comedy-drama than a flat-out farce; perhaps this was why it wasn’t filmed in color. This is one of the few Doris Day movies shot in B & W. Cinematographer Haskell Boggs (who worked mostly on TV) doesn’t do either star any favors in the glamour shots department, either.

The following year, Doris got the Ross Hunter glamour makeover and soft lenses in Pillow Talk, and the die was cast for “Doris Day lighting!” Ironically, despite the common perception that Pillow Talk was a big departure for Day, the basic plot mimics Teacher’s Pet: Career girl Doris fights off old-school wolf. She’s appalled by his lifestyle. Wolf then pretends to be someone else, to play Day. There’s a sidekick commenting on the action. Booze figures prominently, there’s a song or two. Day discovers the ruse, but a happy ending ensues. The big difference is Teacher’s Pet is far more realistic and both characters compromise by the end.

Gable's old-school in every way, especially when it comes to the chassis of Doris Day!

Though Gable plays Jim a bit broadly in the comic moments, he’s quite at ease in the serious scenes. Clark brings great authority as the voice of experience, who’s ill at ease under it all, for his lack of education. Perhaps it’s the smart Oscar-nominated script by Fay and Michael Kanin, but as the typical comedic battle is fought, eventually both Day and Gable’s characters learn, and to give a little.

A lovely scene in "Teacher's Pet," when editor Gable discovers who's the father
of journalism teacher, Doris Day.

As the journalism instructor, Doris Day plays it more straight than usual. Day loses the early ‘50s ingénue attitude and tones down the comedic squawks of indignation that came in later comedies. When Erica discovers the late bloomer in her journalism class is the newspaper jerk who wrote her an insulting letter, Day’s teacher is genuinely hurt. Both characters learn to appreciate the other, and this gives Teacher’s Pet more heft than the typical Day movie. Doris is natural in her dramatic moments, and gets to be playful when sparring with Gable.

Are Gig Young & Clark Gable vying for Doris Day's attention in "Teacher's Pet?"

One of Doris Day’s funniest moments is when mimics Mamie Van Doren, who plays Gable’s performer gal pal. After viewing Mamie sing and dance to “The Girl Who Invented Rock and Roll,” she tweaks Gable with her own version later. And aside from Doris’ good humor, Day demonstrates that her figure is every bit as impressive as Mamie’s! In fact, the movie gives us several appreciative views of Day’s assets. BTW, Doris was tall at 5’7”, in an era of petite movie divas.

Doris Day's teacher proves she's got a few moves of her own in "Teacher's Pet!"

Gig Young got a Best Supporting Actor Oscar nomination for his role as the psychiatric professor, Dr. Hugo Pine, who Gable first views as a threat. Young was an excellent dramatic actor, but a natural at romantic comedy. He’s quite charming and funny here, with some wonderful bits of business, and gets to play some “comic” drunk scenes once again.

Gig Young is charming & very funny as Doris Day's fellow professor, "Teacher's Pet."

Nick Adams is energetic and sincere as the young hot shot, Barney Kovac. He looks up to old-school Gable—literally. When Nick stands next to Clark, Hollywood’s “King” looks like he could snap the boy in half! Also, Vivian Nathan who plays Nick’s mama, who wants him to go back to school, stands out for her strong, believable performance. Mamie Van Doren spoofs her sex bomb image to amusing effect. Note Marion Ross of Happy Days as Day’s secretary!

Spark plug Nick Adams is dwarfed by Clark Gable in "Teacher's Pet."

A smart gimmick was to cast real-life show biz reporters in cameos in this film, thus assuring good publicity for Teacher’s Pet: Army Archerd, Vernon Scott, Sidney Skolsky, and Joe Hyams, to name a few.

There are as many touching moments as there are funny ones in Teacher’s Pet. Enjoy Doris Day in one of her strongest vehicles, starring opposite of “The King” of Hollywood!

Hollywood blondes, bombshell & girl next door, promoting "Teacher's Pet."

Here’s my tribute to Doris Day and how I belatedly became a fan: https://ricksrealreel.blogspot.com/2017/04/a-latter-day-doris-day-fan-fesses-up.html

My look at Doris Day in the lovely, lively musical, The Pajama Game: https://ricksrealreel.blogspot.com/2017/10/the-pajama-game-1957.html

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/

Clark Gable and Doris Day looking like the Hollywood royalty they are
at a premiere for "Teacher's Pet."

Doris & Cary’s Class Carries ‘That Touch of Mink’ 1962

Grant & Day were at the peak of movie stardom when they teamed. Cary retired in 1966 & Doris' last film was in '68.

Doris Day and Cary Grant are the opposite of Doris and Rock’s easygoing chemistry in their only movie teaming, 1962’s That Touch of Mink. Doris is sunny and outgoing; Cary is wry and remote. They “meet cute” when Phillip’s limo splashes Cathy’s outfit when he passes by her on a NYC street corner. He sends gofer Roger (Gig Young) over to the automat across the street to make amends. Roger, who comically resents Shayne’s charmed life, ends up bringing Cathy back to the office to give him a piece of her mind. Her waitress pal/roommate Connie (Audrey Meadows), full of sisterly advice, warns Cathy off. Spoiler alert—hardly! Instead of giving Philip what for, Cathy instantly goes gaga for him.

Day's career girl gets more than a cheap lunch from roommate pal Connie (Audrey Meadow.)

Doris’ Cathy Timberlake is written as agog of Grant’s Philip Shayne. And Cary’s millionaire goes to great lengths to win Cathy over. Today’s viewers may wonder why. That’s because the script—which somehow got an Oscar nomination—says so.

Cary Grant, nearly 60, aged far better than nearly all the male stars of his era.

While That Touch of Mink goes down smoothly, with its skilled stars and lavish production, it’s also beyond predictable and dated. The first problem is the stars’ collective age. Cary a rich playboy looking for a plaything. Grant was soon 60 shades of gray and this makes Phillip a bit creepy. Doris was 40 and she is playing a “career girl” hesitant to sleep with a man out of wedlock. Doris’ pal Connie constantly refers to herself as old; Audrey Meadows is the same age as Day! And Gig Young, as Grant’s insecure underling, is 50, just decade younger than Grant, though they look the same age. All are well-photographed, but cinematographer Russell Metty reserves for Doris Day that soft focus that makes viewers realize there is also Doris Day photography, as well as parking!

Doris Day positively glows in 'That Touch of Mink!'

That Touch of Mink has superbly attractive stars, beautifully styled, great clothes for both Day and Grant, lavish sets, locales—everything except content. I will say this: Back when studio era stars worked hard and played hard, they often looked rode hard and put away wet by the 1960s. However, Doris Day and Cary Grant both took great care of themselves and looked like a gorgeous, mature couple here. Doris Day had a better bod than most sex bombs, notably on display in a form-fitting black spaghetti strap evening dress. And when Grant leaves the NYC Athletic Club in nothing but a towel, Cary shows he could still carry that stuff off. But realistically, they are playing 20-something and 40-something, respectively, and it adds to this movie’s artificiality.

Cary was still a hard-body heart throb four years before Grant retired from film.

This is a one joke movie: Will she or won’t she? Okay, maybe a three or four joke movie! There are several running gags that would not fly in today’s movies, which I don’t take offense, because that was humor back in the ‘60s. And it’s not mean-spirited, just silly. After a point though, it also feels tiresome.

Doris Day, in fine form at 40!

 Doris’ Cathy is constantly worried that ‘everyone knows’ she’s on vacation with an unmarried man. There’s the subplot with Gig’s character talking to his shrink. Dr. Gruber has mistaken Roger’s obsession with Cathy’s romantic problems with the millionaire as his own. This leads the shrink to think Roger’s on romantic weekends, contemplating marriage, and so on, with Phillip. At the end, spotting Young with Grant and Day’s baby carriage, the shrink finds Roger bubbling over about babies and wedded bliss. This must have seemed hee-larious back in ‘62. Or maybe not, since this shtick was already done in Pillow Talk. Then there’s John Astin as the unemployment clerk who tries to weasel a sex date with Day’s Cathy by withholding her check. What a knee-slapper! What makes Day’s dated sex farces tolerable is that Doris is strong and outspoken, plus nobody’s fool.

A bit of jolt to realize Gig Young was nearly a decade younger than Cary Grant!

Also, PC movie watchers will not enjoy the fur coats flung around this movie in the name of luxury. This is back when animal lover Doris still loved fur. It is strange that Grant lavishes a full wardrobe on Cathy for a trip to Bermuda. But as any Day fan knows, Doris movies at this point were glorified fashion shows, there’s even a real one in an early scene. Also not PC today, but Doris’ drunk scene is pretty funny, with such nasal, loosey-goosey answers to an agog Grant: “Sure beats hot milk with butter!”

Day's Cathy steels her courage by chugging a bottle of Scotch! 

There are some sadly ironic plot points in That Touch of Mink. Gig Young again plays a comic drunk, something he had seriously become in real life by this time. Young attempted many forms of therapy to alleviate his deep-seated problems, so it’s a wince to see him playing therapy for laughs, considering his life ended in a murder-suicide. Then there’s a slapstick scene where drunken Doris falls out a hotel window and lands on a canopy. In an eerie coincidence, Irene, Doris’ dear designer friend, holed up at the Knickerbocker Hotel on Nov. 15, 1962, got drunk, left suicide notes, jumped out the hotel window, also landing on the canopy, to her death.

I love the automat scenes in this movie! Connie feeds Cathy a personal chicken pot pie,
 baked potato, carrots, jello salad, and cake ...for lunch!

Mink is a movie that shows the early‘60s at its most fun: the clothes and styles, the automat, and even cans of color-changing hairspray. Or that new innovation, charge cards, and how someday, people are going to charge everything! The movie’s attention to luxury also includes plugs for Bergdorf-Goodman, Cardinal Clothes, Pan Am, Grey Hound, and those boutiques who supplied the furs, jewels, etc. And there’s even a guest appearance by Mickey Mantle and the New York Yankees.

Movies like That Touch of Mink have fans who just want to watch charismatic stars in beautiful fashions and locations, that’s fun and has a happy ending. That Touch of Mink is the cinematic equivalent of cotton candy. Enjoy!

A pretty, pastel publicity photo of the stars of 'That Touch of Mink.'

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/

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.