IMDb > In the Good Old Summertime (1949)
In the Good Old Summertime
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In the Good Old Summertime (1949) More at IMDbPro »

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Down 17% in popularity this week. See why on IMDbPro.
Albert Hackett (written for the screen by) &
Frances Goodrich (written for the screen by) ...
View company contact information for In the Good Old Summertime on IMDbPro.
Release Date:
29 July 1949 (USA) See more »
It's turn of the century America when Andrew and Veronica first meet - by crashing into each other.... See more » | Add synopsis »
1 nomination See more »
User Reviews:
Certainly not the greatest of Judy Garland, but it's Judy Garland still. See more (47 total) »


  (in credits order) (verified as complete)

Judy Garland ... Veronica Fisher

Van Johnson ... Andrew Delby Larkin

S.Z. Sakall ... Otto Oberkugen (as S.Z. 'Cuddles' Sakall)

Spring Byington ... Nellie Burke

Clinton Sundberg ... Rudy Hansen

Buster Keaton ... Hickey
Marcia Van Dyke ... Louise Parkson

Lillian Bronson ... Aunt Addie
rest of cast listed alphabetically:
Bette Arlen ... Pretty Girl (uncredited)
William Bailey ... Supper Club Patron (uncredited)

Edward Biby ... Judge (uncredited)
George Boyce ... Male Quartette Member (uncredited)

Chester Clute ... Sheet Music Customer (uncredited)
Carli Elinor ... Band Leader (uncredited)
Antonio Filauri ... Italian Proprietor (uncredited)

William Forrest ... Announcer (uncredited)
Everett Glass ... Doctor (uncredited)

James Gonzalez ... Supper Club Patron (uncredited)
Eula Guy ... Bird-Like Woman (uncredited)
Eddie Jackson ... Male Quartette Member (uncredited)

Joi Lansing ... Pretty Girl (uncredited)
Peggy Leon ... Guest (uncredited)

Carl M. Leviness ... Supper Club Patron (uncredited)

Frank Mayo ... Guest (uncredited)

Liza Minnelli ... The Daughter at Ending (uncredited)

Howard M. Mitchell ... Cop (uncredited)

Rhea Mitchell ... Woman at Window (uncredited)

Alberto Morin ... Waiter (uncredited)
Joe Niemeyer ... Male Quartette Member (uncredited)

Anna Q. Nilsson ... Woman with Harp (uncredited)
Anne O'Neal ... Woman with Boy (uncredited)
Constance Purdy ... Gushing Woman (uncredited)
Arthur Rosenstein ... Louise's Accompanist (uncredited)
Clark Ross ... Supper Club Patron (uncredited)
Jack Roth ... Orchestra Leader (uncredited)

Ralph Sanford ... Burly Policeman (uncredited)

Jeffrey Sayre ... Supper Club Patron / Party Guest (uncredited)

Charles Smith ... Member of Quartette (uncredited)
Bobby Valentine ... Boy with French Horn (uncredited)
Joan Wells ... Susie (uncredited)
Josephine Whittell ... Woman at Window (uncredited)

Directed by
Robert Z. Leonard 
Writing credits
Albert Hackett (written for the screen by) &
Frances Goodrich (written for the screen by) and
Ivan Tors (written for the screen by)

Samson Raphaelson (screenplay)

Miklós László (play "Parfumerie") (as Miklos Laszlo)

Buster Keaton  uncredited

Produced by
Joe Pasternak .... producer
Original Music by
George Stoll (uncredited)
Robert Van Eps (uncredited)
Cinematography by
Harry Stradling Sr.  (as Harry Stradling)
Film Editing by
Adrienne Fazan 
Art Direction by
Randall Duell 
Cedric Gibbons 
Set Decoration by
Edwin B. Willis 
Costume Design by
Irene (costumes: women)
Valles (costumes: men)
Makeup Department
Jack Dawn .... makeup designer
Sydney Guilaroff .... hair designer
Dorothy Ponedel .... key makeup artist (uncredited)
Second Unit Director or Assistant Director
Bert Glazer .... assistant director (uncredited)
Art Department
Alfred E. Spencer .... associate set decorator
Sound Department
Douglas Shearer .... recording supervisor
Charles E. Wallace .... sound (uncredited)
Special Effects by
Warren Newcombe .... special effects
Camera and Electrical Department
Richard Borland .... grip (uncredited)
Jerome Hester .... still photographer (uncredited)
Sam Leavitt .... camera operator (uncredited)
Music Department
Robert Alton .... director: musical sequences
Conrad Salinger .... orchestrator: vocals
George Stoll .... musical director (as Georgie Stoll)
Leo Friedman .... composer: additional music (uncredited)
Robert Van Eps .... orchestrator (uncredited)
Other crew
James Gooch .... associate technicolor color director
Natalie Kalmus .... technicolor color director
Amalia Kent .... script supervisor (uncredited)
Edward Woehler .... program manager (uncredited)
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
102 min
Color (Technicolor)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Sound System)
Australia:PG | Finland:S | Sweden:Btl | UK:U | USA:Approved (certificate #13720)

Did You Know?

June Allyson and Frank Sinatra were originally supposed to play the leads, but Sinatra was unavailable and Allyson dropped out when she became pregnant.See more »
Continuity: When singing "Meet Me Tonight in Dreamland", Veronica lifts the harp several times. Sometimes the bottom of the harp is plain wood, but sometimes it is covered with green felt.See more »
Veronica Fisher:You're not the only one who's getting engaged. I mean, he hasn't asked me yet. And he might not, but then again...
Andrew Delby Larkin:He might. Well as a matter of fact, I happen to know it will happen.
Veronica Fisher:What do you mean you know it will happen?
Andrew Delby Larkin:I might as well tell you, he came to see me the other day.
Veronica Fisher:Who?
Andrew Delby Larkin:Your fiance. I had a pretty tough time with him too. You know he just didn't believe you when you wrote and told him I meant nothing to you.
Veronica Fisher:I just can't rap my head around this. He came to see you?
Andrew Delby Larkin:See me, yeah. Oh, but don't worry, I straightened everything out. In a little while, you'll be Mrs. Nusspickle.
See more »
Movie Connections:
Play That Barbershop ChordSee more »


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9 out of 9 people found the following review useful.
Certainly not the greatest of Judy Garland, but it's Judy Garland still., 21 October 2013
Author: mysticfall from South Korea

I won't go into plot details, as it's been done by so many other reviewers before me. Instead, I'll just share my observations as a fan of classic musicals, and specifically of Judy Garland.

Personally, I think it was during 43-46 period when Judy looked and sounded the best. And incidentally, it was also the period when the classic MGM studio system was at the apex of its efficiency in churning out one great musical after another before its demise later in that decade.

In Good Old Summertime, one can't help but realize, with much regret, that the greatest period of the good old musical films and of Judy Garland was beginning to wane. And it is noticeable from quality of music scores and from changes in her appearance also.

Of course, it's still a very enjoyable movie, especially if you watched one of the other movies based on the same story. And Judy still looks amiable and sounds great even when she had to sing in such self-deprecating manner as in 'I Don't Care', which feels very different from other instances of similar comic approach of her previous films like 'When I Look at You' in Presenting Lily Mars, or 'Couple of Swells' from Easter Parade, for example.

Even though the movie is categorized as a musical, it's certainly not Harvey Girls where you can enjoy such trademark MGM scenes, like that big, complex sequence as 'Atchison Topika and the Santa Fe'.

Back then, the Freed Unit with so many talented actors and actresses were so efficient that they didn't need too many camera cuts or even extensive rehearsals to create a such captivating 20 min long sequence.

In Good Old Summertime, Judy Garland is almost the only person who sings, and there is no 'sequence' to talk of, as most of the numbers are done by her singing solo, except for the Barbershop Quartet and 'I Don't Care' numbers.

In general, songs are less memorable than those from her other movies. There's a Christmas song which Judy sings beautifully as usual, though it just isn't on par with 'Have Yourself a Merry Christmas' from Meet Me in St. Louis.

Judy still looks attractive, but not more so than in her earlier movies. Her personal troubles in real life begin to take their toll on her appearances by the time she appeared in this movie. Van Johnson is amiable, but he's certainly not her ideal partner in a musical film, as he can't really sing or dance like Mickey Rooney or Gene Kelly.

All in all, it's a still very enjoyable movie, but if you are a Judy Garland fan like me, you might want to try her other films first, preferably one from the 43-46 period, if you haven't seen them all already.

And when you have already seen most of them, and when you are sure to understand why people keep praising Judy Garland and her movies from her better days even today, then with a preparation of your mind for experiencing some regrets and pangs which might result from seeing her lesser self in a lesser kind of a musical, you are ready to enjoy this movie as a devote Judy Garland's fan.

It's something similar to what it requires to enjoy her late year recordings like the famous Carnegie Hall album. It pains to notice how she lost her range and her once impeccable vibrato became one that sounds artificial and forced.

But at least, it's Judy Garland and I believe that would suffice to enjoy it for most her ardent fans. As to what seems deficient, they can supplement it by their memories of what she has been in her prime time.

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