On a train trip West to become a mail order bride Susan Bradley meets a cheery crew of young women traveling out to open a " Harvey House " restaurant at a remote whistle stop to provide ... See full summary »
Norman Maine, a movie star whose career is on the wane, meets showgirl Esther Blodgett when he drunkenly stumbles into her act one night. A friendship develops, then blossoms into romance before tensions increase as Esther's career takes off while Norman's continues to plummet. Written by
Col Needham <firstname.lastname@example.org>
Judy Garland was on her best behaviour during the early days of shooting, but she slowly lost control. She first called in sick on November 9, which kept her off the film for four days. She got sick again shooting outdoor locations and missed three more days. She was sick again for two days in December. Then they had to postpone a scene because she didn't like her costume. Other days, she had to leave early because she was too tired or sick to go on. By February, they were 41 days behind schedule. In late March, she took two weeks off to get herself off all prescription medications. Ultimately, the production would drag on for nine months. See more »
When Esther and Norman are in Norman's Lincoln convertible, in the closeups the seats have a blanket over the backrest, but in earlier and later shots only the car's standard upholstery is visible. See more »
Much has been written about this movie (to extremely great length) in other reviews, so I'll try to keep this fairly brief and concise.
First, the restored version runs at 176 minutes. The movie originally ran at 181 minutes, but was cut to 154 minutes when theater owners complained that they were losing money due to the excessive length. The cut destroyed the integrity of the movie - director Cukor never saw the movie again. However, the restored version contains stills to replace some of the cut footage, and gives a better sense of the film's power and scope.
Second, all four major studio versions of the story (including "What Price Hollywood?") have their own merits and differ greatly from one another. If you like the story, see them all and compare for yourself. It's quite fun to compare!
Third, definitely see this version for Judy. Sure, Judy's "The Man That Got Away" may be the greatest musical moment on cinema, but it's her dramatic performance that will keep your attention over almost three hours. James Mason is on target, and the supporting cast is fine, but Judy just dominates the screen. It's an opportunity to see a true genius in action at the absolute height of her powers. For more dramatic Judy, see her in "The Clock".
George Cukor was acclaimed as the great director of actresses, and he raises Judy to the height she deserves. I love Judy. This is a 10 out of 10.
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