Dorothy Gale is swept away from a farm in Kansas to a magical land of Oz in a tornado and embarks on a quest with her new friends to see the Wizard who can help her return home to Kansas and help her friends as well.
Based on the characters from the MGM hit of the same name, this TV pilot is about one day in the life of the Smith family. At the turn of the twentieth century, the family is throwing a ... See full summary »
St. Louis 1903. The well-off Smith family has four beautiful daughters, including Esther and little Tootie. 17-year old Esther has fallen in love with the boy next door who has just moved in, John. He however barely notices her at first. The family is shocked when Mr. Smith reveals that he has been transfered to a nice position in New York, which means that the family has to leave St. Louis and the St. Louis Fair.Written by
When John proposes to Esther he asserts that they don't need their parents' permission to marry, because they are of legal age "... almost..." In fact, the legal age to marry in Missouri without parental consent in 1904 was 15. See more »
When Rose accompanies Esther's singing on the piano, sometimes the position of her hands doesn't correlate with the sounds we hear. See more »
Judy Garland recorded a Rodgers and Hammerstein song called "Boys and Girls Like You and Me" for the soundtrack. A scene was filmed with Garland singing the song to Tom Drake after "The Trolley Song" sequence, but the scene was cut after the first preview. The footage no longer remains, but the recording does. See more »
If there was no other reason why Judy Garland married Vincente Minnelli, then this film supplies the reason for how he won her hand. It's a valentine to her talents and, as an example of MGM's gilt-edged manufacture, it's a sold gold entry.
Yes, Tom Drake was a bit wan as Judy's love interest but everyone else in the cast, maybe even including the too-glamorous Lucille Bremer, are just right, especially the inimitable Marjorie Main. Mary Astor, already deep in the throes of her extended bout with alcoholism as the family's matriarch shows nary a sign of her illness, such was the wizardry of the makeup artists, costumers, hair dressers and the cinematographer. And Judy, too, already addicted to the medications that her tyrannical studio bosses used to keep her nose to a very demanding grindstone, looks as wholesome and lovely as one could wish, particularly in the "Have Yourself a Merry Little Christmas" number.
It's one of those Golden Age classics that always repays a return viewing and its naysayers are in a rather lonely minority, in my opinion.
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