Summer Stock (1950) User Reviews

"When You Work For Mother Nature, You Get Paid By Father Time"

[bkoganbing · 7/10 · 17 August 2008]

Summer Stock was the third and last pairing of Gene Kelly and Judy Garland by MGM. It's sad to think that there were no others because of Judy's personal problems. She would have a breakdown and would not be before the cameras again until four year later with A Star Is Born.

Judy barely got through Summer Stock. She had been replaced in Annie Get Your Gun by Betty Hutton and had not started Royal Wedding yet, but was also replaced there by Jane Powell. It was Gene Kelly's patience with her that got her through this film. Interesting also because Kelly was not known as the world's most patient man when working.

It was worth it because Summer Stock contains some of Judy's best musical moments. Most of the score was written by Harry Warren and Mack Gordon, but someone was inspired at MGM to give Judy Get Happy by Harold Arlen and Ted Koehler. That is half of the team that wrote Over the Rainbow for her. Get Happy became another song identified with Judy Garland the rest of her life and into her legend.

But a favorite of mine is Howdy Neighbor. I do so love how that number is staged with Judy riding on a tractor through the fields and on the road near her farm. Catch her at the very end of the song and you can visibly see her breathing heavy. She was obviously under a strain doing this number and in fact the whole film.

Kelly doesn't do too bad either with a song that became identified with him, You Wonderful You. I still remember him singing it to Miss Piggy when guesting on the Muppets.

Summer Stock is another variation on a backstage romance and the discovery of hidden talent. Judy's sister Gloria DeHaven invites the cast and crew of her show to stay at their farm in Connecticut. But Judy's not happy with it. Of course Kelly charms her and discovers along the way who has the real talent in the family.

The film holds up well today and the talent of Judy Garland and Gene Kelly is absolutely eternal.

A bunch of fish out of water

[AlsExGal · 7/10 · 11 November 2023]

This was Judy Garland's last MGM film, and she had basically been a MGM lifer, being under contract there since 1937 at age 15. Judy was naturally always a little heavy, so MGM plied her with uppers to cause her to lose weight and then with sleeping pills at night so she could sleep through those uppers. The end result was a terrible substance abuse problem by the time she was 28 that MGM then fired her for. But I digress, mainly to let you know what she was working through in this final MGM musical film.

Jane Falbury (Judy Garland) works the family farm diligently, but she is in danger of losing it due to three bad harvests in a row, and then her two long time farm hands quit due to lack of being paid. Her younger sister Abigail (Gloria DeHaven) is due to come home to pitch in after failing in art school, and she does, but she brings with her the entire cast, crew, and props for her boyfriend Joe's (Gene Kelly) new musical show, which he plans to try out in her barn. Abigail somehow failed to tell her sister about that. At first Jane is going to make everybody leave, but then she changes her mind and lets the gang stay and put on their show as long as they pitch in on the farm. They have no idea how to do the simplest farming tasks, but they do their best, often with humorous results. And then Abigail abandons the show on a lark, leaving everybody in a lurch. Complications and a classic musical number starring Garland ensue.

This is not the best MGM musical out there, but it is enjoyable enough. Apparently Gene Kelly was instrumental in helping Judy Garland get through this, which is odd enough since he could be very harsh. After all he left Debbie Reynolds crying under a table after his withering criticism of her during the making of Singin' in the Rain. It's got a good cast including Phil Silvers shortly before he does so well on TV, and Marjorie Main steals every scene she is in as the farm housekeeper. Eddie Bracken is a good sport as he plays probably the most unappealing man in the history of the world as Jane's fiancee.

A Delightful Trip Down Memory Lane

[jejarrell · 8/10 · 7 August 2005]

One reviewer claimed Judy Garland looked overweight and uncomfortable, and to some extent, I agree. She was poorly costumed in ridiculous looking overalls for much of the film. In the black/white show number, while most of the girls wore sleek showgirl outfits, Ms. Garland's dress looked like someone got it stuck in a sewing machine.

That said, I adored this movie because of the performances. Gene Kelly is absolutely stunning...a gorgeous man with a gorgeous voice and dance ability that would make the best Broadway "hoofer" jealous. His scenes and songs with Judy were top-notch.

I had never seen this film until recently, and I was delighted to see "Get Happy" was a part of this film. It's one of the highlights of the movie, along with a special tap dance routine Gene Kelly has with a creaky floorboard and a piece of newspaper (wow, is all I can say about that one).

See this movie because of the stars...they carried it. A truly fun and enjoyable film, despite its flaws.

A Friendly Star in Judy Garland.

[movibuf1962 · 14 January 2005]

Some moments of this otherwise B-level film are quite astonishing, like Gene Kelly's solo dance with the newspaper or the conversation between Gloria De Haven and Eddie Bracken which gently reveals their affection for each other. But the film, more or less, belongs to Judy Garland- she of the frequently strained health and nerves, who nevertheless made it all look very easy. That said, this is a good one, albeit a corny one. The hillbilly number done with Kelly, Phil Silvers, and the chorus is a bit much, but the film does show off Garland's talent for low-key, witty comedy. And "Get Happy" aside, the 'Portland Fancy' square dance which seamlessly turns into a swing duet with Garland and Kelly is probably the most enjoyable moment of the whole film. (Considering Garland's strength was singing, her dancing was quite impressive.) And my favorite Garland solo is the moonlit ballad "Friendly Star," done almost all in closeup, with the star's beautiful dark eyes on the brink of tears through the whole number. It's a pleasant swan song for her MGM era, but thankfully, her greatest musical (A Star Is Born) was still yet to come.

Judy's last MGM

[richspenc · 7/10 · 21 January 2016]

Sadly, this is the last film before MGM fired Judy Garland. Its sad that her life was getting shaky around this time due to the toll her drug addiction was having on her. And I think it's even more sad that it was never Judy's fault that she got addicted to pills in the first place since it was MGM and Judy's mother that forced her to start and to keep taking these pills years earlier. They made her take these addictive stimulants so she could keep working long energetic hours at the studio. Then she became addicted to barbiturates cause the stimulants gave her insomnia. She and the other MGM stars were given some barbiturate pills half hour before bed, then fell asleep, then got woken up only 4 hours later and given their first stimulants of the day, a little breakfast (they were never allowed to eat that much so to keep their weight down), then back to work. Judy worked such long hours, slept those short 4 hour nights, and ate such a low calorie diet for so many years, that it all had taken such a toll on her by this time period, around 1950. And she wasn't as up to scratch at work anymore and was missing work all the time. That's why MGM fired her. Its all so unfair. Judy Garland was one of the most wonderful gifts we ever had in this world.

Anyway, this film was pretty good but it wasn't one of the best like many of Judy's earlier films, but it was not Judy's fault. Some of the script is rather corny with the whole "goofy actors barging unannounced into Judy's barn" deal. I didn't care that much for the Phil Silvers character since he was too goofy and sorta a "bull in a China shop" kinda character. He destroys Judy's tractor, but not to be destructive, it's because he's clumsy and not smart enough to stay off a machine that he didn't know how to operate. Gene Kelly was good here but not quite as good as he was in "Me and my gal", "Anchors aweigh", and "Singin in the rain". And he and Judy, even though they are good together, did not have as much wonderful chemistry and magic together that they had in "Me and my gal". He still had a very good dance number where he kept ripping newspaper on the floor into smaller pieces with his dance moves. Judy still had some wonderful shining moments, especially when she sang including a very good song " Howdy neighbor, happy harvest" while she was riding home on her tractor. And also great in her famous "Get happy" song. Judy was engaged to Eddie Bracken, who was also sort of a goofy character, who was always irritating his dad. I liked Gloria Dehalivand as Judy's acting school sister who was the one who had the idea to stage production in her and Judy's barn to begin with. I didn't care for Judy's short hairstyle in this film as much as all her hairstyles in her previous films, but I still love Judy Garland very much. She was really one of the greatest things in Hollywood's already golden golden age.

Well...

[Ash-65 · 10/10 · 12 February 1999]

I like it. Let me explain, I like Gene Kelly and I like Judy Garland so I like this movie. It's a little weak on the plot, but there are a lot of good reasons to see it. For example- this was Judy Garland's last film with M-G-M. It has Get Happy in it, which is now included on practically all of Judy's 'best of' CDs. It's great to hear, but watching the number is marvelous. This was the year just before one of Kelly's major achievements, An American in Paris, and it's nice to see the difference in his billing, character, etc. Also, there's the romantic number 'You Wonderful You', which bears a resemblance to 'You Were Meant For Me' in Singin' in the Rain with the stage lights and stuff. It's obvious that Gene Kelly picked up some things he liked and carried them with him. That's why I like this movie. Yes, it's cute and breezy, but sometimes you just want a Garland/Kelly musical!

P.S. And who could blame you? ; )

Features famous "Get Happy" number...and lots of padding

[moonspinner55 · 6/10 · 9 April 2006]

Theater people invade Judy Garland's farm; they want to put on a show in her barn, but will she let her guard down long enough to join them on stage? Since the picture opens with Garland in a musical sequence (performing "If You Feel Like Singing", this film's title overseas) and the information is dropped early on that her property is in dire straits financially, the answer (and the entire plot) is fairly obvious. Some of the numbers are wonderful, particularly the justifiably famous "Get Happy" show-stopper, but several just pad the running-time and the screenplay is second-hand stuff. Gene Kelly does an ingenious bit dancing with a newspaper, but his dumb yokel act with Phil Silvers is excruciating, as is their pseudo-gospel number "Dig For Your Dinner". **1/2 from ****

Final Scene "Get Happy"

[bronte604 · 8/10 · 13 January 2005]

I actually made a point to see this film after reading about Miss Garland. The final "Get Happy" scene was shot weeks after the film wrapped and Miss Garland was sent to a "clinic"...she was called back only weeks later and fell into a deep depression and was, suppposedly, not in good good shape mentally as she shot that scene but if you notice, she is at least 20 pounds lighter in the scene than the rest of the film. I think this just shows how brilliant Miss Garland really was, to be so troubled but still nail the scene and song that would later be a staple in her act...she truly had something in her that few have ever and will ever possess.

Get Happy, ironic

[playground_swing · 6/10 · 14 July 2004]

There are two excellent high points in this movie. One is Kelley's newspaper and creaking board dance and the other is when Judy Garland sings and dances to Harold Arlen's "Get Happy" (his first published song from 1929 -- brought out of mothballs in this 1950 film). The irony is that "Get Happy" and the comic happy nature of the film are the opposite of what you can see in Judy Garland. Her fragility and fear of being unattractive simmer up through her performance. That makes the movie interesting on an unintended level.

The plot of the movie is really bad, but the movie is saved by the sensational dancing and one great song. It is also very interesting to watch the expertise used to hide Judy Garland's body shape as much as possible. I appreciated Judy Garland much more after seeing this movie. You can see the sadness and despair through all the smiles, dancing, and singing. If you are a Judy Garland fan, you must see this movie.

Judy

[btreakle · 10/10 · 4 July 2020]

As it pertains to Judy Garland and Gene Kelly, they are Magnificent together. Not one bad thing in this well done movie. Judy has so much talent. Dont overlook this One and I loved it.

"Bye bye, Auntie Em! Show Biz is Calling!"

[tpanebia · 7/10 · 20 May 2008]

Parts of this movie are terrific, and I'll mention them first. Despite some comments grousing that Judy looks frumpy or that her hair is weird, I thought she looked great -- on the plump side, but healthy looking and wholesome. She looked like a farmer, which is what her character is. And Gene Kelly is, in my view, at his best here. I like Kelly, but sometimes find him to be a bit smirky or hammy, and in this movie, he is more vulnerable and sympathetic --- less of the usual bravado. Judy's opening numbers on the farm were very appealing, both her "shower" number and her joyful song on the new tractor. And Kelly is at his best in the barn number, "improvising" with bits of newspaper and a squeaky floor board. Top rate performances from both of the stars.

Now for the negatives: The minor characters' parts are a bit bland and/or unappealing: GloriaDeHaven plays a selfish brat, Carleton Carpenter barely registers despite his talents, Hans Conreid was creepy as the star of the show within the show, and Eddie Bracken and Ray Collins as Judy's wimpy fiancé and his overbearing dad are more annoying than funny. It's the writing more than the actors that's the problem, except for the biggest problem: I found Phil Silvers unwatchable. He starts off with an egregiously, jaw-droppingly offensive "Negro" accent on the "Dig Dig Dig" gospel type number, and then to make up for it, he does a white-trash hillbilly number with Kelly that would be too cheesy for Hee-Haw. Throughout the movie, he was grating without having the redeeming qualities of being funny.

The end of the movie was a bit of a let-down for me and it took a while for me to figure out why, but I think I have it: The best parts of the film for me were the farm scenes. Judy was fresh and vibrant, and the farm life was portrayed as extremely appealing --- like Dorothy Gale grown up, having realized that there is indeed no place like home. Then, by the end of the movie, Judy falls in love with Kelly and stars in his show, which is destined to be a hit. (If anyone thinks this is a spoiler, he needs to see more movie musicals.) And this is a bit sad for me, because the show biz types in the movie seemed either bland or selfish; when they registered at all, they were being recklessly destructive on the farm, or condescending toward the farmers. And the "show" itself, doesn't seem all that wonderful. More like a vaudeville montage. So while we are supposed to cheer that Judy is likely to leave the farm for show biz and run off with Kelly, I thought, "Well this is a damn shame!"

One final comment: this is the movie with Judy's "Get Happy" number in her fedora, tux jacket, black stockings and heels. And she looks 20 pounds skinnier and 20 years older in that number compared to the rest of the movie. It is vintage Judy and she does a great job --- but it doesn't seem like it fits the movie or her character. (Even the chorus boys in the number were not in the rest of the show.) I understand that the number was plopped in after the rest of the filming, to add some dazzle to the ending, and while it is dazzling, it didn't much help the cohesiveness of the movie and we do not believe for a second that Judy's farm spinster is the character suddenly creating this sophisticated persona.

So, while I liked the movie, a few parts of this film fell flat for me. But if you like Judy and Gene, then it is well worth seeing for that reason alone --- because they each do some of their best work, and are at their most appealing and attractive.

This time Judy doesn't have to borrow a barn to put on a show!

[theowinthrop · 10/10 · 17 August 2008]

It was her last MGM musical, and one of her best. But she was really troublesome in the making of it, so MGM fired her and her career (which included at least two more great performances) never recovered in the movies. That is how SUMMER STOCK is recalled today - the film that wrote "finish" to Judy Garland's film stardom at MGM.

But SUMMER STOCK is also the film that gave her her last chance to appear opposite Gene Kelly and to play a story line that she was familiar with. For here Judy returns to the story line of the musicals she made in the early 1940s with Mickey Rooney, regarding "putting on the show". The difference is that she and Mickey and the others were teenagers (or supposedly teenagers) showing up the dubious grown-ups. Here it is grown-ups putting on a show for an out-of-town preview in a small town.

Judy is living in a New England town, where her family has old, old roots (at one point we learn her great great grandfather set up an anti-theater law in 1698!). She and her sister, Gloria DeHaven, own a farm. Judy has been courted, and is engaged, to Eddie Bracken, the son of the town banker Ray Collins. Bracken is his typical weak type, with eyeglasses and hay fever. Collins is typically fatherly, but a bit of a bully to his son (not for any bad reasons). He looks forward to the marriage as a way of uniting the two oldest families of the area. And he even does Garland a favor, giving her a new tractor for her farm at cost.

DeHaven has always been the pampered younger daughter. She has been dating Kelly and invites him and the cast of his musical review production to put it on in the barn of her farm. The musical not only has Kelly as director, producer, and star, but also has Phil Silvers and Carleton Carpenter as his assistants (in Silvers' case, supposed assistant as he's a walking disaster area), and also been lucky enough to get a famous leading man named Keith (Hans Conreid, effective in his brief part but all too brief). They descend on the farm and Garland and her cook and helper Marjorie Main are uncertain about what exactly to do. Collins and Bracken are not too helpful. In fact their parochial attitude to theater people is very hostile.

As the film progresses Garland slowly gets dragged into the production, especially as DeHaven's interest flags. In the meantime the relationship of Bracken and Garland starts cracking seriously as he gets suspicious of the intentions of Kelly towards his intended.

The numbers are pretty good, particularly the songs "Howdy Neighbor", "You Wonderful You", "Heavenly Music", and the last minute show stopper, "Get Happy!" Oddly enough, in the discussions I see on this thread, nobody notes the ridiculous tune that Conreid (it's not his voice) and DeHaven sing "Alone on a Lonely Island". It is done in such a way to spoof the stiff, overly rich voice of Conreid's "Heath". As it does not show up in the final production it probably was only meant for that character.

It is too bad that SUMMER STOCK was her last MGM film...but at least Judy left on a high note.

decent

[funkyfry · 6/10 · 2 February 2010]

This picture suffers mostly by comparison to the stars' other films, from their great star turns in films like "Wizard of Oz" and "Singing in the Rain" to their more unconventional duo film "The Pirate." But expecting each MGM musical to hold up to the standards reached at their peak is a formula for disappointment. While it's true that this is the only Judy/Gene film that really has no more substance than a typical Judy/Mickey film would have, it does present the two classic performers in some charming and entertaining vignettes like Gene Kelly's solo dance on a newspaper and Judy's classic "Get Happy" jubilee stomp.

The plot is beyond thin -- basically it's the return of the prototypical "let's put on a show in the barn" musical. And basically we're supposed to accept that Judy Garland is a farmer. The music provided, mostly by Harry Warren and Mack Gordon, is mostly enjoyable but not really memorable. The events in the film flow with an almost savage or sadistic determinism -- the instant you see that Garland has bought a brand new tractor and bumbling Phil Silvers comes within 10 feet of it you know there will be a disaster. It robs the supposedly humorous "accident" of any real zest or charm.

This is an uninspired and uninspiring film but should please all of those who are fans of the amazing performers at the head of the cast. I feel that even with its trite plot, it could have been a much better film if the characters had been invested with some real feeling and complexity on any kind of level.

Get Happy!

[HotToastyRag · 5/10 · 27 June 2018]

Summer Stock has one of my favorite Judy Garland songs in it, one that became a staple on her television show and during her concerts: "Get Happy". I never get tired of watching this number. Judy, clad in a black extra-long, low-cut blazer, black pumps, and a black fedora over one eye, captivates the men in the chorus, and the audience, as she sings and dances to the jazzy tune. It's pretty much impossible not to follow her instructions.

The rest of the movie isn't that great. She reunites with Gene Kelly, and while they're both experts at hamming it up for the camera in a silly musical comedy, they don't really save the tired "Let's put on a show!" plot. Gene starts the film engaged to Judy's sister, Gloria DeHaven, but when they decide to put on a show, he and Judy spend a lot of time together and fall in love. There are a few songs interspersed in the movie, both as parts of the show and parts of the regular plot, but the best and most memorable one is "Get Happy". If you love both leads, you can rent this one, but if you'd rather watch them in good movies, you can rent Meet Me in St. Louis and Anchors Aweigh.

Bright Musical

[harry-76 · 12 December 2003]

To look at "Summer Stock" you wouldn't think there were any challenges. Everyone seems to be having a happy time.

The remarkable thing is how Judy Garland's weight problems, due to over eating and drugs, were covered up. She looks fresh and bubbly, along with here co-star, Gene Kelly, who was pushing 40, and hankering to get on to more ambitious film projects.

The two are perfectly paired and, with the comedy of Phil Silvers and "other woman" of Gloria DeHaven, this musical comes off swimmingly.

I really love Judy's renditions of the joyous "Hello, Neighbor," the lovely "Friendly Star," and the show-stopping, "Get Happy." Her voice is in fine condition, and is a pleasure to hear. Kelly dances up a storm, and the entire production smiles with good cheer.

As one of Judy's songs go, "If You Feel Like Singing . . . Sing!" She does, and we are the lucky recipients.

Long Live Gene!

[sharkey197 · 7/10 · 26 January 2006]

I showed this film to my critical viewing class because I figured if they didn't know who Judy Garland and Gene Kelly were, they didn't really understand Hollywood musicals. I was gratified to find that so many of them liked it. I warned them it was corny and implausible right at the onset, but most of them actually liked the corniness. Class was divided on Garland--some didn't like her singing and others--uncharitably, I thought--commented on her heftiness for most of the film, but they were unanimous in their admiration for Gene Kelly. They thought he was coolness personified and to my surprise actually thought his dance with the newspaper was excellent. With kids nowadays, used to quick cutting and high action, I thought it would seem tame, but they thought it was clever. And Phil Silvers was a big hit. One students commented on how versatile those "old actors" were, compared to today--they seemed to be able to do it all. And for some reason I couldn't understand, they howled with laughter at the end when Abigail and Orville got together, causing one student to turn around and say to me "this film was awesome!" What a treat it was to introduce them to such icons of cinema and know that they could appreciate it.

Forget your troubles, come on get happy!

[jotix100 · 8/10 · 11 June 2005]

"Summer Stock" is not up to par with other MGM musicals, yet, this take on a group of thespians invading a farm to do summer theater will delight anyone looking for a movie that doesn't demand much from its viewers, yet it delivers some unexpected pleasures. As directed by Charles Walters, "Summer Stock" is a rarity, in that it still has a fresh look about how summer theater started. The music, especially Harold Arlen's songs, are tuneful and stay with the viewer.

This was another pairing of Judy Garland and Gene Kelly, two of the most admired musical performers at the golden era of MGM. Both performers do well together as they project an ease and charm that filters down to the rest of the movie. Judy Garland is perfect as the girl trying to make ends meet working at the family farm. Gene Kelly is the city slicker who comes unannounced to take over everything to try out his musical play.

There are some familiar faces in supporting roles. Eddie Bracken, Phil Silvers, Marjorie Main, Ray Collins, Hans Conreid, and the beautiful Gloria DeHaven.

By the magic of the movies we are shown how the rustic barn is transformed into a place that no one would have been able to predict could be made into a stage where the musical takes place. Stay tuned and get happy with this summer film that is as refreshing as an ice cream cone on a hot day.

If You Feel Like Singing...

[guswhovian · 6/10 · 22 May 2020]

Down on her luck farmer Jane Falbury (Judy Garland) is angry whe her younger sister (Gloria DeHaven) brings a theatrical troupe to stay at her farm. However, Jane soon falls in love with Joe Ross (Gene Kelly), the leader of the troupe.

The last film Judy Garland made at MGM, Summer Stock is a good musical. This is probably the only film she made at MGM where you can see her emotional issues on the screen, as her weight fluctuates noticeably throughout the film.

However, she's still fantastic, delivering a great performance. The songs and dances are great: Gene and Judy's impressive dance to "Portland Fancy", Gene's fantastic dance with a newspaper and squeaky floorboard, and, perhaps the highlight of the entire film, Judy's performance of "Get Happy".

Recommended. First time viewing. 3.5/5

one number (and it's not "Get Happy"!) worth the whole film...

[macheath-ny · 9/10 · 3 July 2010]

I'll be surprised if this gets read very often, coming as far down the line as it does. Enough others have praised this film, and given sufficient summaries of its gossamer plot, that I am gratefully relieved of the duty.

My only comment is that, if you are interested at all in cinema choreography, you watch at least through the "Portland Fancy" number. You don't have to sit through to "Get Happy"; watch whichever "That's Entertainment" anthology that features it. But if you ever want to understand what drives movie dancing, and why Kelly and Garland are equated by many with Astaire and Rogers, "Portland Fancy" should provide your education. a traditional square/contradance that segues into a jitterbug session and then to a challenge tap between the two stars, it is in this viewer's opinion one of the finest dance moments in any movie. To enjoy dance but ignore this moment does the soul a disservice.

Judy Garland I love You

[mrdonleone · 6/10 · 3 May 2008]

Many years ago, I saw this movie gem for the first time. I adored it. Today, I saw it again, but I must confess it wasn't a joyful experience. Yes, sure, the fantastic song and dance numbers where there all right, but the magic was gone. I guess that's because I already knew what was going to happen. Plus the irritating persona (almost every character in this movie is pulling the blood from under my nails). I would give this a 5 on 10, if there wasn't a meaning in the picture. Oh yes, there is a meaning in this picture, but not quite like I hoped it was. The whole reason to see this movie is to hear Judy Garland sing 'Get Happy'. That song has been tried by many of the 'Idol' contestants over the world, but none of them did it the way Judy did. Garland, I love you!

Where yesterdreams come true

[jjnxn-1 · 9/10 · 10 June 2013]

Judy's last MGM film is bright, colorful and cheery but excepting two numbers a minor musical in her canon.

Judy is wonderfully alive and sprightly, amazing in itself since the production of this was famously fraught with delays due to her fragile physical and emotional state during shooting. She's in glorious voice but her weight fluctuates noticeably from scene to scene, most jarringly in the finale where she walks off stage plump and reemerges whippet thin within the same show. There are other instances as well, the "Howdy Neigbor" number which should have taken 3 days to shoot and ended up taking 3 weeks, only completed by splicing together different successful takes, is the most obvious. Whole backgrounds change abruptly behind her while she's singing!

The first of the two numbers that raise the film above the norm is the justly famous "Get Happy". An icon making moment that was filmed two weeks after the film had wrapped during which Judy had lost 20 pounds creating one of those sequences that were it not so galvanizing in and of itself would take you right out of the film. It is a bit jarring anyway since the quality of the material is so high above the rest of the film and in particular the awful number that precedes it, a barnyard travesty with Phil Silvers and Gene Kelly that is probably the worst thing he's ever done.

The second number stands out in several ways. It's the hauntingly beautiful "Friendly Star" which Judy sings with tender delicacy, it's the scene in the film where she looks her best and it's appended by the movie's best straight passage, a tentative love scene between Judy and Gene.

The rest of the film doesn't match these two high points but there are several pleasant scenes. Gene dances with newspapers, the lead pair tear it up during a barn dance that shows what an accomplished dancer Judy was, she effortlessly keeps up with Kelly. The film is loaded with high quality MGM stock players with Marjorie Main adding her customary basso spice to the proceedings.

Metro had originally planned to reunite Judy with Mickey Rooney but changed their mind, a wise decision on their part since the two had grown apart in their performance styles. Just watch them in their last teaming in "Words and Music" two years prior to this, Judy has matured into an accomplished adult song interpreter while Mickey is still trying to get away with the same old tricks from a decade before and making a fool of himself. Fortunately Gene Kelly stepped into the role because of Judy and the kindness she had shown him in his first film "For Me & My Gal", they are a much better match. While his part isn't completely secondary it's Judy that stands out and she's the reason to see this. A shame to realize that after this she would only make five more films in the following 19 years and only two of those were musicals, a great loss to cinema.

summer stock

[mossgrymk · 6/10 · 15 June 2021]

Despite a few good Garland songs and Kelly dance routines this is a dispiriting musical. Maybe it's because, as with all Garland films, there's an overall air of gloom about it when watched today, knowing what we know of its star's travails at the time it was being shot. Even the celebrated finale, "Get Happy", is anything but as Judy appears on stage suddenly twenty pounds lighter than she was in her last scene and images fill the head of her real life hospital stay that brought about the shed weight. Also dragging the film down is an uninspired screenplay that doesn't do much with its supporting players. Rarely, if ever, have Eddie Bracken and Marjorie Main been this unfunny. And Phil Silvers, who is often less than amusing, scales new heights of hammy annoyance. C plus.

Kelly's best and worst number in one and the same film

[Mrswing · 8/10 · 5 January 2007]

Summer Stock is a lightweight yet enjoyable romp, full of songs and dance numbers, though the best new song (Fall In Love, which can be heard as an audio outtake on the DVD) was cut from the picture (perhaps because it features Phil Silvers and Gloria DeHaven instead of Kelly and Garland?).

Kelly and Garland work very well together, as usual, and the barnyard dance is probably her best ever dance performance. But she's equally good in the lovely You, Wonderful You-number, which presages You Were Meant For Me on a much smaller scale.

Kelly is in great shape in the barnyard dance, Dig for your dinner (reminiscent of Tomorrow from Cover Girl and The Hat My Dear Old Father Wore Upon St Patrick's Day in Take Me Out To The Ball Game). But the best number is without a doubt his solo to You, Wonderful You with the newspaper and squeaky board. To me it's Kelly's most Astaire-like performance (especially conceptually - the steps and style are all Kelly).

Unfortunately, the big show is fairly weak (excepting Get Happy, small wonder they added it), and Kelly and Silver's redneck number Heavenly Music is a disgrace. Unfunny, bad song and bad choreography/concept. I can't recall Kelly having done anything more disappointing.

So skip that one every time you pop in the DVD and enjoy the rest of Judy Garland's swan song for MGM, and Kelly's last 'normal' musical (before all his pictures became events).

Judy's Friendly Star will help you Get Happy!

[mark.waltz · 7/10 · 22 March 2013]

Imagine a barn the size of a Broadway theatre where you can go without having to head into the Big Apple. That's what happens here. Since they can't bring Mohammed to the Mountain, they do just the reverse. In this case, it is a Broadway producer who brings his show to the country and hopes that his star's sister will allow them to put it on there, surrounded by hay, cows, horses, ducks and farming equipment. This singing farm woman (Judy Garland) has just bought a prize tractor, singing "Happy Harvest" as she heads home to find her kitchen under attack by Broadway personalities like producer Gene Kelly, comic Phil Silvers and a hundred chorus boys and girls who will probably eat her out of house and home. Spoiled sister Gloria De Haven is the star of this show, and doesn't care who she inconveniences. Housekeeper Marjorie Main is shocked to learn of the dozens of strangers she has to cook for, and Garland's uppity gentleman caller (Eddie Bracken) is aghast by the presence of city folk in their community, his society leader father (Ray Collins) equally shocked. But when De Haven gets temperamental, she leaves the show in the lurch, and overhearing Garland sing, Kelly makes a proposal she might find difficult to turn down.

Yes, this show literally is corny, and Garland and Kelly give it their all in their third and last teaming. Garland is remembered for the classic Harold Arlen song "Get Happy!" which she sings here in a finale filmed long after the rest of the movie had wrapped, but for me, her best moment is "Friendly Star", a haunting solo she sings while dealing with all the issues surrounding her. Kelly gets a snazzy dance number where he utilizes various props he finds in the barn and ultimately includes a squeaky floor and a newspaper. Silvers and Kelly lead a group dance number, "You Gotta Dig For Your Dinner", where they dance on the kitchen table, and later in the show within the show, they get a comic number, "Heavenly Music", where they play stereotypical country hicks that may bring groans to some, giggles to others. There's also a rousing barn dance, "The Portland Fancy", where city folk and country folk go up against each other in showing what each of these groups can do.

Charles Walters, who directed Judy to great success opposite Fred Astaire in "Easter Parade", makes "Summer Stock" a fun, light-hearted return for Judy to the "Let's put on a show!" theme that she did early in her career with Mickey Rooney. It's all colorful and harmless, and ultimately a decent swansong to Judy's 15 year association with MGM. So, if you feel like singing, sing, whether its in the shower, the barn or on a tractor.

Corny but fun

[ron-fernandez-pittsburgh · 5/10 · 25 April 2010]

SUMMER STOCK is hooky stock for sure, but fun if one checks reality at the door. Judy Garland is not at her best, with her plump body and bloated looking face and bad hair due. Her acting is grating as she doesn't say a complete sentence with out a stammer or interruption. However she is in fine voice and could keep up with Gene Kelly in the dance numbers. Story is inane and doesn't make a bit of sense. The barn suddenly turns into a big theatre with huge stage at the end. What? Where are all the chorus people who were in all the rehearsal numbers? The character of Gloria DeHaven is unbelievable. She actually leaves the show at the last minute and for plot purposes is replaced by her sister, Judy. How convenient. The leading man also leaves the show and Gene Kelly takes over. Now could you possible see the leading man played by Hans Conried do all those numbers that Gene eventually does? NO WAY JOSE. It's plot points like this that make this an irritating film. The the number with the dogs...My Gawd...Where did the dogs come from? Who trained them? Where where they in the rest of the film from beginning to end? The whole number was worthless and insulting and should have been dropped or better yet, never filmed. Aside from my complaints there were some pleasant aspects like some of the numbers and Gene's dance with the newspaper. Judy's big GET HAPPY number is completely of of place and she looked altogether different before and after the number. Should never have been filmed. Again if one wants even a bit of reality...forget SUMMER STOCK.