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>
Hugh Martin, who was hired as vocal arranger, stormed off the set after a row with Judy Garland over her interpretation of "The Man That Got Away". Garland's mentor and MGM vocal arranger Roger Edens replaced him. See more »
Vicki and Norman's house is shown, in the distance, as being on top of a bluff overlooking the ocean, but inside the house, it appears that the house is sitting on the beach. See more »
He's in a sanitarium. He really wants to stop drinking, Oliver. He's trying very hard. I know he is. What is it? What is it that makes him want to destroy himself? You've known him longer than anyone else. Tell me what it is. Please. I don't care but just tell me.
Don't you think I've tried through the years to know why, to help him? I don't know, Esther. I don't know what the answer is.
Well, I've got to find the answer. You don't know what it's like to watch somebody you love just crumble away ...
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Contrary to popular belief, the film was not originally at 181 minutes, but rather 196 (3hrs. and 16mins.) at a post-premiere shown on August 8, 1954 in Huntington Park, California. After its second post-premiere - the very next day - two scenes of 15 minutes total were deleted; making the film run its original world debut length at 181 minutes. One was a number called "When My Sugar Walks Down the Street" that came after Judy's take of "I'll Get By" in the 'Born in the Trunk' sequence, the other was a scene where Garland and James Mason's characters (Vicki and Norman) were picnicking on the beach; production stills and promotional advertisements are the only thing left in existence of the footage. After its world premiere on September 29, 1954, 27 minutes was cut, bringing it down to a mediocre 154 time length. Those scenes were:
1) Esther quitting the band
2) The Trinidad Coconut Oil Shampoo
3) Esther working at a drive-in
4) Norman being driven away drunk in his car
5) Norman inquiring Esther's old landlady
6) Spotting Esther on the TV commercial
7) Tracking down Esther at her new boarding residence
8) Driving down the strip - Esther getting sick
9) "Here's What I'm Here For" musical number - Norman proposes
10) "Lose That Long Face" musical number - Vicki breaks down
Is it possible to watch this fictional story without digressing to thoughts about the real life story of Judy Garland? For me it isn't. Both are permanently intertwined. And it's not just the parallel between fiction and fact, but also the dark, brooding, melancholy mood they engender, like ghosts calling out to us from a Hollywood that no longer exists.
The film's storyline is well known. I won't belabor it here, except to say that it communicates an honest and introspective indictment of the entertainment industry as it once was. The story can be thought of as a kind of archetypal Hollywood memoir, expressed as a musical.
But musicals are supposed to be upbeat, lighthearted, fun. This one isn't. Moments of humor and joy are swept away in a cascade of emotional pain and tragedy. Fiction mimics real life. How appropriate that the film's signature song "The Man That Got Away" is one that is so uncompromisingly serious, poignant, and smoldering ... a perfect vehicle for Judy Garland.
Some say she had the greatest singing voice of any entertainer in the twentieth century. This film lends credence to that assertion. Every song she sings is performed with such consummate verve, such emotional commitment that she seems to be singing not just for her contemporaries, but also for generations to come. Indeed, she is. My personal favorite is the "Born In A Trunk" segment, all fifteen minutes of it. Surrounded by sets of true cinematic art, she belts out one tune after another, including, of course, the poignant "Melancholy Baby".
Judy's singing and the music itself are what make the movie so memorable. But she also demonstrates her considerable acting talent. And the acting of other cast members is fine, especially the performances of James Mason and Jack Carson. I do think that the film was, and still is, too long, the result of an overly ambitious screenplay.
That Judy Garland was denied the Best Actress Oscar is poignant. But her talent was so massive, her uniqueness was so special, maybe fate required a compensatory level of pain and tragedy, as a prerequisite of legend.
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