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Lively musical, but what else can you expect from those two sparkplugs, Garland and Rooney. Actually, Rooney is more restrained than usual which helps. Garland is in fine form, especially with the Embraceable You number, which is also very well staged and choreographed. I like the western setting, unusual for an A-musical, but it works. However, the curtain-closing I Got Rhythm appears over-done, especially the six-gun fusillade. Then too, those marching phalanxes of cowboys and girls are unmistakably Busby Berkeley at work. The plot's a typical Let's Put on a Show, only this time it's to rescue a college's floundering enrollment. The show's also a good excuse to parade around a lot of statuesque beauties, but who's complaining. Too bad, this was the dynamic duo's last pairing— together they certainly light up the screen.

This Gershwin musical, first staged in 1930 (and filmed, not altogether successfully from a musical point of view, by RKO in 1932) gets another movie version, this time tailored for the talents of MGM's two top young stars, Judy Garland and Mickey Rooney.

The original story gets ditched and in place we get the usual 'kids putting on a show' stuff that Judy and Mickey did in all their collaborations during the 1930s/40s. The songs are done very well - Judy sings 'But Not For Me' and it is absolutely stunning, the way she is photographed during this sequence really complementing the beautiful melody of the song. 'Embraceable You', an unforgivable omission from the '32 version (it was filmed but then scrapped on the wisdom of David Selznick) is back. So Judy is great, while Mickey does the same bubbly act as always but he certainly had talent.

Perhaps one day we'll see a version which does justice to both the original plot as staged *and* the score. Neither the '32 or '43 versions quite got there - but both are worth your time, if only for quite different reasons.

Mickey Rooney is hilarious, Judy Garland charms your socks off with her incredible talent, Busby Berkely adds his genius, Norman Taurog is in top form, and Tommy Dorsey swings the joint with his big band in this exceptional MGM wartime Musical. Top it off with a superb Gershwin's score, Rags Ragland, Nancy Walker and June Allyson in solid supporting roles and you have one helluva entertaining songfest.

What more can you ask for? If this one doesn't make you laugh and tap your toes nothing will. Sure it's fluff but oh what good fluff! Escapist fun in 1943 and just as good now. Judy and Mickey were always great together and made some decent musicals, but this is the best I've seen. A thorough delight from start to finish.

What talent Hollywood once had that is gone forever. There's more entertainment value in the first 25 minutes of this picture than in most current films I've seen lately combined.

See it. It's a gem.

The plot is virtually the same as in all the other Garland/Rooney movies: Rooney is a ladies man (stop laughing!)and, to tame him, is sent to a dude ranch out west. There he meets mail carrier and (it seems) cook Judy Garland. She hates him, he loves her and after all the predictable complications occur they fall in love leading to the big, elaborate number.

The plot is predictable but the movie is still a lot fun. The script is sharp and quite funny; Garland and Rooney always played off good against each other; a very young Nancy Walker has a bit role and is hilarious whenever she's on screen and it moves fairly quick.

Also seeing Rooney and Garland so young and full of life is always great and the songs are good. There are no real bad ones but "Embracble You" and "I Got Rhythm" are standouts. And the final number is just incredible (although I question the cowboys shooting off round after round of ammunition).

A great little musical. Worth seeing.

I ignored this movie for years thinking it was just another over-exuberant essay in the over-abundant MGM collection of sappy adolescent musicals. I'm glad that listening to an English revival of the original musical finally motivated me to watch it, because some of the best musical numbers ever put on film are here. Busby Berkeley started as the director but was replaced for supposedly tyrannical behavior. His production numbers appear at the end and are quite amazing, choreographing "I've Got Rhythm" with guns and bullwhips. All the numbers on this movie are quite exceptional, in particular "Biding My Time" one of the Gershwin brothers' finest and most surprising tunes, but also "Treat Me Rough" and "Could You Use Me". And the arrangements are some of the best I've ever heard, anticipating the harmonies of the Hi-Los and the Four Freshmen by a decade and a half. Judy has never looked prettier nor sung as purely and Mickey pulls out all the stops without (well, almost) going over the top. He even plays a terrific piano solo, with Tommy Dorsey! I never get tired of watching this movie. It's an explosion of pure pleasure.