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Presenting Lily Mars may have provided Judy Garland with one of the easier roles she had while at MGM because Lily Mars is definitely a character she could identify with. A young girl with talent enough for ten, she knows she has what it takes to make it in the theater no matter how much producer Van Heflin from her home town discourages her.

I really liked Judy in this one as the girl determined to make it in the theater. Because it is Judy Garland with the talent of Judy Garland you in the audience know she has the right stuff even if it takes Van Heflin nearly the whole movie to be convinced.

Both Judy and Heflin hail from the same small town, Heflin's dad was the town doctor who delivered her and Heflin while he may have moved away and become a big producer on Broadway, their respective moms, Fay Bainter and Spring Byington have kept in touch. That's her entrée, but Heflin's constantly barraged with stagestruck kids, but never anyone quite like Lily Mars.

No real big song hits came out of Presenting Lily Mars for Garland, though she sings all her numbers. The best in the film is a revival of that gaslight era chestnut, Every Little Movement Has A Meaning All Its Own. Judy sings it with Connie Gilchrist playing the cleaning lady in a Broadway theater where Heflin's show is being produced. Gilchrist was a star back in the days of the FloraDora Girls and she and Judy deliver the song in grand style with Connie. It's the best scene in the film as Gilchrist encourages Judy to keep at it. Composer Karl Hoschna had died a long time ago, but lyricist Otto Harbach was still alive and I'm betting he liked what he heard.

European musical star Marta Eggerth is in Presenting Lily Mars as the show's star who's at first bemused, then angry and finally, understanding of Garland and Heflin. She did a couple of films with MGM and then went back to Europe for more work on the continent. I'm betting MGM didn't quite know what to do with her and her thick Hungarian accent, though Louis B. Mayer never met a soprano he didn't like.

Van Heflin does well as the patient producer who puts up with a lot from Garland and Eggerth. Heflin was just coming off his Oscar for Johnny Eager the previous year and he and Garland wouldn't appear to be an ideal screen team, but they're not bad together.

Presenting Lily Mars is a fine showcase for the talents of Judy Garland. And she didn't have to share the screen in another backstage film with Mickey Rooney.

The film itself is a lopsided affair with some heart and decent performances. It also features the Bob Crosby and Tommy Dorsey orchestras in a couple of notable musical sequences. Although this is Judy Garland's show, MGM strangely showcases operatic star Martha Eggerth a little too much and her presence mostly drags the film into headache territory. Thank God Garland makes up for it with a couple of terrific numbers of her own that show off her flair for comedy as well as singing and dancing.

The story doesn't hit target centre overall but it's not terrible and things do move at a nice pace, and Van Heflin turns in his usual capable performance. Garland simply outshines the material and it's a shame the writers missed so many opportunities for a more balanced and meaningful story.

Not a great film, or maybe even one of Garland's best, but she's great in it and her fans won't be disappointed.

almost every review of this movie I'd seen was pretty bad. It's not pretty bad, it's actually pretty good, though not great. The Judy Garland character could have gotten annoying, but she didn't allow it to. Somewhere along the line, i've become a fan of brooding, overbearing, overacting Van Heflin, at least in the early 40's. Judy's singing is great, but the film missed a great chance by not showing more of their relationship. I gave it a 7.

First of all, she never looked better... sort of the apotheosis of all that evil energy MGM spent in turning Frances Gumm into Judy Garland. Blondish (and not a wig), thin (but not too thin), energized and comic (working her mannerisms rather than the reverse), and she sounds great. Moreover, Hollywood and Tarkington were made for each other, and the payoff works here as well. Clever americana, with truly inspired set pieces surrounding Judy's attempts to get "discovered" by "local boy makes good" producer, Heflin.

The tacked-on, mega-production ending is a real clunker and can leave a bad aftertaste. Avoid the ending if you can pull yourself away. But for this grandiose, ill-fitting finale, an almost perfect Garland musical and as good as she gets (which is the best singing actress ever to grace the screen).

One more point in Garland's favor: she plays the perfect "straight man" in two comic scenes with her on screen younger sister. Given Garland's reputation, let alone the instincts of any actor not to be upstaged, one can't but admire her generosity. Her self-confidence and generosity in these scenes make the film that much funnier and stronger.

Presenting Lily Mars (MGM, 1943) is a cute film, but in my opinion it could have been better. Judy Garland is great as always, but some scenes in the film seem out of place and the romance between her and Van Heflin develops all too quickly.

I mean, one minute he's ready to beat her butt, but the next minute he falls in love with her. I believe that this production, the film editing, and the script ( even though the photography was great, the scenery was nice and the costumes were nice as well) could have been a little better. It feels as though the production was too rushed.

The supporting cast was good as well, especially little Janet Chapman as the second youngest daughter daughter Rosie. She at the age of 11, looks really cute and it's a shame that she didn't develop into a teenage comic actress. She's much better in this film than in her previous films as Warner Brothers in the late 1930's (except for Broadway Musketeers 1938, she's really good in that), when they tried to make her into a Shirley Temple/Sybil Jason hybrid. Overall, this film could better, but in the end, Judy gave it her all.

Presenting Lily Mars is one of a genre of film that sadly seems to have disappeared with the studio system. Ok now that you know my bias, here are some reasons I think this movie does stand out.

1. Although the basic plot - Lily Mars (Judy Garland) goes to New York, becomes a star, and wins the heart of her director (Van Heflin) is a pretty stock Hollywood story of the period, the writers do vary the theme her a bit more than usual. Although Lily gets her big break when the star quits, she isn't successful and has to swallow her pride and go back to playing a minor role in the show.

2. Judy Garland (enough said!)

3. The supporting cast includes some really great performances. Spring Byington as Lily's mother is truely wonderful, as is Fay Bainter (the mother of the director - John Thornway (Van Heflin)). The standout supporting performance though goes to character actress Connie Gilchrist as Frankie, a one time actress turned theater custodian.

Worth a watch for sure. One of those movies that are designed to make you feel better about the world and your dreams.

Lily Mars, a smalltown girl living in Indiana, dreams of making it big on Broadway and her aspirations are given a lift when successful Broadway producer John Thornway returns to his hometown for a visit. Lily tries everything she can to get Thornway to notice her, but he just gets annoyed with her antics. When Thornway goes back to New York to stage his show, Lily follows (unknown to John of course) and Thornway eventually gives her a small role in his next show, only as a favor to her family, however Thornway starts to fall for this young girl and a romance blossoms, which makes the show's leading lady, Isabel Rekay, jealous. When Isabel gets fed up with the John-Lily romance causing friction with the show, she leaves, and John decides to make Lily the star. Isabel returns later, and Thornway is forced to tell Lily that she is back to her small bit role in the play, which also may jeopardize the romance. Very charming film, and a refreshing change to see Garland put the comedic touches into her role (her reading of Lady MacBeth, while supposed to be humorous, never threatened her singing career) I enjoyed Heflin's character (Thornway) more when he was annoyed with Lily rather than be the romantic. The film got to be somewhat predictable and the scenes weren't assembled that well together, but a very enjoyable film. Rating, 7.

I must admit, I am not a huge musical fan. Now I am not saying I dislike them--it's just that sometimes films have singing that works well and sometimes it doesn't. While Judy Garland's singing in "Presenting Lily Mars" is quite good (as always), the rest of the music really isn't all that good and slows down the film. Too often, there is operatic singing that made my ears ache--and I couldn't resist using the remote to skip a couple of them. It's a shame, as when the singing stops, the film really is a lot of fun.

Judy plays the title character--a star-struck young lady who wants to make it on Broadway in the worst way. Unfortunately for a producer (Van Heflin), she decides that he is her best prospect and she spends much of the film badgering him to notice her and give her a chance. If you think about it, the film seems to endorse the idea of stalkers! Regardless, Judy is so cute that he and the audience can't resist and he decides to give her a small part in his next show. Not surprisingly, romance soon blooms between them. And, I must admit that the comedy and romance both worked very well. Too bad it was also a musical. Overall, it's well worth seeing despite the flaws--especially if you are a Judy Garland fan. I liked it and sure wanted to see more of the scenes between Judy and Van.

Despite how that review summary might sound, 'Presenting Lily Mars' is not an awful, or even a bad film. There's actually still a good deal to like about it, but at the same time it does have some big flaws and just falls short of Judy Garland's best films.

There is nothing to complain about Judy Garland herself. In fact she is the best thing about 'Presenting Lily Mars' and her terrific performance is the reason to see it in the first place. She proves herself to be not just a sincerely touching presence but also quite the adept comedienne, handling the comedic and dramatic elements with aplomb. She looks wonderful, looking healthy and happy, and as always her voice is of the kind that one can listen to for hours and not get tired of it.

Garland's not the only reason to see 'Presenting Lily Mars' this said. The film is very nicely photographed and the costumes and sets not one hundred percent opulence but still very elegant. The music and songs are above serviceable and often very good, if with few timeless standards. Faring best are "Every Little Movement" and "When I Think of You". The numbers are staged with enough grace and energy though with nothing standing out as enough to make one go wow.

'Presenting Lily Mars' supporting cast fare well too. Connie Gilchrist and Richard Carlson are particularly delightful, and both Spring Byington and Fay Bainter make much of roles that don't give them much. Tommy Dorsey and his Orchestra are always great value and come off very well here.

Martha Eggerth didn't seem to fit, for operatic fans they may be able to tolerate her but if not she is going to be a form annoyance, am actually a huge fan of opera/operetta, but do feel Eggerth's singing and performing of the little seen of her has not gelled on film. There are far more appealing voices in the same or similar style than hers and the very broad way she plays the role grates. Also didn't really care for Van Heflin, his role to me ideally should have had a lighter and more sophisticated touch and Heflin seemed too boorishly heavy, stiff and charmless.

His unconvincing chemistry with Garland is one of 'Presenting Lily Mars' biggest problems, there isn't much of any but it's more of the fault of how the romance is written in the film itself. The romance is just too forced and too rushed, and because the hostility is so strong in the early scenes and the transition from hostility to love happens suddenly rather than gradual or a more complex love/hate one never really believes it when they fall in love.

One will argue that the story and script rarely is a strong suit in musicals, and that musicals aren't seen for them. In a way that is true, but it is all dependent on how well everything else is done and while people do judge films for what they are they also judge them for being a film full-stop. Even for the early 40s the story is non-existently lightweight and stale, and the distastefully corny and excessively cutesy writing makes the worst of the writing for the Garland/Mickey Rooney back-yard musicals (mostly enjoyable films but the writing was a weak link in at least two of those) more bearable. Then there is the finale that, even with the dynamic presence of Garland and Tommy Dorsey and his Orchestra, is an overblown tacky afterthought and is just at odds with the rest of the film.

In summary, Judy herself personifies glamour but 'Presenting Lily Mars' as an overall film only has it in spurts. 5/10 Bethany Cox

Presenting Lily Mars is a real pleasant little film which showcases the comedy skills of actress Judy Garland, along with her standard singing moments. The plot consists of Lily Mars tagging along after producer John Thornway for her big break. I think the comedy is light and nothing too heavy here. I really recommend this film for everyone. Judy is breathtaking in this role!

Loosely based on the 1933 Booth Tarkington novel of the same name, the 1943 PRESENTING LILY MARS can only be described as Americana at its most excessive. The flyweight story concerns a small town teenager (Judy Garland) who has been bitten by the acting bug--and who sees an opportunity when a Broadway producer and director (Van Heflin) hits town on a family visit. She accordingly lays siege to him, and when he rejects her efforts even goes so far as to follow him to New York, begging for a role in current play.

Garland is a knockout in this film, not only at the height of her teenage beauty, but showing considerable comic gifts as well--and then, of course, there is that voice. Van Heflin and a memorable supporting cast are also very attractive, director Norman Taurog keeps everything moving at a nice clip, and everything is done with bang-up production values you expect from MGM. But the movie doesn't have much in the way of either script or plot, nor is the score greatly memorable.

The cast carries their roles quite well, but they are constantly thrown into bits of business and dialogue that are so excessively cute that at times the movie becomes down-right cringe-inducing. The score is pleasant enough, but there's actually very little of it, and the inevitable end-of-the-movie production number has a tacked-on quality. When all is said and done, Garland and company make it worth the trip--but this is one film that will likely give even the most hardcore Garland fan pause.

GFT, Amazon Reviewer

One of those Garland flicks that never comes up in a list of her good films,which is surprising considering how much fun it is.She plays an ambitious girl determined to make it to Broadway,and chases producer Van Heflin to do it.He's a local guy in her hometown.For a change,Garland is filled out and quite lovely.She's not the emaciated stick she had been in her previous roles.Also,she's not crying because the boy next door won't have her or singing a plaintive love song dealing with rejection! Garland had a fine comedy flair that was seldom exploited in her films.She interplays well with the cast,especially her siblings and Spring Byington as her mom.The music is good but the finale is just a bit out of place.Supposedly,the big brass thought she needed a big finish to show Lily was a big star after all. Wonder what ever happened to the original number, "Paging Mr. Greenback?"

Not my favorite of Judy Garland movies but the time this film come out 1943 during 2nd world war was great for the public at large to help them esacspe for a couple of hours from War.

Presenting Lily Mars (1943) : Brief Review -

Norman Taurog could have given a pathbreaking ending to the old "actor's" tale, but alas.. Presenting Lily Mars is the same old story of a girl aspiring to be a stage actress but isn't getting the chance. In a few films from the 30s, we saw the girl getting a supporting role, and then at the end, she gets the main role because the arrogant main actress has left the show. Lily Mars is the same girl here, and there is another same old angle of romance with the hero/maker of the show. Nothing new here, but the same tale is told in a funny manner here, which keeps you entertained. What Presenting Lily Mars does different from others is that it allows itself to go with a negative end, which makes it more logical than our typical happy endings. The girl is rejected for the role towards the end, and she is feeling low. But the director/her lover advises her to stay and take her old role back. "Do that maid's part like no one had ever done on the stage," he says, and I was clapping all the time for 5 seconds. As expected, she returns, making it a damn good film with an offbeat but more sensible ending. However, the next 5 minutes have the same old happy ending, and we are left with a typical watchable film after promising a pathbreaking theory of hard work (it would have destroyed nepotism too). I wish the film had ended there with that kiss and "Lily Mars" intro segment instead of her own grand show, and then, I would have called it a must-see. But alas... It goes on to be a typical, funny, and entertaining rom-com drama. Judy Garland with that hairdo was slightly better than her regular roles at the time. I haven't seen much of Van Heflin, so I'd say he was okay. Marta Eggerth was that arrogant main actress I was talking about, but even she had a nice change of heart at the end. Norman Taurog has directed many of my favorite flicks, so this was an easy job for him. This was more of a Ziegfield show than a Taurog show.

RATING - 6.5/10*

By - #samthebestest.

Lily Mars (Judy Garland) is a small-town girl who dreams of the entertainment spotlight. She is desperate to audition for acquaintance John Thornway (Van Heflin) who happens to be a Broadway producer. He rejects her, but she is relentless.

Judy is in her early 20's and still very much the sweet girl next door. She does get a glam up during the film and she is becoming an adult. She's one of those child star who was able to fully transition into an adult on screen. It's an important stop on the path to Hollywood icon. As for the movie, it's fun. It's light. It's good escapism during tough times.

When Judy sings, its great. When she doesn't its average. This was originally intended as a straight dramatic vehicle for Lana Turner but when she proved unavailable it was retooled for Judy. Designed to move her forward towards adulthood and away from teen roles, a process started the year before with For Me and My Gal, every effort was made to glamorize her and she does look truly lovely in the film. However the story is silly and old hat and she shares no on screen chemistry with Van Heflin fine actor though he may be. It does have the added advantage of several great character actresses, Fay Bainter and Spring Byington among them, in supporting roles. There is one special scene where Judy and the terrific Connie Gilchrist perform Every Little Movement on a bare stage. Excepting that scene this is nothing special overall but Judy makes it worth checking out.

Of interest only to die-hard Garland fans. The story is a mish-mash between "42nd Street" and the Andy Hardy series. The musical numbers--with the exception of the finale--filmed as an afterthought--completely forgettable. I don't wish to be mean here, because I love MGM musicals, and in particular Judy Garland musicals, but this picture is nowhere up to the standard of what MGM was making at the time, nor what Garland would become in her signature musicals. I've watched this picture twice now, so I don't think I can attribute these comments to a bad evening. Let's just say, Miss Garland and the MGM musical wwnt on to legendary triumphs past this film.

In "Presenting Lily Mars," Judy Garland is an aspiring actress and singer, who is trying to get an audition with Van Heflin. He's a successful Broadway producer and writer who hails from her home town. When he goes home to visit mom, played by Fay Bainter, who's a friend of Judy's, they both try to set it up for Van Heflin to see what she can do. But he has always insisted on not seeing another eager amateur with no talent. Even for his own mother, no more auditions. In fact, the whole first half of the movie is about her trying to get noticed, even getting one of her younger sisters in on the act of playacting. Her mother, played by Spring Byington, encourages her. I had reviewed this before a couple of years back, when I gave the movie a rougher review, but upon seeing again, I enjoyed it more. As usual Judy is in great voice and the film has an offbeat sense of humor with a brother of hers collecting doorknobs. But what will happen? This movie may be predictable but it makes up for it by being very pleasant and having good supporting actors, and a madcap pace keeps the viewers' interest. "Lily Mars" is another good vehicle for Judy Garland, showcasing her versatility in comedic acting along with some very upbeat songs. Not much is mentioned about the movies she made in this time period between "The Wizard of Oz" and her more well-known MGM musicals like "Easter Parade" and "The Harvey Girls;" but watch "Presenting Lily Mars" and see just how great Judy Garland was whenever she was on screen, even in lesser-known films. She always lit up the screen.

A certain 30s sensibility through much of this, with Spring Byington reprising her role in You Can't Take It with You (sort of). Judy is always worthwhile, but Van Heflin is awful, just awful. His sudden transition from cranky genius to love-struck schoolboy is sudden and unconvincing, and his range of expression is paper-thin. Also, why director Taurog thought he needed to subject his audience to so much of Eggerth's ridiculous "singing" and "acting" is beyond me. Finally as another reviewer says, the finale is tacked on and not particularly interesting. Judy could have used a more engaging co-star (like one with actual talent!), but she's often funny, and when they let her swing in the musical numbers, she leaves you wishing for more.

Too bad that JUDY GARLAND was at her most attractive, photographed with great skill and looking fabulous--while coping with a script that had to be an insult to anyone's intelligence--even way back in 1943!

VAN HEFLIN proves that he had a certain comic flair (although a little exaggerated) and was certainly worthy of a better role than the one he copes with here. Supporting players Spring Byington and Fay Bainter lend solid support--but it's all just too weak in the story department for anyone to overcome the ridiculous script.

Judy manages to get through the material in good shape--showing comic skill in many scenes and emotional maturity in others. The ending is rather predictable and is followed by a show biz finale that seems to be tacked on to give the film a plush fade-out in which Garland has a change to dazzle us with her musical talent. Which she does.

But, all in all, lacks the charm and credibility it should have had to make it truly worth watching. Among the supporting players, Connie Gilchrist and Richard Carlson do some nice work. Carlson is surprisingly gifted at comedy and should have attempted more such roles.

Worth noting: the doorknob business is the only original touch in the whole show!