Lily Mars vedette

Finally caught up with this one on Turner Classic Movies, in a pristine video transfer, doing full justice to Joseph Ruttenberg's glowing black-and-white cinematography.

Opinions on this one among other IMDb-ers seem, not surprisingly, rather mixed, since the clichés that form the basis for this script are not quite sufficiently redeemed by a generally excellent supporting cast, as well as very deluxe art and set decoration, including a stunning nightclub set. (It almost makes one want to exclaim, "Who needs Technicolor?!?")

But Judy, looking really lovely, performs her heart out and more than holds her own amidst the sort of sentimental claptrap that Louis B. Mayer insisted be fashioned around her maturing femininity. It's also said that Mayer dictated that the final overblown production number should be tacked on to conclude the picture, with Charles Walters, later to be one of Garland's most congenial directors (after the bloom was off the rose of Vincente Minnelli's Svengali-like love affair with Judy), dancing up a storm with her, making one wish that he'd done quite a bit more performing in front of the camera .

Any film, by the way, that gives the wonderful Connie Gilchrist a chance to appear for even only a few minutes of its running time is simply not to be missed. What a treasure she was!

This was one of the Judy films that I've been wanting to see for a long time, as it does not appear to be avalible on video in the UK, So I got it from the USA, and luckily my televideo can play NTSC tapes!

This is one of my fave Joots movies. She plays a stronger character then in any of her early MGM movies. -For once she isn't running after a man she cannot have, and is not feeling unattractive compared to a more glamourous star. (poor Judy who had a low self esteem was often put in these roles) She plays Lily Mars, a strong willed, ambitious and stubbon young lady who is determined to be noticed by a big Broadway producer, and will do it by any means. Judy really shows her comic talents in this movie, and looks lovely.

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.

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.

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?"