Ajouter une intrigue dans votre langueJudy Bellaire (Judy Garland) is the center of trouble at her exclusive, very conservative private school. She is expelled when she starts singing in a jazzy style in her music class. Mayhem ... Tout lireJudy Bellaire (Judy Garland) is the center of trouble at her exclusive, very conservative private school. She is expelled when she starts singing in a jazzy style in her music class. Mayhem ensues as she returns home to her actress mother, playwright father and dysfunctional Russ... Tout lireJudy Bellaire (Judy Garland) is the center of trouble at her exclusive, very conservative private school. She is expelled when she starts singing in a jazzy style in her music class. Mayhem ensues as she returns home to her actress mother, playwright father and dysfunctional Russian maid (Fanny Brice) and tries out as a blackface singer in a musical.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 4 victoires au total
- Girl
- (non crédité)
- Showgirl
- (non crédité)
- Minor Role
- (non crédité)
- Colvin's Music Teacher
- (non crédité)
- Police Lt. at Desk
- (non crédité)
Avis à la une
What's nice is seeing an age where there were no cell phones and everyone seems to have been polite. Of course, the very poor must have been hidden somewhere in this economic structure...
This is a movie which has glimmers of Judy's later (or was it earlier?) successes.
It is interesting to watch her career take off.
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Judy plays Judy Bellaire, whose mother (Billie Burke) is a busy actress, and her father (Reginald Owen) is a producer. When Judy gets kicked out of school for turning her classical music into jazz, no one will listen to the reason she's home - they're all too busy.
Mom is in rehearsal with her leading man (Reginald Owen), her sister Sylvia (Lynne Carter) is taking a voice lesson, and her father is frantically running around.
Judy's only pals in the house are the chef, Ricky Saboni (Allan Jones), who is in love with Sylvia, and the maid (Fanny Brice), an ex-Russian performer.
Eventually Judy, though underage, gets into a show put on by Ricky, who sings at night in a club. The singing is glorious, Judy singing "Swing Mr. Mendolssohn," "Down to Melody Farm," "Swing Low, Sweet Chariot," and "Ever Since the World Began."
Brice does a specialty number, and Jones, in his beautiful tenor, sings "The Show Must Go On," "Cosi-Cosa," and "First Thing in the Morning." Pre-Wizard of Oz, and pretty Judy sings with an incredible maturity of tone.
Fun, upbeat movie.
The following year the same studio would do everything right in THE WIZARD OF OZ, also with Garland and Burke, but here they do everything wrong. A stupid plot, bad dialog, and a director who doesn't know how to tone down veteran stage performers for the camera make for a shrill and charmless musical. Humor here consists of everybody yelling at each other, belting out third-rate songs and then reprising them. (Oh no! Here comes THAT lousy number again!)
Legendary stage and radio comedienne Fanny Brice's inexperience in films is painfully apparent. She gives a performance which would work on stage, but in camera close-up she comes across as hammy and annoying -- bugging her eyes, over-inflecting her lines, and making goofy faces.
Billie Burke, so funny and charming in THE WIZARD OF OZ and other films, is overbearing and shrieky here. Allan Jones, a handsome and likable young tenor, is wasted; in 1938, with operetta going out of style, the movie business no longer had a place for singers like him and Deanna Durbin.
The one reason to watch this is to witness the beginnings of the girl who the following year would blossom into the greatest musical performer in the history of film: Judy Garland. Even Judy is too loud and frantic here -- she's still Frances Gumm, vaudeville's "Little Miss Leatherlungs", with her mother hissing from the wings, "Louder, Frances! Smile, baby! Bat your eyes!!" But there are a few moments where Judy's musical phrasing or reading of a line take your breath away -- she's not yet the unique genius she would become, but she's getting there.
Garland fans should definitely see this, to see her in her "diamond in the rough" stage -- but you'll be in no hurry to see it again.
Le saviez-vous
- AnecdotesA boys' choir was used to provide the singing voices for the schoolgirl chorus that backs Judy on her numbers.
- GaffesWhen Judy Bellaire is escaping from the ship, she hides inside a container. Two workers place the container on the dock. Just before she opens the container lid to climb out, a second container appears just behind her.
- Citations
Olga Chekaloff: You make trouble for me? How do you like that? In Russia I vas bitten by a volfhound, my mother vas lost in a snowstorm, my father vas sent to Siberia, your mother and father are yelling their heads off, you sister's taking her singing lessons, I've got exactly four squabs and I can't find out how many's for dinner! And you're gonna make trouble for me?
- ConnexionsEdited into Becoming Attractions: The Trailers of Judy Garland (1996)
- Bandes originalesSwing Mr. Mendelssohn
(1937)
(also known as "Swing Mister Mendelssohn")
Music by Bronislau Kaper and Walter Jurmann
Lyrics by Gus Kahn
Sung by Judy Garland (uncredited) and the St. Brendan's Boy Choir (uncredited)
Conducted by Robert Mitchell (uncredited)
Meilleurs choix
- How long is Everybody Sing?Alimenté par Alexa
Détails
- Durée
- 1h 31min(91 min)
- Couleur
- Rapport de forme
- 1.37 : 1