For Me and My Gal

Gene Kelly makes his film debut opposite Judy Garland in this film about vaudeville acts trying to make it big and falling in love too. They start off as partners in a vaudeville act but of course, they fall in love. The story takes place on the verge of American involvement in World War I. Judy's Jo Hayden is an aspiring singer who helps her kid brother study at medical school. When the war breaks out in Europe, he enlists. Just as things were getting good with a marriage and performing at the infamous Palace Theatre in New York City, bad news occurs which separates these two star-crossed lovers. World War I becomes a top priority as does cheering the spirits of the men who go off to battle. The songs and dance numbers are what makes the film. The story is weak but Garland and Kelly's acting talents bring it alive to the audience. The dance and singing sequences are worth watching for any Judy Garland fan. Supporting cast is first rate.

I thought Judy Garland gave an Oscar worthy performance in this movie. As for Gene Kelly, it was hard to believe that this was his movie debut, his acting made it seem as if he'd been around Hollywood for years. And oh, that musical score, remeniscent of some film scores by Irving Berlin. Not just your ordinary musical, this one has a fine story that fits in with the time of World War One. The title song as done by Garland & Kelly is a classical show-stopper. For sentimentalists, like my wife and I, there are a few scenes that tug at the heart strings, and provide for some misty eyes.

How both stars must have rolled their eyes when they read this screenplay. The volume of clichés is atrocious: The oversentimental celebration of vaudeville; the romantic triangle; the heel gaining a conscience; the splitting-up-the-act intrigue; the brother and his fate; lines like "you'll never be ready for the big time, because you're small-time in your heart" (Judy nevertheless makes it work). Yet it's a pleasure to view, because Judy and Gene really bring out something special in each other. They did again in "Summer Stock"; in "The Pirate," to my eyes, not so much. She has a gravity and sincerity that balance his self-adoration and schtick, and he was always more persuasive playing a guy of questionable moral values than a mensch. You have to put up with George Murphy at his dullest and Ben Blue at his unfunniest, and Marta Eggerth, as accomplished as she is, appears to be in the wrong movie--she should be doing a Joe Pasternak operetta, not an Arthur Freed extravaganza. But when the two leads sing or dance (she was, in the Forties, a better dancer than she was ever given credit for) or, surprisingly, act together, they're tremendously moving. At her best, which she wasn't always but is here, Judy was the best there was. My favorite moment: the ending of "After You've Gone." Rather than smothering her performance in applause and cutting to a shot of an appreciative audience, Berkeley just fades out. It's MGM's way of saying: Enjoy it, folks, this is as good as it gets.

Though a thinly veiled piece of propaganda for WWII sentiment, it did the trick. I couldn't believe I cried not once but three times at this Kelly/Garland musical. An amusement park of a flick. With rollercoaster rides of joy, mood swings of sadness and insecurities, all rolled into a sappy feel good post-depression fluff. Who needs hormones when you can watch this. Great star vehicle for Kelly,it catapulted him into the rarified air of those who have talent, good looks, and that certain "something". Though at times he seems a bit in awe of his surroundings, it comes off as cockiness and works. Garland's sense of innocent security grounded this film and proved she was already in the stratosphere. The supporting cast held up their ends admirably. Enough to make this film enjoyable even in these jaded times.

'For Me and My Gal' had so much going for it on paper, with the involvement of immensely talented people like Judy Garland, Gene Kelly and Busby Berkeley. It has its flaws, but when it's good it's fabulous and showcases the two stars brilliantly.

The story and script are admittedly slight and heavy in the clichés, complete with an ending that feels tacked on (and apparently it was, hardly surprising). The supporting cast's performances also don't compare to those of Kelly and Garland. Well George Murphy is good, he is very likable and charming, the problem is that he is underused and deserved more considering his talent. Ben Blue is unfunny and annoying however, and Marta Eggerth seemed out of place, am a fan of the operatic style of singing but there are far more beautiful voices than Eggerth's rather shrill and metallic sound and the singing doesn't really fit the style of the songs.

However, it is very difficult to be too hard on 'For Me and My Gal' because it fills me with so much joy and really does tug at the heart. The best thing about the film is Garland, who is absolutely sensational, with remarkably graceful dancing and as ever her voice is one you can listen to for hours and not get enough of. Her role here is also one of her most relatable and radiantly likable ones. Kelly may have had more endearing roles in his career, but he really shines in charm and technical skill in his debut where his material plays marvellously to his strengths. The two of them are simply magical together, and one is entranced every time they're on screen together or individually.

It is also a visually beautiful film. Technicolor it ain't, but it is not a film that cries out for it. The lavishness and elegant sumptuousness is still there and it is beautifully filmed. The songs are truly lovely, with the title song and "When You Wore a Tulip" standing out, and advantaged even further by top-notch direction and choreography by Berkeley (throughout, but especially in those two numbers), it may lack the kaleidoscopic style of his earlier films but never looks overblown or static, basically what cinema is all about.

While flawed, the story is still very charming, is lots of fun and there are also some genuinely touching parts that tug at the heart-strings. The pacing never feels dull, even with the slightness, which faces the danger of over-stretching and padding, and over-familiarity.

All in all, not a favourite but for fans of Kelly, Berkeley and especially Garland it is a must regardless of its issues. 8/10 Bethany Cox