In the Good Old Summertime

I won't go into plot details, as it's been done by so many other reviewers before me. Instead, I'll just share my observations as a fan of classic musicals, and specifically of Judy Garland.

Personally, I think it was during 43-46 period when Judy looked and sounded the best. And incidentally, it was also the period when the classic MGM studio system was at the apex of its efficiency in churning out one great musical after another before its demise later in that decade.

In Good Old Summertime, one can't help but realize, with much regret, that the greatest period of the good old musical films and of Judy Garland was beginning to wane. And it is noticeable from quality of music scores and from changes in her appearance also.

Of course, it's still a very enjoyable movie, especially if you watched one of the other movies based on the same story. And Judy still looks amiable and sounds great even when she had to sing in such self-deprecating manner as in 'I Don't Care', which feels very different from other instances of similar comic approach of her previous films like 'When I Look at You' in Presenting Lily Mars, or 'Couple of Swells' from Easter Parade, for example.

Even though the movie is categorized as a musical, it's certainly not Harvey Girls where you can enjoy such trademark MGM scenes, like that big, complex sequence as 'Atchison Topika and the Santa Fe'.

Back then, the Freed Unit with so many talented actors and actresses were so efficient that they didn't need too many camera cuts or even extensive rehearsals to create a such captivating 20 min long sequence.

In Good Old Summertime, Judy Garland is almost the only person who sings, and there is no 'sequence' to talk of, as most of the numbers are done by her singing solo, except for the Barbershop Quartet and 'I Don't Care' numbers.

In general, songs are less memorable than those from her other movies. There's a Christmas song which Judy sings beautifully as usual, though it just isn't on par with 'Have Yourself a Merry Christmas' from Meet Me in St. Louis.

Judy still looks attractive, but not more so than in her earlier movies. Her personal troubles in real life begin to take their toll on her appearances by the time she appeared in this movie. Van Johnson is amiable, but he's certainly not her ideal partner in a musical film, as he can't really sing or dance like Mickey Rooney or Gene Kelly.

All in all, it's a still very enjoyable movie, but if you are a Judy Garland fan like me, you might want to try her other films first, preferably one from the 43-46 period, if you haven't seen them all already.

And when you have already seen most of them, and when you are sure to understand why people keep praising Judy Garland and her movies from her better days even today, then with a preparation of your mind for experiencing some regrets and pangs which might result from seeing her lesser self in a lesser kind of a musical, you are ready to enjoy this movie as a devote Judy Garland's fan.

It's something similar to what it requires to enjoy her late year recordings like the famous Carnegie Hall album. It pains to notice how she lost her range and her once impeccable vibrato became one that sounds artificial and forced.

But at least, it's Judy Garland and I believe that would suffice to enjoy it for most her ardent fans. As to what seems deficient, they can supplement it by their memories of what she has been in her prime time.

Quaint would really be the best way to describe this. Mild but colorful reworking of The Shop Around the Corner trades that films exquisite pathos for a sunny tone and loses something in translation but is miles ahead of the travesty that is You've Got Mail. The musical score is full of charming songs from the period socked across by the great Judy although she seems terribly jittery here. Of all her films this is the one where her resemblance to Liza Minnelli is the strongest so it seems fitting that Liza plays her daughter in a bit at the end. As for the rest of the cast, Spring Byington and Cuddles Sakall are cute and well matched in a much more gentle version of the shop keeper and his wife than the original film, but Buster Keaton is almost totally wasted in a small part.

Having previously seen this movie twice before, I was very glad to show this film to Mom right now, as she had never watched this. Judy Garland is in fine form, as always, when both singing, dancing, and acting especially when doing comedy. Van Johnson is also fine as the leading man and matching her in getting laughs as well. Some of that may be because of Buster Keaton who besides being one of the supporting cast, also helped devise the hilarious scene when Ms. Garland and Johnson first meet, which isn't a pleasant experience for either of them, that's for sure! S. Z. Sakall is also funny in his own way as their boss and Spring Byington is also a fine match for him. Oh, and there's a nice surprise at the end if one is familiar with what a certain future star looked like when a toddler! So on that note, me and Mom recommend In the Good Old Summertime. P.S. Since I like to cite when anyone associated with my favorite movie, It's a Wonderful Life, is involved in something else, here, it's the writers Frances Goodrich and Albert Hackett who also wrote IAWL.

This story of two co-workers who loathe each other--and then perversely fall in love when they correspond anonymously through a lonelyhearts club--has been filmed three times, first in the 1930s as THE SHOP AROUND THE CORNER with stars James Stewart and Margaret Sullivan and most recently in the 1990s as YOU'VE GOT MAIL with stars Tom Hanks and Meg Ryan. This 1940s musical version, which sets the story in an early 1900s Chicago music shop, stars Judy Garland and Van Johnson.

Although the score is not in the least memorable, Garland is in fine voice, and although they lack any real chemistry she and Van Johnson play well together. More appealing is a romantic subplot concerning shop owner S.Z. Sakall and his long time ladyfriend Spring Byington, who are extremely charming in their roles and quite a bit of fun to watch. Fans of Buster Keaton will also enjoy seeing him in a small cameo role, and film buffs will be delighted to see Garland's daughter Liza Minnelli make her film debut in the movie's closing moments.

Although there is a great deal to enjoy here, the material is highly conventional, and the project would have benefited from a more gifted directorial vision. A quality product with remarkable stars--don't expect too much and you'll enjoy it quite a bit.

Gary F. Taylor, aka GFT, Amazon Reviewer

Given how Judy Garland scored so well in another period piece, Meet Me In St. Louis, it was a natural that she be cast in In The Good Old Summertime even if she was a replacement for June Allyson. It's called serendipity.

The film is a musical adaption of MGM's The Shop Around The Corner in which James Stewart and Margaret Sullavan played the anonymous correspondents who love what each other write, but can't stand each other in person. It doesn't help that the two of them are co-workers in a department store.

Van Johnson takes the Stewart part in In The Good Old Summertime and early 20th century Budapest is transferred to early 20th century Chicago. Johnson and Garland work in a music store with Spring Byington, Clinton Sundberg, and Buster Keaton and that's owned by S.Z. Sakall. Sakall is far more lovable as he always is than Frank Morgan in the same part in The Shop Around The Corner. A bit thick, but lovable. He does think he has talent on the violin, the same way Jack Benny did on his radio program. He plays it as well as Benny did and even playing it on a Stradivarius doesn't help.

Except for one new song, Merry Christmas, the rest of the score is interpolated period favorites like Meet Me Tonight In Dreamland, I Never Knew, I Don't Care and of course the title song. Judy is really in her element doing these numbers. In fact two of the early century's great musical performers, Blanche Ring who introduced In The Good Old Summertime, and Eva Tanguay whose specialty song was I Don't Care, were still alive to see Judy do both of their numbers for the current audience. I've often wondered what they must have thought.

Buster Keaton is strangely subdued in this film. He only gets one real comic moment doing a pratfall on a dance floor and breaking a violin in the process. I'm betting some of his material wound up on the cutting room floor.

At the very end of the film, little Liza Minnelli all of three at the time made her screen debut. If you like period pieces as I do and the music of the era as I do or if you liked The Shop Around The Corner or the most current adaption of the piece, You've Got Mail with Tom Hanks and Meg Ryan, than you will appreciate and enjoy In The Good Old Summertime.

If you do like it, that's a very good sign.