I fidanzati sconosciuti

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.

First came "The Shop Around the Corner" with James Stewart and Margaret Sullavan. Then "In the Good Old Summertime" with Judy Garland and Van Johnson, a musical remake. Then "She Loves Me", the Broadway musical with Barbara Cook and Daniel Massey based on the earlier version. Then "You've Got Mail" with Tom Hanks, which by no means was an original story idea but an update of all three previous versions.

MGM must have been in an inspired mood when they made this one, with Judy and Van at their best, both playing off each other with great charm and humor. Judy even gets to warble a few wonderful songs ("I Don't Care", "Meet Me Tonight in Dreamland", "Play That Barbershop Chord") aside from showing her gift for romantic comedy. The delightful supporting players are Spring Byington, S.Z. Sakall, Buster Keaton and Clinton Sundberg.

Garland is a music store clerk corresponding with her unseen pen pal (Van Johnson) who also happens to be her boss. The happy ending features Judy's daughter, Liza, taking her first stroll before the cameras at 2 or so.

One of those rare remakes that actually improves upon the original and manages to be just as charming with the addition of music. One of Judy's best--a complete delight. Too bad she and Van Johnson weren't teamed more often.

Funny that a movie which has 'Summertime" in its title spends most of its duration in the Winter. No matter, this is a charming and quaint musical from MGM. Judy and Van are anonymous pen pals, who also happen to work together, each of them not knowing the other is their mystery 'friend'.

It's a little disconcerting watching Judy Garland, as lively as ever, in her second to last MGM musical from the studio's classic period. It's unfortunate she was dropped a couple years later, because even in this minor film, she is wonderful, using her talents to better the story with her cinematic personality and melodic singing. She had a gift for comedy and a talent for drama as well.

Van Johnson, in one of his few memorable musical film roles, is good as Judy's counterpart. His role seems more like a character Gene Kelly would have played, a bit of a 'smart Alec'. I think if Kelly were cast instead, there would have been more of a balance in this film, because as it is, much of the singing in this film comes from Judy...she really is the only singer in the whole cast. The songs, themselves, are period pieces which are pleasant enough. Aside from the title tune, there is the "Dreamland" number, which is nice, Judy's rousing "I Don't Care", and her amusing song with the Barbershop Quartet. The other actors in the cast are also good. Buster Keaton has a funny, but modest role as a shop worker, along with Spring Byington and S.Z. "Cuddles" Sakall, as the shop owner.

Overall, a pleasant film. Not quite what I would think of as a musical, as the songs are modest filler, not showstoppers. This is not on par with "On the Town" or "The Pirate", but it is enjoyable enough. Good costumes, charming sets, and lovely Technicolor contribute to the look of an antique hand-colored postcard. In that sense, it's something of a curio; amusing, but not quite a gem.

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.

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.