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Who would have thought? Cukor, never having worked in colour before AND never having worked in widescreen before did the best piece of work of his career here. 'The Man That Got Away' is always considered one of the best musical numbers to come out of old Hollywood: but wait until you've seen it in widescreen. It's not even the same number, and you get why people who've seen this film in theatres revere the number. Some of the compositions (especially during the opening set piece) aren't just Cukor's best work, they rival anyone's from that era. Let me reitierate: see it in widescreen or trust those of us who have. This musical/ melodrama/tragedy set the bar so high that 50 years later people remember this film but not the musical that got a best picture nomination that year, OR, the performance that won Best Actress that year.

In a career of classic performances this may be Judy Garland's best role and one that certainly uses her many talents to the hilt. James Mason gives an Oscar caliber performance as well and I believe in almost any other year that he wasn't up against Brando's "On the Waterfront" performance he would and should have won.

This George Cukor film features gorgeous color and beautiful cinematography, but does suffer from choppy editing that may be the result of restored footage. The project to restore over an hour of missing footage scrapped by the producers after the original length was in excess of four and a half hours may have been done with the best intentions, but is still incomplete and leaves the film disjointed and obviously lacking. I certainly wish the original footage was never scrapped, but this spotty attempt at restoration makes you feel like your watching more of a project than a classic film. Sometimes less is more and definitely in this case.

Whatever you do make sure you see the widescreen version of this film that was originally shot in Cinemascope or you will only see about a third of the actual picture and I assure you, you won't want to miss any of it.

Count me among those who love this film, but am I the only one who feels for Libby, played by Jack Carson? Yes, he's snide and spiteful, but for God's sake, who wouldn't be in his shoes? When he says, "Norman Maine's charm escapes me." I tend to agree with him. What makes this violent drunk so special anyway, except that he's played by James Mason? And, although she's played by Judy Garland at her radiant best, isn't Esther a classic co-dependent wife? Have any of you adoring fans ever actually dealt with a close one who's alcoholic?

When the studio mogul says, after Norman Maine dies, "you didn't know him at all," I feel like arguing the point. Libby should say, "Maybe YOU didn't know him, Oliver. Did he ever insult you for making him do his job? Did he ever punch you out? Did you ever have to continually face his dirty side, as I did, which he--and you too, Oliver--refused to confront?"

Maybe I'm a poop. But I had to say it.

And, yes, it's a brilliant film.

On a brief getaway this past weekend, the hotel where I was staying had TCM (Turner Classic Movies) on its cable roster and, lo! and behold, there was Judy singing and acting her heart out in letterbox and stereo sound. TCM...you're the best!

It was the restored version, thank the good Lord, with that sad reminder of Warner Brothers' pathetic timidity in trashing Cukor's original cut, but recalling for us his masterful use of the widescreen ratio. (A "formatted" version would be simply unwatchable, what with numerous scenes played by actors perched on the outer reaches of the screen, opposite each other.)

James Mason turns in an absolutely brilliant performance, especially when one recalls the rigors of production, with filming going months over schedule, due to Judy's unhappy vicissitudes (so evident in her appearance even within the same scene!) With the very able support of Charles Bickford, as the most benign studio head ever, and Jack Carson proving why Warners kept him employed so often for so many years.

Plus musical direction taking fabulous advantage of Warners' studio orchestra (and WB's sound technicians who were, for several decades running, the envy of all the other major studios), and arrangements that must have overwhelmed first-run audiences with their incredible richness.

It's a must-see, all right, and is in a class by itself, among the several screen versions of this beloved Hollywood saga.

This is a great film. Yes it is long. Yes some of the songs should have been cut but they weren't but we get a masterpiece anyway.

In this film Esther Blodgett is a talented aspiring singer with a band, and Norman Maine is a former matinee idol with a career in the early stages of decline. When he arrives intoxicated at a function at the Shrine Auditorium, the studio publicist attempts to keep him away from reporters. After an angry exchange, Norman rushes away and bursts onto a stage where an orchestra is performing. Esther takes him by the hand and pretends he is part of the act, thereby turning a potentially embarrassing and disruptive moment into an opportunity for the audience to greet Norman with applause.

Norman then takes Esther under his wing and gets her a screen test at the studio in which he works. She ends up homecoming a major star and his drinking escalates!

After the film was released Warner Brothers recalled the prints. 30 minutes were edited out. In 1983 Ron Haver was able to restore most of the film. Where he could not find footage for the missing scenes he used productions stills. People claim this halts the picture. It doesn't! Besides it only last a total of 7 minutes. It is not 7 minutes all at once!

Now in 2010 it was reported that film restorer Michael Arick had a print of this film. He will not let Warner Brothers use the print. Some people claim that he doesn't have a print however "He has never publicly denied it".

It is also Rumored that Tommy from Beverly Hills has hours of the films outtakes on VHS however it is silent footage. Maybe it might include the missing 7 minutes.