Fou de girls

The plot is virtually the same as in all the other Garland/Rooney movies: Rooney is a ladies man (stop laughing!)and, to tame him, is sent to a dude ranch out west. There he meets mail carrier and (it seems) cook Judy Garland. She hates him, he loves her and after all the predictable complications occur they fall in love leading to the big, elaborate number.

The plot is predictable but the movie is still a lot fun. The script is sharp and quite funny; Garland and Rooney always played off good against each other; a very young Nancy Walker has a bit role and is hilarious whenever she's on screen and it moves fairly quick.

Also seeing Rooney and Garland so young and full of life is always great and the songs are good. There are no real bad ones but "Embracble You" and "I Got Rhythm" are standouts. And the final number is just incredible (although I question the cowboys shooting off round after round of ammunition).

A great little musical. Worth seeing.

Mickey Rooney is hilarious, Judy Garland charms your socks off with her incredible talent, Busby Berkely adds his genius, Norman Taurog is in top form, and Tommy Dorsey swings the joint with his big band in this exceptional MGM wartime Musical. Top it off with a superb Gershwin's score, Rags Ragland, Nancy Walker and June Allyson in solid supporting roles and you have one helluva entertaining songfest.

What more can you ask for? If this one doesn't make you laugh and tap your toes nothing will. Sure it's fluff but oh what good fluff! Escapist fun in 1943 and just as good now. Judy and Mickey were always great together and made some decent musicals, but this is the best I've seen. A thorough delight from start to finish.

What talent Hollywood once had that is gone forever. There's more entertainment value in the first 25 minutes of this picture than in most current films I've seen lately combined.

See it. It's a gem.

Mickey Rooney has been disgracing papa Henry O'Neill by hanging out in night clubs instead of the Yale Quad, so he ships him out west where he encounters Judy Garland. There are some subplots, but it's mostly about Miss Garland singing Gershwin songs and Rooney mugging.

It's a transitional musical from the Freed unit. MGM had been doing musical extravaganzas in the 1930s, and operettas starring Jeanette MacDonald and Nelson Eddy. The Arthur Freed unit was evolving the musical into the new Broadway style, in which the songs advanced or expounded on the plot, instead of stopping the horse race while Jolson did bird imitations. This one has some big musical numbers involving the Tommy Dorsey Orchestra, and it has some numbers that comment on the characters' states of mind like "Could You Use Me?", and the lovely "But Not For Me". It also has numbers more suited for a revue like "Biding My Time." So musically it's a mixed bag, except for the fact that it's all Gershwin tunes.

You can't fault any music by George Gershwin, but you can raise your eyebrows at some of the self-indulgent lyrics by Ira Gershwin, full of all-too-clever feminine rhymes instead of honest sentiment -- and some unfortunate arrangements, like an orchestral swing version of "Fascinating Rhythm" that reduces the rhythm to nothing under the Dorsey syrup.

Even so, the enormous energy and talent of Rooney and Garland carry this movie easily over the finish line, and if the production number of "I Got Rhythm" is directed by Busby Berkeley is over the top, the starring pair triumph over its rigorous and meaningless spectacle.

This Gershwin musical, first staged in 1930 (and filmed, not altogether successfully from a musical point of view, by RKO in 1932) gets another movie version, this time tailored for the talents of MGM's two top young stars, Judy Garland and Mickey Rooney.

The original story gets ditched and in place we get the usual 'kids putting on a show' stuff that Judy and Mickey did in all their collaborations during the 1930s/40s. The songs are done very well - Judy sings 'But Not For Me' and it is absolutely stunning, the way she is photographed during this sequence really complementing the beautiful melody of the song. 'Embraceable You', an unforgivable omission from the '32 version (it was filmed but then scrapped on the wisdom of David Selznick) is back. So Judy is great, while Mickey does the same bubbly act as always but he certainly had talent.

Perhaps one day we'll see a version which does justice to both the original plot as staged *and* the score. Neither the '32 or '43 versions quite got there - but both are worth your time, if only for quite different reasons.

Put aside any preconceptions about "Mickey and Judy" movies. In fact, put aside the film entirely. It's watchable, but who cares? The reason to see this film is for the fantastic arrangements of some of Gershwin's best songs.

Hugh Martin and Ralph Blaine, soon to be famous for their score for "Meet Me in St. Louis," gave the Gershwins' score (their best show), the five-star treatment with fantastic vocal arrangements - though I'm sure Roger Edens also had a hand in there.

What you get are versions that make these great songs sound even better. "Bidin' My Time," which can be a sleeper if done badly, turns into a rich counterpoint between Judy and a male quartet. "Embraceable You" is given an easy, lightly swinging full choral arrangement after Judy has her turn, and "I Got Rhythm" is taken over the top with Tommy Dorsey and the "Six Hits and A Miss" backing Judy perfectly.

But the piece de resistance is Dorsey's arrangement of "Fascinatin' Rhythm," presented first as a typical swing arrangement (and a great one at that), and then with Mickey playing (appearing to play, actually), a piano solo a la Gershwin's "Variations on I Got Rhythm," complete with hand-crossing and all George's piano tricks - fantastic! Add to this Judy's painfully tender version of "But Not For Me," June Allyson's debut performance of "Treat Me Rough," and you have one of the best film scores ever. ("Bronco Busters," unfortunately cut from the film, is available on CD - in stereo, as are all the tracks.)

If you are a Gershwin fan, this film is a treasure. Thank god they didn't throw out the best songs, as was done a few years earlier when Rodgers & Hart's equally impressive score for "Babes In Arms" was butchered for that film. I guess you had to be dead before your work was treated with respect in Hollywood!