La jolie fermière

Some moments of this otherwise B-level film are quite astonishing, like Gene Kelly's solo dance with the newspaper or the conversation between Gloria De Haven and Eddie Bracken which gently reveals their affection for each other. But the film, more or less, belongs to Judy Garland- she of the frequently strained health and nerves, who nevertheless made it all look very easy. That said, this is a good one, albeit a corny one. The hillbilly number done with Kelly, Phil Silvers, and the chorus is a bit much, but the film does show off Garland's talent for low-key, witty comedy. And "Get Happy" aside, the 'Portland Fancy' square dance which seamlessly turns into a swing duet with Garland and Kelly is probably the most enjoyable moment of the whole film. (Considering Garland's strength was singing, her dancing was quite impressive.) And my favorite Garland solo is the moonlit ballad "Friendly Star," done almost all in closeup, with the star's beautiful dark eyes on the brink of tears through the whole number. It's a pleasant swan song for her MGM era, but thankfully, her greatest musical (A Star Is Born) was still yet to come.

I actually made a point to see this film after reading about Miss Garland. The final "Get Happy" scene was shot weeks after the film wrapped and Miss Garland was sent to a "clinic"...she was called back only weeks later and fell into a deep depression and was, suppposedly, not in good good shape mentally as she shot that scene but if you notice, she is at least 20 pounds lighter in the scene than the rest of the film. I think this just shows how brilliant Miss Garland really was, to be so troubled but still nail the scene and song that would later be a staple in her act...she truly had something in her that few have ever and will ever possess.

Summer Stock was the third and last pairing of Gene Kelly and Judy Garland by MGM. It's sad to think that there were no others because of Judy's personal problems. She would have a breakdown and would not be before the cameras again until four year later with A Star Is Born.

Judy barely got through Summer Stock. She had been replaced in Annie Get Your Gun by Betty Hutton and had not started Royal Wedding yet, but was also replaced there by Jane Powell. It was Gene Kelly's patience with her that got her through this film. Interesting also because Kelly was not known as the world's most patient man when working.

It was worth it because Summer Stock contains some of Judy's best musical moments. Most of the score was written by Harry Warren and Mack Gordon, but someone was inspired at MGM to give Judy Get Happy by Harold Arlen and Ted Koehler. That is half of the team that wrote Over the Rainbow for her. Get Happy became another song identified with Judy Garland the rest of her life and into her legend.

But a favorite of mine is Howdy Neighbor. I do so love how that number is staged with Judy riding on a tractor through the fields and on the road near her farm. Catch her at the very end of the song and you can visibly see her breathing heavy. She was obviously under a strain doing this number and in fact the whole film.

Kelly doesn't do too bad either with a song that became identified with him, You Wonderful You. I still remember him singing it to Miss Piggy when guesting on the Muppets.

Summer Stock is another variation on a backstage romance and the discovery of hidden talent. Judy's sister Gloria DeHaven invites the cast and crew of her show to stay at their farm in Connecticut. But Judy's not happy with it. Of course Kelly charms her and discovers along the way who has the real talent in the family.

The film holds up well today and the talent of Judy Garland and Gene Kelly is absolutely eternal.

This was Judy Garland's last MGM film, and she had basically been a MGM lifer, being under contract there since 1937 at age 15. Judy was naturally always a little heavy, so MGM plied her with uppers to cause her to lose weight and then with sleeping pills at night so she could sleep through those uppers. The end result was a terrible substance abuse problem by the time she was 28 that MGM then fired her for. But I digress, mainly to let you know what she was working through in this final MGM musical film.

Jane Falbury (Judy Garland) works the family farm diligently, but she is in danger of losing it due to three bad harvests in a row, and then her two long time farm hands quit due to lack of being paid. Her younger sister Abigail (Gloria DeHaven) is due to come home to pitch in after failing in art school, and she does, but she brings with her the entire cast, crew, and props for her boyfriend Joe's (Gene Kelly) new musical show, which he plans to try out in her barn. Abigail somehow failed to tell her sister about that. At first Jane is going to make everybody leave, but then she changes her mind and lets the gang stay and put on their show as long as they pitch in on the farm. They have no idea how to do the simplest farming tasks, but they do their best, often with humorous results. And then Abigail abandons the show on a lark, leaving everybody in a lurch. Complications and a classic musical number starring Garland ensue.

This is not the best MGM musical out there, but it is enjoyable enough. Apparently Gene Kelly was instrumental in helping Judy Garland get through this, which is odd enough since he could be very harsh. After all he left Debbie Reynolds crying under a table after his withering criticism of her during the making of Singin' in the Rain. It's got a good cast including Phil Silvers shortly before he does so well on TV, and Marjorie Main steals every scene she is in as the farm housekeeper. Eddie Bracken is a good sport as he plays probably the most unappealing man in the history of the world as Jane's fiancee.

In the canon of MGM musicals of the Golden Age, "Summer Stock" is an overlooked and underrated pleasure. As relaxed as a summer day spent on a farm like the one in the film, this soft shoe of a musical doesn't aim for greatness, though it very nearly reaches it on one or two occasions. Filmed in sunny, bandbox Technicolor, the films opens on Judy Garland singing in her morning shower. She is Jane Falbury, the mistress of a New England farm going to seed. Sassy Marjorie Main is the maid and cook, pretty Gloria DeHaven is her irresponsible sister who has run off to New York to become an actress, and Eddie Bracken is Garland's hopelessly inept fiancee, manager of the local general store. Garland's wry way with a comic line is richly evident in this film, as she trys to deal with one exasperating annoyance after another. She is in superb singing voice, and most charming when she holds one long, belting note to the very end and then, looking into the camera, nearly collapses with mock-exhaustion. Into this bucolic chaos lands handsome Gene Kelly and his troupe of Broadway gypsies, promised by DeHaven that they can use her sister's barn for a summer stock production of Kelly's new musical. With sarcastic assist by Phil Silvers, Kelly sets about convincing a skeptical Garland that one hand can wash the other: if she consents to the barn being used as a theatre, the troupe will help save her foundering farm by performing the daily chores and harvest planting. Of course, all manner of of mishap and misunderstanding ensue; happily, none of them stand in the way of Garland and Kelly performing a handful of enjoyable numbers. After Astaire and Rogers, Garland and Kelly were surely filmdom's most sublime song and dance duo, and they perform one dance here, a jazzed-up "Portland Fancy", which nearly stops the show. Apart from their duets, they shine in solo numbers which are manna to fans of great talent. Both stars ascended greater cinematic heights after this film, Kelly in "Singin In The Rain" and Garland at Warner Bros. for "A Star Is Born", but here in this simple tale are found some of the most compelling examples of their style and grace: Garland singing the yearning "Friendly Star" in the summer moonlight, Kelly whistling "You Wonderful You" on a lonely stage with a discarded newspaper as his partner. But finally, the highlight of the film is to be had by Garland in the big finale at the end. Having been cajoled into joining the troupe for their pre-Broadway opening in her barn, Garland and a phalanx of chorus boys jump off the screen with the Harold Arlen standard "Get Happy". Heralded by the blare of the MGM Studio Orchestra brass section, Garland steps out from behind the black-suited line of men wearing only a tuxedo jacket, black pumps, and a man's hat set rakishly atop her head. Looking chic and sexy, dancing with the boys, she makes the Arlen chestnut her own, and uses her considerable show biz muscle to pull down one of the most memorable performances in musical history. Garland's electrifying number dominates the film's reputation, and deservedly so. It is for one to still marvel how this diminutive, talented actress could, for five or so minutes, turn a breezy, unambitious musical into a great one.