Starring Judy Garland, Van Heflin, Spring Byington, and Richard Carlson
Directed by Norman Taurog
Music and Lyrics by various
By the early 40's, Judy was a full-grown adult and one of the biggest stars at MGM. They were ready to give her the glamor treatment and a vehicle of her own, without support from a leading man or elaborate special effects. Presenting Lily Mars started life as a best-selling novel by Booth Tarkington in 1933. It was originally planned as a drama for Lana Turner, but Turner dropped out and the studio retooled it as a screwball backstage musical for Garland. How well did they do? Let's begin in small-town Indiana, where the eccentric Mars family begin their day, and find out...
The Story: Lily Mars (Garland) would do anything to land a part in stage producer John Thornway's (Heflin) new musical, including remind him that his doctor father helped bring her into the world. Thornway doesn't think much of amateurs and thinks she's too much of a child to bother with. She's so desperate for a role, she follows him to New York.
He does find her a place to live in a theatrical boarding house, but she still wants a real acting job. He's dating Isobel Rykay, the Russian actress who is appearing in his current operetta, but Isobel isn't thrilled with John's attention Lily. Lily gets the lead when Isobel throws a fit and vanishes right before the curtain goes up...but she's devastated when Isobel returns in time for the show. It takes her family's encouragement to remind her that even the smallest part can be a step up to something better along the line.
The Song and Dance: "Sweet" and "adorable" aren't normally adjectives you'd apply to a backstage musical, but the small-town vibe on this one has more in common with Sing You Sinners than 42nd Street. Garland is so funny and charming as the talented young woman with hope in her eyes, you can see why this movie confirmed her star status. Despite also working on Girl Crazy at the time, she's as fit and happy as she ever was. I also like Connie Gilcrest as the singer-turned-washwoman who mentors Lily to stardom, Byington as her daffy mother, Leonard Kinsky as the show's dour costume designer, and Douglas Croft as her brother Davey who insists on collecting unique door knobs everywhere he goes.
Favorite Number: Our first big number isn't until nearly 20 minutes in, but it's "Tom Tom, the Piper's Son," a swingy nursery rhyme riff Lily sings to cover her escape from the Thornways' party. Eggerth's first number is the Eastern-European inflected "Is It Really Love, or the Gypsy In Me?" complete with stereotypical costumes and fiddles. "When I Look at You" is first performed Eggerth during a rehearsal. Garland reprises it - and puts a lot more emotion into it - later at the Panorama Club with Bob Crosby and His Orchestra. "Where There's Music" is the huge finale, with dancers in white swirling around Garland in a black gown. Future director Charles Walters joins her for "Three O'Clock In the Morning," and she sings "Broadway Rhythm" with Tommy Dorsey and His Orchestra in the very end.
Trivia: Walters went on to direct Garland in Easter Parade and Summer Stock.
What I Don't Like: MGM reshot the finale to make it bigger and more appropriate for the star Lily became...but I'm going to agree with Norman Taurog and say it feels out of place and too big for this small movie. Heflin's character switches too quickly from annoyed producer who wishes this kid would stop hounding him to being totally over the moon about her. For what's supposed to be Garland's vehicle, an awful lot of time is spent with the more traditionally glamorous Eggerth, including two major operetta-style numbers. There's also the story falling into sitcom territory again. These are backstage cliches of the highest sort, even if they are played for comedy.
The Big Finale: This and Listen, Darling proved to be pleasant surprises. Don't let them being two of Garland's lesser-known vehicles scare you off. Highly recommend these low-key charmers for fans of Garland or those looking for sweeter, homier takes on the backstage or family comedy genres.
Home Media: On streaming and DVD from the Warner Archives.
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