“Right now this red-haired young woman with a big voice is the hottest property in show business. She has put two-a-day vaudeville back on Broadway and into its mecca, the old Palace. She is playing to standing room only audiences. Queues stretch into the street and people have been buying tickets weeks in advance at a top of $4.80.” – Uncredited article, 1951
November 20, 1931: “The Gumm Sisters” performed at Maurice L. Kusell’s Pupil Recital at the Old Soldier’s Home in Sawtelle, California.
November 19, 1938: Here’s an interesting news blurb about location shooting for The Wizard of Oz being canceled. The only problem is, none of the film was filmed on location, it was all filmed on MGM soundstages.
November 20, 1940: Here’s a review of Little Nellie Kelly plus an ad placed in the “Film Daily” trade magazine promoting various MGM films including Strike Up The Band.
November 20, 1942: For Me And My Gal went into general release. It had its premiere in New York City at the Astor Theater on October 21st and was a huge hit. On an investment of $802,980.68, the film would go on to gross $4,371,000.
For Me And My Gal is notable not just because it’s a great film, but also for the screen debut of Gene Kelly (thanks to Judy’s help) and also for the fact that it’s the first time Judy had above-the-title-solo billing. It’s also Judy’s first real adult role. Most people point to Presenting Lily Mars as Judy’s first adult role mainly because she’s presented (in the finale) for the first time in a glamorous way. The reality is that For Me And My Gal is her first adult role.
November 20, 1942: Judy’s set to help out a marine, sailor and a soldier during Thanksgiving. I wonder if that actually happened and if it did, what they chatted about.
November 20, 1944: The cover of “Victory” magazine published in India, plus another notice about the upcoming (in just two days!) premiere of Meet Me In St. Louis in, naturally, St. Louis, Missouri.
November 20, 1944: Filming on The Clock continued with scenes shot on the “Interior Al Henry Kitchen” set. Time called: 10 a.m.; Judy arrived on the set at 10:33 a.m.; dismissed: 7:25 p.m. James and Lucille Gleason provided wonderful support to Judy and co-star Robert Walker.
November 20, 1946: MGM typed up a new contract for Judy, which went into effect on January 2, 1947. This new contract gave her a weekly salary of $5,619.23: Nearly $1,000 per day for the six-day work week, with a guarantee of $300,000 per year, $150,000 per film, making the contract worth a total of $1.5 million for five years of work.
Judy’s previous contract was scheduled to end in August of 1947. She had changed agents during the time of her pregnancy with Liza and recuperation. She had previously been with Leland Hayward, but Haward sold his company to the Music Corporation of America (MCA) to concentrate on backing Broadway shows.
Judy’s new agency, Berg-Allenberg, Inc., began negotiating a new contract with MGM. Judy had made it clear that after her current contract ran out in August of 1947 she intended to freelance. MGM was not happy about that and did everything they could to keep Judy with the studio.
MGM offered the following incentives: She could continue to work with her husband (Vincente Minnelli); the studio would mount lavish productions starring Judy along with a pledge that she need not make more than two films in one year and one of those two could be a “guest” appearance though she would still get “top billing”; she could continue to have Dottie Ponedel as her makeup artist, as long as Dottie would “be employed by the studio.”; and she had the right to make “phonograph records” and radio appearances.
Later, Judy said that after she signed the new contract she immediately knew she had made a big mistake. She would be proven right in just a few years when the strain of the studio grind became too much for her and she left MGM forever in September 1950.
November 20, 1947: Judy entered into this three-year contract with the agency of Phil, Berg-Bert, Allenberg, Inc. guaranteeing them 10 percent of the money she would make while under contract to MGM. This contract was limited to “the motion picture industry and to contracts of the Actor as an Actor in such industry…” This must have been a renewal, as Judy had already signed with the agency in early 1946 after her original agent, Leland Hayward, sold his company to the Music Corporation of America (MCA) so that he could concentrate on backing Broadway shows. That resulted in the new MGM contract that Judy signed in 1946 (see above).
Also on this day, Judy rehearsed “A Fella With An Umbrella” (with Peter Lawford) and “Mr. Monotony” for Easter Parade. Time called: 11 a.m.; dismissed: 4:40 p.m. In light of this schedule, it’s assumed that Judy signed this paperwork in the evening after the day’s rehearsals.
November 20, 1948: Lovely To Look At, a remake of Roberta, was allegedly planned for Judy and Gene Kelly. They would have been wonderful in the film, although Judy would have had to sing “Smoke Gets In Your Eyes” which was a song that she did not like, and hilariously lampooned on her TV series on January 17, 1964. The film was finally made and released in 1952 starring Kathryn Grayson and Howard Keel.
November 20, 1949: Judy sells Max Factor. it’s too bad she never had a contract with the makeup line such as the ones stars have today with various beauty product companies. She might have had some extra money.
Also from November 20, 1949, this amusing letter to the Editor of the Star Tribune in Minneapolis, Minnesota:
To the Editor: It seems to me you owe Judy Garland an apology. You had her divorced twice in your matrimonial scoreboard on former child stars in the Tribune Sunday, Oct. 30. I’m sure she has been divorced only once. – LILA THOMPSON. Minneapolis.
Editor’s Note: Judy Garland’s one divorce was from David Rose, band leader. The fact she was credited with two divorces in the Oct. 30 story, erroneously, arose from the suspended status of her current marriage to Vincente Minelli [sic]. She and Minelli [sic] are separated, although there have been reconciliation rumors. It looks like we take a technical K.O. on this one and the apology is in order.
November 20, 1951: Here is a great article about Judy’s appeal and how her fans supported her through thick and thin.
The champions of Judy Garland turn every Palace performance into a neighborly affair where strangers chat with each other about the little star they have come to see. And they’ve come to see Judy Garland, not to welcome two-a-day vaudeville back to Broadway.
A reporter, at a Garland matinee, asked a number of the audience why they were there.
“To see Judy,” they said with complete unanimity. Then each launched into an impassioned defense, usually using the word brave, referring to her as “a little girl,” and speaking of her “bad luck.” Through all of their explanations there seemed to be a sort of personal satisfaction that she refused to be owned by the dark fate pursuing her relentlessly.
“Poor dear,” said a Brooklyn woman, “she’s had such a bad time. Everything against her. And so brave. And such a little thing. I used to love her pictures and everything has made me feel so sorry for her.
November 20, 1961: Judy gave a one-woman show for Jack Benny at The Beverly Hilton Hotel in Los Angeles, California. The event was Benny being honored by the American-Israel Cultural Foundation. Judy and the Los Angeles Philharmonic Orchestra were apparently the only entertainment. No recording was made and it’s unknown what Judy sang.
November 20, 1964: Listeners of WBAG out of Burlington, North Carolina, were treated to a full day of Judy Garland songs.
November 20, 1966: Judy appeared at the Friars Club tribute in Los Angeles, California, for George Jessell, and won the greatest cheer, with her line; “George, you knew me when I was nine years old: You should have married me!”
November 20, 1967: The second of a three-part series of condensed newspaper reprints of the “Ladies Home Journal” magazine article written by Judy.
November 20, 1968: “Whatever Became of the Harvey Girls?” This article gives the history of the Harvey chain of restaurants, the famous “Harvey Girls” and the 1946 Garland film The Harvey Girls.
Also on this date, Judy and John Meyer unpacked after arriving at Judy’s Boston apartment the day before. This resulted in a dry cleaning bill of $32.85. In the mid-afternoon, Anne Bryant, a 19-year-old student at the Berklee College of Music that Judy had befriended, came over to take down “sketches” of seven more songs from which orchestrations would be made for Judy – so that Judy would not need to pay to get her orchestrations back, and would be able to work again.
November 20, 1982: The cover of the fan publication “Radio Times” featured Judy on the cover, with In The Good Old Summertime co-star Van Johnson. Johnson was the guest on the radio show “Celebrity Cinema.”
Scan provided by Kim Lundgreen. Thanks, Kim!
November 20, 2016: The cable channel TBS celebrated the 60th anniversary of the TV broadcast premiere of The Wizard of Oz (November 3, 1956), with a special broadcast of the film. The images above were created by Oz fan Wayne Anthony Miller. Thanks, Wayne!