On This Day In Judy Garland’s Life And Career – January 3

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“Miss Garland’s ‘Look for the Silver Lining’ is socko, and she repeats with ‘Sunny’ and ‘Who?'” – “Variety” on “Till The Clouds Roll By,” 1947 





 January 3, 1925:  “The Gumm Sisters” (Judy and her two sisters) performed at a party for Alice King, held at the home of W.C. Tyndall in their hometown of Grand Rapids, Minnesota.



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January 3, 1938:  Thoroughbreds Don’t Cry



January 3, 1939:  The Wizard of Oz filming continued with scenes shot on the “Haunted Forest” set.

Check out The Judy Room’s Extensive Spotlight on The Wizard of Oz here.



January 3, 1943:  For Me And My Gal was still opening in theaters around the country.  During this time, just about every town had a theater and films sort of snaked their way from the cities to the towns and then the smaller towns over a period of several to many months.

Check out The Judy Room’s Filmography pages on For Me And My Gal here.



January 3, 1944:  Judy returned to filming Meet Me In St. Louis after a short break.  She had become ill on December 26, 1943, and was, per MGM records, in the hospital on the 26th & 27th.  It’s not noted what Judy was being treated for, although it was probably exhaustion.

This first day back was devoted to filming scenes on the “Interior Master Bedroom/Upper Hall” sets. Time called, 10 a.m.; dismissed: 5:50 p.m.

The “Interior Master Bedroom” set is not seen in the final cut of the film.  Originally there was a scene in which Judy’s Esther helps her mother (played by Mary Astor) get ready to go out for the evening prior to teen’s party (“Skip To My Lou”).  All that remains of the scene are a few photos.

Check out The Judy Room’s Extensive Spotlight Section on Meet Me In St. Louis here.



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January 3, 1945:  This full-page ad appeared in various trade magazines promoting Meet Me In St. Louis and its huge success.  The film had premiered in St. Louis, Missouri, the previous November 22nd and then in New York on the 27th.

Also on this day, Judy had wardrobe and hair tests done for The Harvey Girls.  Time called: 10:30 p.m.; Judy arrived at 12:20; dismissed: 5:30 p.m.

Check out The Judy Room’s Extensive Spotlight Section on Meet Me In St. Louis here.

Check out The Judy Room’s Filmography Pages on The Harvey Girls here.



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January 3, 1946:  The second preview of The Harvey Girls took place in Chicago.  The first preview was in Inglewood, California, on July 12, 1945.  The film was released on January 18, 1946.

The reason for the delay in its release is simply that MGM had quite a lot of films in release and The Harvey Girls had to wait its turn.  It proved to be worth the wait as it became one of Judy’s, and MGM’s, biggest hit grossing over $5,175,000 on a cost of $2,524,315.06 to make.

Check out The Judy Room’s Filmography Pages on The Harvey Girls here.



January 3, 1947:  Two ads for a couple of Garland Decca singles.  Note that the 1943 Decca selection of songs from Girl Crazy is listed, which is an indication of the album’s popularity.

Girl Crazy Decca Album

Record labels from the Rick Smith Collection.  Thanks, Rick!

Listen to “For You, More Me, For Evermore” (with Dick Haymes) here:

Listen to “Don’t Tell Me That Story” here:

Listen to the alternate take of “Don’t Tell Me That Story” here:

Listen to “There Is No Breeze” here:



January 3, 1947:  Till The Clouds Roll By went into general release after premiered at New York’s Radio City Music Hall in December 1946.

Judy was a guest star in the film playing the role of Broadway legend Marilyn Miller.  Judy filmed her musical numbers (“Who?” “Look For The Silver Lining” and “Sunny/D’Ye Love Me?”) just prior to going on maternity leave to give birth to Liza Minnelli.  Judy’s participation in the film cost MGM $467,305 which was 20% of the film’s total cost of $2,841,608.  It grossed well over six million when it was released.  It was also the first of a series of composer biopics that MGM would make over the eight years.

The Jerome Kern score was so popular that the newly formed MGM Records chose it as their first album to be released, and was the first “soundtrack album” (of songs as recorded for the film and not studio versions made later) ever released.  Previously RCA had released a few songs from Disney’s “Snow White” but that release was not an actual soundtrack album as it was a sampler.  This MGM Records release ushered in a new era in soundtrack albums.  The label released soundtrack albums for all of Judy’s subsequent MGM films.

Check out The Judy Room’s Extensive Spotlight on Till The Clouds Roll By here.

Check out The Judy Garland Online Discography’s Till The Clouds Roll By soundtrack pages here.



January 3, 1948:  Easter Parade continued filming on the “Interior Hannah’s Hotel Suite” set as well as the “Interior Don’s Living Room” set.  Judy was in makeup at 7 a.m.; on the set at 9 a.m.; dismissed at 4:30 p.m.

Judy had not yet pre-recorded her reprise of “It Only Happens When I Dance With You” which takes place on the “Don’s Living Room Set,” meaning this day’s shooting was most likely the first part of “I Love A Piano” (the on-stage portion of this song had been filmed on December 5, 1947, along with “Snooky Ookums.”

Check out The Judy Room’s Extensive Spotlight on Easter Parade here.



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January 3, 1955:  In his syndicated column, Erksine Johnson noted Judy’s displeasure with news of more cuts to A Star Is Born.

Also on this day, Judy was featured on the March of Dimes radio show.  The show was most likely pre-recorded.  Listen to that appearance here:

Check out The Judy Room’s Extensive Spotlight on A Star Is Born here.



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January 3, 1962:  The second day of three days of rehearsals in Burbank, California for Judy’s upcoming TV special with Frank Sinatra and Dean Martin.  This was Judy’s first special in six years.  The special began taping on January 5 for a February 25 broadcast on CBS.  The special was originally titled “Miss Show Business” but would be changed to simply “The Judy Garland Show.”  Since then, and due to Judy’s 1963/64 series also titled “The Judy Garland Show,” this show is generally known as “Judy, Frank, and Dean.”  Whatever the title, it’s a wonderful show!





4 comments

  1. I agree! In some of the series ​she’s dazzling. I think perhaps the strain of it all got to her from time to time. And who wouldn’t be the same under that pressure?

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  2. Good to hear opinions similar to my own: she was indeed porky in this special but a robust Judy is a healthy Judy, so I’ll take it. The series showed what a workhorse she was, but she did often sound a little “croaky.” And she was lithe and energetic but too skinny! She has an in-between weight (after the special and before the series) where she looked truly smashing.

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  3. I like them all, more or less. I prefer Judy with a little more weight on her. In some of the series stuff, she looks a little too strung out and many times her voice is too strained and/or froggy for my tastes. 🙂

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  4. Another great entry for today! Have to say, though, I’ve never been a huge fan of the “Judy, Frank and Dean” special. While it has its moments in the beginning, I think Judy looked and sang much better in most of her TV series. Both versions of “The Man That Got Away” (Horne and ‘music from the movies’ eps) far outshine the pretentiously staged version here, and I feel her versions of “San Francisco” and “Swanee” pale next to her TV series versions. I also think she is simply too heavy here, as well. But there’s no denying the chemistry between the three, or Judy’s obvious joy in working with these two.

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