|
"Every Sunday"
(aka "Every Sunday Afternoon")
MGM, 1936 (BW, 10 minutes, Production No. 940)
Edna's grandfather is the conductor of a small orchestra which puts on a concert every Sunday afternoon in the town park. But they only play classical music, and the attendance is poor. The town council decides to get
another orchestra. But Judy and Edna talk the council into waiting one more week. "We'll have 'em hanging from the trees!" Judy promises.
Judy and Edna mount an advertising campaign in an attempt to increase attendance at the concert and save grandpop's job. Next Sunday comes, and still no one shows up. Judy's father comes to the rescue with a classical versus jazz number that he's worked
up. Edna sings classical, Judy sings jazz, and people come running.
Included on For Me and My Gal DVD and Summer Stock VHS (see right)
|
|
Crew
Directed by:
Screenplay by:
Filmed: June-July, 1936
Released: Not released (?)
|
|
Cast
... Judy
... Edna
... Pop
|
|
Musical Program
(Edna Mae Durbin)
(Judy Garland)
(Judy Garland)
(reprise, Judy Garland and Edna Mae Durbin)
|
|
Notes
Every Sunday (aka Every Sunday Afternoon) is generally considered to be both Judy's and (she had not yet
adopted the name Deanna) official film debut, though Judy had appeared in at least five films prior to this (one of which was an MGM film). It was, however, her film debut as a contract player at MGM.
There seems to be some confusion and controversy surrounding this film short. Whether the film was ever released for general exhibition is unclear (some say it was only seen at an exhibitor's convention). Some have suggested
that the film was a screen test for Judy and Miss Durbin. Whether it was or not, Miss Durbin was dropped by MGM shortly after the film was made. Exactly why this happened is another controversial issue, but she was quickly picked up by Universal (who
changed her name to Deanna), and within the year had risen to stardom, much to Judy's chagrin. Interestingly, it was Joe Pasternak at Universal who was instrumental in launching Deanna's career, and later he became a producer at MGM, producing a number of
Judy's films.
Judy said of the film, "I had an apple in my hand and a dirty face, and she was the Princess of Transylvania!"
The complete film is included in the laser disc box set: Judy Garland: The Golden Years at M-G-M, MGM/UA (1994).
The complete film is included on the Summer Stock video tape, MGM/UA Home Video, (1991).
See for information about the latest releases of home video and sountrack.
Publicity still of Deanna and Judy
(clipping from unknown magazine)
|
|
Review
The best review, and by far the most extensive, I have ever read of this film was written by Mark Harris and published on his popular Judy List (no longer in existence) on August 13, 1997. It is reprinted here, in
it's entirety, with permission from the author:
Subject: Every Sunday
From: Mark
Date: Wed, 13 Aug 97 22:52:26 -0400
I don't consider "Every Sunday" (MGM, 1936) to be any great cinematic work, certainly not one worthy of its stars' premiere (Gumm Sisters one reelers notwithstanding), but then again, it wasn't supposed to be. After all, it was just a "tabloid
musical".
The story is slight, about two girls that help "the Professor" (Edna's grandfather) retain a job for his orchestra playing in the gazebo in the park in what could very well have been Carvel. But again, how much plot will fit into a one-reeler? :-)
I don't know if Director Felix Feist (Felix Feist?) determined the course of these two young ladies' early film careers by playing Judy as a tomboyish cutie and Deanna as a sub-debutante with very little facial expression beyond a wooden stare (and that
eyebrow *is* scary!) and empty smile combination, but it seems that he caught the essence of their later performances precognitively.
Judy is really the charmer here. Even her character is more appealing. Her character certainly is the protagonist! It was her idea to get more people to show up so the Prof could keep his (obviously very high paying) job. While Deanna smiled in
agreement.
It was her that coordinated the efforts ("you call every Jones and Brown and I'll call all the Smiths"). While Deanna nodded.
It was her that got people to at least promise to come, while Deanna only got some old crab to slam the door in her face.
It was her that got her Dad involved with his "new routine...this Americana". Deanna was probably taking a smiling lesson at her house.
It was Judy that had the idea for Deanna to sing her aria as "one more chance" to get people to flock to the concert. While Deanna followed.
Deanna's main lines seem to be "do you really have to get another orchestra?" and "I'm so happy Grandpa". While Judy carried most of the dialogue between the two girls. But to Deanna's credit, she did start to draw the crowd in like, well, like Judy
would later in her career.
Deanna's solo seems to be fluidly shot, while Judy's seems chopped up and prettyy bad in the continuity, making really obvious cut-ins everytime Judy starts to scat a little. Also, Judy's little flower at her neck (really looks uncomfortable, cutting
into her neck rather obviously in the closeups) changes positions and shapes several times.
But Judy's performance itself is remarkable. The animation in her face as she sings and walks amongst the orchestra members really makes you think this is a seasoned veteran that has put in many years knowing how to perform in front of a camera - or a
complete natural that does it without the need for study. I tend to believe in the latter.
The duet of the two girls shows the differences from the very start. Judy starts a little hip swing right from the start while Deanna stoicly "assumes the position" and STAYS THERE! At times Judy looks like she is having a very difficult time not
bursting out laughing she's having so much fun.
And as Christopher noted, that little bit about Judy affectionately putting her head on The Professor's shoulder at the end looks so natural it couldn't have been scripted or directed. Judy looks happy for Edna's grandfather, much happier than Edna
seems.
It's a cute little film, for sure. Despite all the technical gaffes and Deanna Durbin's Stepford Wives demeanor. Although it wasn't supposed to be much more than a throwaway, it's still entertaining today in its original context, without being dated
(other than the musical styles). Look at Judy's other pre-Pigskin Parade shorts - Bubbles is really BAD and the Gumm's performance can only be called annoying. The Big Revue is cute, but decidedly amateurish and much more dated musically and visually than
Every Sunday is. And La Fiesta de Santa Barbara, with Judy and her sisters singing about smoking pot is just plain bizarre, even if visually interesting.
We've all heard how the edict was "dump the fat one", but George Sidney (whom, I believe, was the unbilled producer of the short) really sounds insulting in the "Harvey Girls" commentary on the alternate laser disk audio track, when he proposes that the
decision was to get rid of the "ugly" one, and then not defending Judy against the cruel label, indeed, almost saying "of course they meant Judy" in his explanation. Judy may have had a plump little face that evoked the "fat" comment, but she sure wasn't
UGLY here!
Every Sunday makes for a fine debut for the solo Garland Sister and helps her to establish what will be her screen persona for the next 15 years - the funny, cute, girl-next-door-that-really-knows-how-to-sell-a-song that she so rarely deviated from until
ASIB and Warner Bros. changed her into her adult screen presence. Don't know if that was a blessing or a curse, but given the times' seeming need to typecast stars, it quite probably couldn't have been done any better.
FINAL POINTS TO PONDER:
* Why didn't any of those people that promised the girls they'd come to the concert show up? Judy actually ran to the store to extract the promise out of one of the neighbor ladies!
* Does that nurse catch the runaway wheelchair? Why did she let go???
* Does Grandpa ever get his orchestra to The Palace or Carnegie?
Mark Harris
Raleigh, NC
|
|
|
