Jazz” which includes a reprise of “Americana.”Įvery Sunday is included in the extras on the For Me And My Gal DVD. She soloed on “Americana” and joined Durbin for the finale “Opera vs. June 30, 1936: Judy recorded her two songs for the film. That would happen after her appearance in The Broadway Melody of 1938 where she stole the show. Although she was a success, she would have to wait a few more years for real stardom. Just after this short was finished, Judy was loaned out to 20th Century-Fox for her feature film debut in Pigskin Parade. Whatever the case, Durbin’s contract was not renewed, and she found immediate success at Universal starring in Three Smart Girls, ironically in a role originally intended by producer Joe Pasternak for Judy (he had seen the earlier exhibitor’s short and was completely charmed by her).ĭurbin’s success only helped to further interest in Judy’s career at MGM, although it was slow in coming. To add more confusion to the legends, sixty-seven years later in 2002, director George Sidney (who in 1935 was in charge of screen tests), claimed that when the edict came down to let Judy’s contract lapse, casting director Billy Grady made the mistake of keeping Judy rather than Durbin.
Some have claimed that MGM didn’t know what to do with a thirteen-year-old girl who sang like a she was thirty. Another variation on the legend claims that Mayer was out of town and some executive misunderstood his direction and mistakenly let Durbin go, again resulting in the “fat” comment by Mayer. Another legend claims that it was a simply Judy’s voice that swayed the decision makers. Mayer to blow a gasket and exclaim “We’ll make an even bigger star out of the fat one!” (meaning Judy). One legend claims that a clerical error led to Deanna’s option with MGM to lapse, prompting studio chief Louis B. more marketable) Durbin was let go and the less glamorous Judy was not. Several legends have sprung up over the years as to why the “prettier” (i.e. That short (which no longer exists) was so successful that the studio decided to make a new short for general release and gauge audience’s reactions to the girls. The two girls had already made a similar short just a few months earlier that was shown to exhibitors. It’s been seen as a contest between Judy and co-star Deanna Durbin, the winner getting her contract option renewed by the studio. Photo: Promotional photo of Judy taken during the production of Every Sunday, 1936.Įvery Sunday is the most well known of all of Judy’s MGM shorts. Also included are shorts that feature film clips from Judy’s movies, a few public service announcements, and even a cartoon Judy!įor details about the shorts, Judy made with her sisters prior to her signing with MGM, go to The Gumm Sisters Shorts Page. The information below details the major shorts Judy appeared in while under contract with MGM. See the Gumm Sisters Shorts Page for details about these shorts. Judy sang with her sisters in both of these shorts, as well as a few others in 19. Her first appearance in Technicolor was not in The Wizard of Oz as most people think, but in the 1935 short La Fiesta De Santa Barbara. Judy’s film debut was at 7 years old in the 1929 short The Big Revue. Judy’s first official on screen appearance for MGM was in the 1936 “tabloid musical” short Every Sunday, with Deanna Durbin (see below). 1967 – Valley of the Dolls (unfinished)Īs if Judy Garland wasn’t busy enough at MGM making feature length films, recording singles for Decca Records, appearing on radio programs, and rallying the troops during World War II – she also appeared in several shorts.1946 – Till The Clouds Roll By (spotlight).1943 – Presenting Lily Mars (spotlight).Miscellaneous (Radio, Concerts, TV, etc.).
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