Vorhang auf für Judy (1938)
Everybody Sing
Durch ihre Vorliebe für Jazz ist Judy Bellaire mal wieder von einer Schule geflogen, was allerdings ihren Künstlereltern aufgrund der angespannten Finanzsituation gar nicht recht kommt. Ihr Vater Hillary hat ein neues Theaterstück in Produktion, mit seiner Frau Diana in der Hauptrolle - und dem Star Jerrold Hope, aber die Finanzierung wird zunehmend wacklig...
- Erscheinungsdatum
- 1938-02-04
- TMDB
- 5.0 / 10 (8)
- Laufzeit
- 1 Std. 31 Min.
- Genres
- Musik, Komödie, Liebesfilm
- Regie
- Edwin L. Marin
Besetzung
- Allan Jones — Ricky Saboni
- Judy Garland — Judy Bellaire
- Fanny Brice — Olga Chekaloff
- Reginald Owen — Hillary Bellaire
- Billie Burke — Diana Bellaire
- Reginald Gardiner — Jerrold Hope
- Lynne Carver — Sylvia Bellaire
- Helen Troy — Hillary's Secretary
- Monty Woolley — John Fleming
- Adia Kuznetzoff — Boris
- Henry Armetta — Signor Vittorino
- Michelette Burani — Madame Le Brouchette
Wissenswertes
Everybody Sing is a 1938 American musical comedy film directed by Edwin L. Marin, and starring Allan Jones, Judy Garland and Fanny Brice, and featuring Reginald Owen and Billie Burke. The screenplay and story by Florence Ryerson and Edgar Allan Woolf had additional work by James Gruen and Milton Merlin with uncredited contributions from Bert Kalmar, Harry Ruby and Dalton Trumbo.
Production notes
Working titles for Everybody Sing were The Ugly Ducking – a reference to Garland's character – and Swing Fever. Principal photography took place from September 2–3, and then late September to December 21, 1937, with retakes on January 8–10, 1938.
After a stalled career, this was one of the films marking the picking up of momentum in Garland's ascent to stardom. Following the sensational audience reaction to her performance of "You Made Me Love You" to a picture of Clark Gable in Broadway Melody of 1938 (1937), she was rushed into shooting two films back to back, Thoroughbreds Don't Cry (1937) and this film, which was held for later release.
Everybody Sing was Jones' final film for MGM, and the first MGM appearance by Woolley.
As important as the film itself in the development of Garland's career was a seven-week, seven-city promotional tour that started in Miami Beach and included stops in New York and Chicago. With Garland mentor Roger Edens accompanying her on the piano, she stepped alone for the first time onto huge stages to sing in front of adoring crowds and began to establish the audience rapport that would, in time, make her one [of] the world's greatest live…
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