User Reviews

The classic plot of girl refuses guy only to fall in love with him later is at work again. When the girl happens to be Judy Garland, one of the top box office draws and the MGM triple threat of extraordinarily talented singer, actress and dancer, it kind of changes the whole perspective. In the MGM heavens there are no leading men who can match her on screen stature.

To solve that problem, she gets two leading men. Before World War 1, the vaudeville girl has to choose between two partners. George Murphy and Gene Kelly. Fresh from Broadway success with "Pal Joey", Mr Kelly makes his movie debut in "For Me and My Gal" and it is nothing short of memorable. It was time the world saw that Hollywood dancers wore something other than white tails and top hat, like Mr Astaire.

The screenplay is slight. It hardly matters, because World War 1 is enough of a threat to forward the story anyway. All elements of drama and tear jerking romance are there. For a routine musical at MGM, we expect our happy 40s story, all complete with happy ending, plus the usual congenial mix of complications along the way. And with direction from Busby Berkley, great 1915s songs and two of the greatest musical stars in the mix, we certainly get our happy ending.

Today it stands out because of its musical quality and excellent conception of production. They certainly don't make 'em like this anymore.

Rating: 8/10

'For Me and My Gal' had so much going for it on paper, with the involvement of immensely talented people like Judy Garland, Gene Kelly and Busby Berkeley. It has its flaws, but when it's good it's fabulous and showcases the two stars brilliantly.

The story and script are admittedly slight and heavy in the clichés, complete with an ending that feels tacked on (and apparently it was, hardly surprising). The supporting cast's performances also don't compare to those of Kelly and Garland. Well George Murphy is good, he is very likable and charming, the problem is that he is underused and deserved more considering his talent. Ben Blue is unfunny and annoying however, and Marta Eggerth seemed out of place, am a fan of the operatic style of singing but there are far more beautiful voices than Eggerth's rather shrill and metallic sound and the singing doesn't really fit the style of the songs.

However, it is very difficult to be too hard on 'For Me and My Gal' because it fills me with so much joy and really does tug at the heart. The best thing about the film is Garland, who is absolutely sensational, with remarkably graceful dancing and as ever her voice is one you can listen to for hours and not get enough of. Her role here is also one of her most relatable and radiantly likable ones. Kelly may have had more endearing roles in his career, but he really shines in charm and technical skill in his debut where his material plays marvellously to his strengths. The two of them are simply magical together, and one is entranced every time they're on screen together or individually.

It is also a visually beautiful film. Technicolor it ain't, but it is not a film that cries out for it. The lavishness and elegant sumptuousness is still there and it is beautifully filmed. The songs are truly lovely, with the title song and "When You Wore a Tulip" standing out, and advantaged even further by top-notch direction and choreography by Berkeley (throughout, but especially in those two numbers), it may lack the kaleidoscopic style of his earlier films but never looks overblown or static, basically what cinema is all about.

While flawed, the story is still very charming, is lots of fun and there are also some genuinely touching parts that tug at the heart-strings. The pacing never feels dull, even with the slightness, which faces the danger of over-stretching and padding, and over-familiarity.

All in all, not a favourite but for fans of Kelly, Berkeley and especially Garland it is a must regardless of its issues. 8/10 Bethany Cox

This was Gene Kelly's first foray into film, thanks to Judy Garland. Judy herself is only three years beyond "The Wizard of Oz" and at the top of her talents. Their pairing alone makes this a film worth seeing. Now, when we hear their voices harmonizing---especially in the title song---it feels iconic.

This is really two films joined together. The first part is the story of vaudeville, and an opening dedication page says that. As their characters, Jo and Harry, meet, team up and struggle to make the big time, the viewer is regaled by song and dance, specialty acts and vaudevillian humor. George Murphy plays the part of Jimmy Metcalf, who winds in and out of their lives.

The action takes place in 1916, just before the U. S. enters WWI. When the RMS Lusitania is sunk, the tenor and style of the film changes. Audiences in 1942 could identify with the patriotic fervor depicted, and it stimulated their nationalistic impulses to buy war bonds, participate in various drives, and forgo many luxuries. The second section of the film, much of which is a montage, is designed to stir up a unified American response to the Axis powers. So, there is no discussion of isolationism or Washington's warnings against foreign entanglements, though they might have been authentic.

In that second section, Jo and Harry's story is secondary to the bigger national story, but it is still there. Unfortunately, the dramatic transition between the two parts is thematically disruptive. It's a criticism that filmgoers of the forties would not have lodged. The review by the New York Times, in its roundabout way, does find fault with the script and its tale of two stories.

Martha Eggerth, the soaring soprano, plays a small role that is notable because she seldom appeared in films west of the Atlantic.

This is a film worth seeing, especially as an example of wartime cinema.

Though a thinly veiled piece of propaganda for WWII sentiment, it did the trick. I couldn't believe I cried not once but three times at this Kelly/Garland musical. An amusement park of a flick. With rollercoaster rides of joy, mood swings of sadness and insecurities, all rolled into a sappy feel good post-depression fluff. Who needs hormones when you can watch this. Great star vehicle for Kelly,it catapulted him into the rarified air of those who have talent, good looks, and that certain "something". Though at times he seems a bit in awe of his surroundings, it comes off as cockiness and works. Garland's sense of innocent security grounded this film and proved she was already in the stratosphere. The supporting cast held up their ends admirably. Enough to make this film enjoyable even in these jaded times.

Harry Palmer is incredibly ambitious, and will do whatever it takes to get to the top of the vaudeville stage. Upon meeting the talented Jo Hayden, he succeeds in getting her to form a double act, but as Jo starts to get attached to Harry, he shows just how much he wants to get to the top, regardless of anyone else's feelings.

Tidy and delightful enough tale harking to the pre-WWI days of vaudevillian splendour. Starring Gene Kelly {Harry} in his first motion picture and Judy Garland {Jo} on effervescent form, it's a shame that this Busby Berkeley directed piece isn't the classic that it's stars and production numbers warrants. For Me And My Gal looks and feels like an excuse for MGM to show off, and as great as it is to see Garland and Kelly together {and it's rather joyous actually}, some numbers, particularly Garland's solo's fall a little flat. Yes the title number and the likes of Ballin The Jack are first rate efforts {Bobby Connolly dance directing and not Berkeley}, but counter that with the listless Till we Meet Again and it becomes an up and down picture relying on safe standards material to win us over.

The support cast are also straight out of averageville. It was no surprise to me to find out that Garland had George Murphy demoted to the support role of Jimmy Metcalf, thus giving his intended role as Harry to the ebullient Kelly. Because Murphy and Marta Eggerth {Eve Minard} are poor and frankly lack enthusiasm, something that may be applicable to the director also? However the film is saved by it's warmth {the ending is sure to soften the hardest of viewers} and the turn from Kelly. Oozing star quality and hinting at the ego that would drive his career on, Kelly lifts the film out of the threatening passivity. Nice solo on Tramp Dance and a fine duet with Ben Blue {Sid Simms} for Frenchie Frenchie {Oh Frenchy}, Kelly however does still have much to thank Garland for on their shared numbers. They have great chemistry, and as it turns out in the end, Garland was right to insist that Kelly be bumped up to lead man status. Mixed but certainly no time waster, hell the two leads alone demand a venture into it. 6.5/10

How both stars must have rolled their eyes when they read this screenplay. The volume of clichés is atrocious: The oversentimental celebration of vaudeville; the romantic triangle; the heel gaining a conscience; the splitting-up-the-act intrigue; the brother and his fate; lines like "you'll never be ready for the big time, because you're small-time in your heart" (Judy nevertheless makes it work). Yet it's a pleasure to view, because Judy and Gene really bring out something special in each other. They did again in "Summer Stock"; in "The Pirate," to my eyes, not so much. She has a gravity and sincerity that balance his self-adoration and schtick, and he was always more persuasive playing a guy of questionable moral values than a mensch. You have to put up with George Murphy at his dullest and Ben Blue at his unfunniest, and Marta Eggerth, as accomplished as she is, appears to be in the wrong movie--she should be doing a Joe Pasternak operetta, not an Arthur Freed extravaganza. But when the two leads sing or dance (she was, in the Forties, a better dancer than she was ever given credit for) or, surprisingly, act together, they're tremendously moving. At her best, which she wasn't always but is here, Judy was the best there was. My favorite moment: the ending of "After You've Gone." Rather than smothering her performance in applause and cutting to a shot of an appreciative audience, Berkeley just fades out. It's MGM's way of saying: Enjoy it, folks, this is as good as it gets.

Gene Kelly makes his smashing screen debut in For me and my gal. That alone should make it a must see. This movie was a delight for numerous reasons. First, I like the fact that this movie was a musical/drama. So, we were able to get a full dose of the manifold talents of Gene Kelly and Judy Garland. Second, the chemistry that Judy and Gene had in this movie was exceptional. The scene in which they are singing the title song is riveting. George Murphy was solid in his role as the amiable friend and colleague, who was a good example of selflessness.

This movie is not as renowned as other Garland classics such as the wizard of Oz and Meet me in St. Louis. However, I think this was her most endearing role. She was beautiful, sweet and vivacious in this movie. I can watch this movie repeatedly, and so should everyone else.

A rousing Hollywood war-effort movie made directly after the U.S. entered the war following Pearl Harbour, starring Judy Garland in what is recognised as her first adult role and Gene Kelly in his film debut. She's a young singer and dancer Jo Hayden, hoofing her way through Vaudeville who we first see partnering nice guy George Murphy's Jimmy, until she meets fellow-entertainer, "flash" Harry Palmer, Kelly's ambitious, self-centred fellow song and dance man. Jimmy, who might just have an unrequited thing for Jo too, gallantly steps aside when brash Harry, turns up and steals Jo's heart. Before you know it, Harry comes round too and after they team up professionally, they become a couple, although only after he's taught some home truths at the hands of worldly, glamorous singer Eve Minard, played by Marta Eggerth.

The hard-working duo then strive for a break into the big-time and after a false alarm, finally crack it when they earn a residency in New York, only for that pesky First World War to flare up and spoil Harry's dreams. Amongst the first recruits to the U.S. army is Garland's adored younger brother, played by future director Richard Quine, but when Harry's draft papers duly arrive soon afterwards, he's upset that his appointed army medical will get in the way of the duo's Broadway debut, which causes him to make a regrettable decision. Will Harry find redemption in time to save his personal reputation and more importantly his engagement to Garland? Well, what do you think, it is a rousing wartime movie after all?

Some aspects of the film didn't particularly appeal to me, including Kelly's character's initial moral scruples, his fantastical return to glory and, I have to say, the music, especially the old-fashioned songs both leads have to belt out, not to mention diva Eggerth, of the blurry bodice and her light-operatic style.

The divine Miss G is in excellent form throughout, impressively turning on tears of emotion at will and generally carrying the film by dint of her equal parts charm, personality and all-round talent. Kelly is a little callow and doesn't at this stage get any solo numbers to hoof along to but his nascent star quality is at once apparent. Director Busby Berkeley, despite obviously having some empathy with this era and its music, really doesn't flex his muscles at any of the set-piece songs so that we don't get to see any of his big-budget choreographed scenes, although I guess synchronised bathing mightn't have been thought a good fit for this particular feature.

Although it has its minor flaws, this movie made for generally uplifting viewing and almost certainly did the same for its audience on original release. The first of three co-headlining features Garland and Kelly would make together.

20 year old Judy Garland takes her first stab at adult acting in this great musical that naturally makes you cry. Before this 1942 debut, Judy had played those child/juvenile roles. (like Dorothy Gale in The Wizard of Oz) Even a few years later, in 1944, she still played a 17 year old Esther Smith in Meet Me in St. Louis. Also, Gene Kelly, who will always credit Judy to abolish his "camera fright" has his movie debut in this movie. He, of course, was fresh off Broadway.

This movie is about a song and dance team in those "good old days of vaudeville", back in 1917, where Jo Hayden (Judy) teams up with Harry Palmer (Gene) as a song and dance team. However, when Jo senses unfaithfulness in Harry, she moves to performing soldiers out in France during World War I. It only worsens when Harry is drafted............

This was released when men were fighting out in the pacific and European theatres, and it was not pretty. Japanese and Nazi advances were at their extent, and MGM decided to make a movie to spark "patriotic" interest, with the abstract idea that you should enlist or buy war bonds. The first time I saw this, even I wanted to buy war bonds.

I recommend this movie to anyone because it will tug at your heart and make you really proud of the US.

The only aspect of FOR ME AND MY GAL that displeased me was the fact that GEORGE MURPHY (who was originally set to star opposite Judy in the Gene Kelly role) didn't have enough to do--and certainly his dancing talent is not seen to advantage here. MGM could have built up his role a little more.

But other than that, everything else about the film is right on track. JUDY GARLAND and GENE KELLY (in his first film) make a wonderful team, each complementing the other in a way that never makes it appear either one is trying to upstage the other performer. But let's face it--any time Garland is involved in a song or dance it's just plain hard to watch anyone else.

Released during the start of World War II, it's a look back at the nostalgic songs of World War I, and the most delightful scene occurs pretty early in the film--the coffee shop number to "For Me and My Gal", simple in execution (without a trace of Busby Berkeley's usual fancy stuff), but all the more charming for its simplicity.

It's the story of vaudeville entertainers. Kelly plays a brash young man (very much in the same vein as the man he played on Broadway in PAL JOEY), who's so intent on making it big in show biz that he deliberately avoids the draft by hurting his hand so that he's unable to be drafted. Animosity between him and his sweetheart grows when she learns the truth about his "accident". Of course, as in all such musicals of the '40s, all is resolved for a happy ending and the end of World War I.

It's handsomely produced in the MGM manner, in glorious B&W cinematography, a songfest for nostalgic tunes of the period, and guaranteed to please the fans of Judy and Gene.

Notable for two things: the first adult role for Judy Garland (then just out of her teens), and debut of Gene Kelly, who had previously made an impact on Broadway as Pal Joey. George Murphy also appears as a kind of second-string lead, and one suspects much of his original part went to Kelly as filming progressed.

Directed by Busby Berkeley, but without his usual musical sequence flourishes, the plot is focused on the war, specifically the need for able-bodied men to serve rather than squander their lives on selfish pursuits. This means, for Kelly and Garland, putting aside their dreams of vaudeville fame as a team in favour of the greater good.

The stars have great chemistry – in their two duets, the title song and ‘If You Wore A Tulip', there is a gaiety and charm which would continue throughout their further collaborations through the forties. Garland shines as you always knew she would from her pictures as a child, and Kelly has the charisma in spades which would put him at the forefront of the golden age of musicals.

For Me and My Gal is a rather odd bird. Set during World War I, The film begins by positioning itself as a tribute to the days of vaudeville, with sweet singer Judy Garland meeting obnoxious dancer Gene Kelly on tour. The two predictably team up after doing an impromptu version of For Me and My Gal that is the best thing in the movie.

Then the movie wanders into soap opera before pulling the various war- themed threads together into a typical WWII rah-rah boost for contributing to the war effort.

The story is a bit of a mess. I suspect the U.S. entry into WWII happened after the film was greenlighted and parts of it were grafted on as part of the war morale-boosting that was an inevitable part of most early 40s movies. There is a lack of cohesion, most notably with George Murphy's character, who feels like the vestigial tail of the original script. The movie also feels a little self-serving in its emphasis on the importance of entertainment for the troops. I feel this movie would have been done better if it's story had been allowed to play out without worries about patriotic fervor.

Kelly is likable in his film debut, but his character is unsympathetic, and apparently the studio had to do a lot of reshooting before audiences could leave the theater not hating him. Garland is charming as she leaves her juvenile roles behind, although I can never be totally happy with any Garland movie that doesn't include at least one ballad. They have good chemistry, but it is better featured in The Pirate, which they made later on.

The reason to watch a movie like this is for the musical numbers, but while these are good, there isn't much that is memorable (surprisingly director Busby Berkeley didn't do any of his trademark synchronized- chorus-girl numbers). There are also big chunks of the movie where the musical numbers disappear in favor of the story, which just highlights its weaknesses.

Overall this isn't a horrible movie, but it's not one I'd particularly recommend.

If this movie was simply Gene Kelly and Judy Garland exchanging quips (the "Hello Springtime!" bit is especially good) and singing and dancing in a coffee shop, then it would still be entertaining. But that's really not all it is. This movie is more like a drama/romance than a musical, in the way that there are some songs, very good ones, but there is more story than numbers. Yes, the idea is an old one, but there are a few twists that distinguish it from any other wartime romance. (Don't go expecting The Maltese Falcon though.) The little plot weaknesses are forgotten as the actors (particularly Garland) hold it all together. I cried twice, and I almost never cry at movies. I fully recommend For Me and My Gal, unless you're dead-set on a tear-free day.

This nostalgic wartime musical from MGM and director Busby Berkeley is set in 1916, where the story follows minor vaudeville entertainers Jo (Judy Garland), Jimmy (George Montgomery), and Harry (Gene Kelly), who meet on the touring circuit and form a love triangle. Jimmy soon exits the scene to allow Jo and Harry to be together, and they have their ups and downs, both professionally and romantically, but it all becomes less important when America joins WW1 and they all end up "over there".

This starts out as the typical sort of nostalgic paean to the heyday of vaudeville that was the subject of so many musicals of the era. It eventually turns into a patriotic flag-waver and recruitment drive that, while set during the First World War, was clearly meant for the Second. This movie marked the movie debut of Gene Kelly, and he plays a rather obnoxious go-getter pretty well, even if his voice gets occasionally grating. Garland has a terrific singing voice, but she'd lost so much weight that some argued she looked gaunt. I don't think she looked bad, but she looks worried throughout the movie, whether as part of her role or not, I can't say. Richard Quine, who plays Garland's brother, went on to become a director of some success. Martga Eggerth was a Hungarian operetta singer who gets a song or two here, notably one in which the censors felt her cleavage was too distracting so they smudged the image in all of her close-ups.

It's 1916. Harry Palmer (Gene Kelly) is a self-obsessed comedy performer. Jo Hayden (Judy Garland) is initially not impressed but eventually agrees to join his act. World affairs is the last thing on their minds but the war intrudes into their lives.

Judy Garland is a good actress but I missed her transition from hate to love. I just don't buy his heart-felt speech. I would be more willing to buy that she falls in love with his performances and then slowly with the man himself. They are so far apart initially that they need more time to smoothly build out the romance. Otherwise, this is fine. These are two world class performers and they can make almost anything work. There is also what happens after the draft. It delivers a powerful timely message and it's fine to nail the issue on the head.

Terrific plot underscores this great 1942 musical starring Gene Kelly, Judy Garland and George Murphy. While Murphy is relegated to a totally supporting role in this film, it was more than worth it as he holds his own.

The musical numbers including the title song are marvelously staged. The tempo picks up as classic World War 1 songs are sung by Miss Garland and Mr. Kelly.

You would never think that a Garland-Kelly musical with the two falling in love and fighting off temptation to abandon each other so as to advance in their careers would fall upon such tragedy here. Who would ever expect that the plot would finally revolve about Kelly's way to avoid selective service so that he could play at his beloved Palace Theater, only to incur the wrath of Garland whose brother is killed in the war.

This was definitely the best of the 3 films that Garland and Kelly made together. The others were "The Pirate" (1948) and Garland's last film for MGM-"Summerstock," in 1951

Note that this film came only after 3 years of Judy's "The Wizard of Oz," and yet she shows a phenomenal maturity here thus breaking out of her teenage role tradition. It was all uphill for Judy after this one.

Who sang for Martha Eggert in the film? Whoever it was did a fantastic job.

This heartwarming piece is a piece of Americana at its best.

"The clouds are singing for me and my gal. . ."

The title song is pretty much the only memorable part of this movie, sung by Judy Garland and a newcomer to Hollywood, Gene Kelly. He was a Broadway star and made a smash in his film debut. To see all his collaborations with pint-sized Judy, rent The Pirate and Summer Stock for a song-and-dance-filled weekend!

The plot of For Me and My Gal is actually very interesting, but since it didn't exactly send the right message in 1942, that's not the part of the movie most people remember. Judy and Gene are a married couple with dreams of stardom, but just when they're about to make it, Gene gets drafted for WWI. While Judy's brother, the fantastic dancer George Murphy who no doubt joined Gene Nelson in the "I'm jealous of Gene Kelly" fan club, fights in the war gladly, Gene doesn't want to give up his career. In a very controversial decision, he purposely injures his hand to avoid the battlefield.

If you like WWI or WWII dramas in black-and-white, with some songs and dances thrown in for morale, you won't go wrong with For Me and My Gal. It's romantic, patriotic, and it makes you think about how far you'd go to realize your dreams. Plus it's got Gene Kelly in it.

For Me And My Gal (1942) : Brief Review -

A musical which is more than just a musical because of patriotic touch and World War flavour. Does not match the king of the league 'Yankee Doodle Dandy' but fairly good. Read the beginning text in the film properly cause it tells a lot about the content and you're surely gonna feel touched by it even before the film begins. Let's quit the arguments on whether or not the film really manages to showcase everything properly what it meant in that text. For Me And My Gal came in the same year of James Cagney starrer classic musical 'Yankee Doodle Dandy' so the comparison came in mind without even thinking deliberately, and that's one of the main reason why i am not calling it a classic. There are flaws, there are mistakes but it's a fine flick on any given day. One can easily overlook those flaws and blunders considering a low potential of a romantic musical and the comparison isn't fair in that sense because it isn't a biographical like 'Yankee Doodle Dandy' and we can't expect every romantic film to be unmatchable masterpiece like 'Sunrise' (1927) and 'Casablanca' (1942). The film is about Two vaudeville performers who starts off like any ordinary people, they fight and then fall in love but find their relationship tested by the arrival of WWI. Now, i can't guarantee about the conflicts and its reliability here so let's not be too harsh while judging it. Take it softly and i don't think it will cause you any bad viewing. Though, it could have better with its writing, screenplay and direction. Gene Kelly makes a great debut despite his character being written in not so greatly and Garland looks too adorable in the start and then too matured by the end. The supporting roles makes more sense than lead pair but unfortunately disappears suddenly. The music is good, meaningful and patriotic so yes it definitely makes a fantastic musical experience away from those typical rom-coms.

RATING - 7/10*

By - #samthebestest.

Garland does a good job and her singing is great, while Kelly struggles with everything but song and dance. His acting is horrible, and the script is worse, but that pales in comparison to the dated, pretentious singing of Eggerth.

It's not a very good movie.