For Me and My Gal
August 22, 2012 § 1 Comment
For modern viewers, identifying with the knee-jerk patriotism of the World War II-era movies can be a hurdle. For those of us born in a post-Vietnam era, the war-bonds-and-victory-gardens trappings of those movies aren’t processed the same way as they were when they were released. Take, for instance, Gene Kelly’s character in the musical For Me and My Gal. In this film–set during the Great War but filmed during World War II–Kelly recognizes the talent of fellow vaudevillian Judy Garland, and convinces her to join his act. After a bit of waffling on Kelly’s part, the two fall in love, all the while dreaming for an invitation to play the Palace, the ultimate destination for top-notch vaudeville performers. But the same day they finally get news that their big break is imminent, Kelly receives a draft notice. In a fit of panic, he slams his hand in a trunk, permanently disabling himself–and ensuring that he’s not fit for duty in the process. Appalled at what he’s done, Garland breaks things off with him. He, of course, must find a way to win her back.
Upon viewing the first cut of this movie, viewers were upset by the ending–they felt that Kelly’s romantic rival, played by George Murphy, deserved to win Judy’s heart more than Kelly did, despite getting one-tenth of Kelly’s screen time. So what did MGM do? They went back to the back lot and filmed a handful more scenes–including one where Kelly manages to pull off some battlefield heroics despite not being a soldier. Voila!-wartime audiences were appeased and the movie was happily received.
The problem is that the additional scenes don’t really help to redeem Kelly’s character. During wartime, they probably carried an extra weight–he regretted his purposely disabling himself so much that it pushed him to save several lives; that has to cancel out the fact that he did it in the first place, right? But nowadays, those scenes read differently, because the intentional injury is hardly the worst thing he did in his partnership with Garland. Kelly’s character is still a jerk. His wartime rescues don’t make him a better boyfriend or a better business partner. He still is the cad who manipulated Garland’s character into working with him, who cozied up to an opera singer in hopes she could get them better gigs, and who throws temper tantrums when he doesn’t get the biggest dressing room. While he redeems himself for the injury, he never redeems himself for the rest of that. The preview audiences were right: the wrong guy did get the gal. They were just wrong about why.