User reviews

Canthony is correct that this little short is just an excuse to hear a very young Judy Garland (fourteen years old!) singing with a slightly older (by one year) Deanna Durbin. But I must disagree with everything else he or she said, including the running time -- which is only about ten minutes, not twenty (a single-reeler).

The song is not her best, obviously; but it's enjoyable and definitely worth the ten minutes to watch on Turner. The duet with Durbin is quite interesting: two conflicting styles that nevertheless dovetail reasonably well.

The short is just a throwaway, but it's nowhere near as bad as the other reviewer made it out to be. Honestly, I enjoyed it.

Dafydd ab Hugh

Instead of making foolish comments praising one over the other (like comparing apples to oranges), fans of JUDY GARLAND and DEANNA DURBIN ought to just sit back and relax while watching this harmless little piece of musical fluff made simply to give audiences a look at two up-and-coming stars of the future.

Durbin's fans are insisting that she was the superior talent with the real singing voice and Garland fans are insisting that even then she was beautiful and sings up a storm on something called "Americana"--which, by the way, Garland does handle with finesse even though it's not even worthy of all her energies.

But both of them perform in a professional manner. Durbin's soprano voice is lovely and there's no reason for someone to complain that this type of voice "should not be coming from a child" of fourteen, instead of giving credit where it's due. It's obvious that she already had lots of vocal training and was already capable of handling operatic material and there's nothing wrong with that.

Judy too is in good voice, even though I personally think the studio could have chosen a more memorable song than "Americana" for her to belt out.

Anyway, together they blend nicely in a simple story about two girls who decide to do something when the local band concert is not attracting enough patrons to the park. They take matters into their own hands and come up with the idea of performing with the band as an added attraction. The stunt works and before you know it, they've attracted a good sized audience.

Audiences in '36 were probably pleased to see two such talented youngsters demonstrating their musical skills in a short film.

This one reeler produced by MGM in 1936 showcases the talents of two of its young stars under contract, Judy Garland and Deanna Durbin. In a way, these short films were promotional trailers that featured new talent in front, or behind the camera. Felix Feist directed this one which was a way to promote the two talented stars to the public.

The story is simple enough. The orchestra that entertains in a public park every Sunday doesn't get the attention it deserves. Enter two music aficionados, Judy and Edna, who love to hear the band play conducted by one of their grandfathers. Two of the town's elders sensing there is no public for this type of entertainment have decided to cancel their Sunday concerts in favor of a more popular orchestra that will attract a wider audience.

The two girls embark in a promotional tour of their own doing what they only know, calling and running errands and being helpful to their neighbors in exchange for a promise they will attend the park concert next Sunday. Well, that day comes, and to their surprise, hardly anyone comes as the music starts. The two girls decide to take matters into their own and ask the conductor to play a song for them to sing. The result is clear, people all over the park flocks to hear the talented young singers, thus ensuring the orchestra's existence.

Of course, the only attraction of the short film is the inspired singing by the two stars who are wonderful in their rendition. Ms. Durbin's operatic voice blends well with Ms. Garland's natural one creating a lovely duet.

Don't miss it whenever it shows on TCM!

It was 1936 and MGM had acquired both Judy Garland and Deanna Durbin. Both about the same age, a little too old for kiddie movies, not quite ready for romantic leads yet. Add in the fact the neither of the girls had much experience in front of the camera. What do we do with them? Risk it all prematurely on a big budget full length feature? Nope...you start them both off in one short, designed to showcase each girls individual talent (Deanna was already being groomed as the "operatic" one, Judy as the "hot swing jazz" singer). And pull together a plot that is merely an excuse for us to hear these girls sing. Both girls went on to success in movies, each with their own particular style, but this was a part of their education and we, luckily, get to see it today.

Every Sunday is an eleven minute short subject featuring the talents of two of its young juvenile contract players, a pair who would develop into players of note in the future. It's interesting and entertaining to see the contrasting styles of Judy Garland and Deanna Durbin as they perform at a Sunday concert for Deanna's uncle.

Of course no one knew how big both of these young ladies would get to be. I've always wondered why Mayer kept Garland and let Durbin go to Universal. L.B. always had pretensions to culture and this was the guy who had Jeanette MacDonald at his studio and later on hired such lovely soprano voices as Jane Powell, Ann Blyth, Doretta Morrow, etc.

Judy certainly had her glorious career at MGM, but she paid a heavy price for it. Deanna, along with Abbott&Costello and several Gothic horror monsters preserved Universal pictures. She was smart enough to get out at the top and make it stick.

So, in their salad days, Deanna Durbin and Judy Garland.

Before the internet, there was many good possibilities to have fun. Books, music and dances. A concert in a park every sunday ? So great ! Now it's more "fake life" :(

Although little more than a pleasant 11-minute musical diversion (it's rightly billed as a "Tabloid Musical") EVERY Sunday is one of the most famous and precious documents in cinematic history, since it provides an invaluable look at the burgeoning talents of two of the screen's most talented and beloved musical performers: Deanna Durbin and Judy Garland.

Although often cited as an screen test of sorts, produced by MGM to test the adolescent appeal of studio contractees Durbin and Garland whose options were reportedly coming up for renewal, this assertion is not entirely accurate. By the time EVERY Sunday was produced in July, 1936, Deanna Durbin's contract with MGM had already lapsed and she had been immediately signed by Universal a month earlier, in June 1936.

However, a provision in Durbin's MGM contract permitted the studio to exercise an option on her services for up to sixty days, providing she had not yet begun work on a picture at her new studio. As Durbin's debut vehicle, THREE SMART GIRLS, was still not ready to begin filming, MGM chose to exercise its' option and, although officially under contract to Universal at the time, Durbin found herself back on the MGM lot filming this agreeable short subject with fellow adolescent singing hopeful, Judy Garland.

This, along with Garland's far more extensive prior professional performing experience/training (which included appearances in several earlier movie shorts), may explain why EVERY Sunday often seems to favor Judy Garland over Deanna Durbin, giving Garland more lines to speak and an original song ("Americana") to sing, while Durbin offers the popular classical art song, "Il Bacio" by Luigi Ardiiti. Certainly, it would make perfect sense that MGM would want to favor one of its' own contract players over another from a rival studio.

Ironically, although Garland's character is the more overtly pro-active one of the two girls in this short, it would be Durbin's feisty and impulsive "Little Miss Fixit" screen persona at Universal which would propel her to instantaneous worldwide super stardom as the world's first "Teen Idol" with her debut vehicle, THREE SMART GIRLS, while Garland's more passive "wistful wallflower" adolescent image would see her generally cast in supporting roles opposite frequent screen partner Mickey Rooney and (in ZIEGFELD GIRL) the up-and-coming Lana Turner. Not until her fifteenth MGM feature, 1942' FOR ME AND MY GAL (which was also her first fully "adult" role) would Garland achieve the solo above-the title billing and "solo attraction" status of a true superstar that Durbin had attained instantaneously six years earlier.

It is entirely inaccurate, therefore, to assert that Garland was the only "superstar" attraction of the two girls, as Durbin attained this status with press 'n public, almost a decade before her MGM rival. Literally in foreclosure at the time of her signing, the on screen evidence strongly suggests that Universal was much quicker to realize Deanna's full superstar potential than MGM was with Judy, and it's worth noting that almost every notable accomplishment Garland achieved at MGM, from superstar billing, to having starring vehicles specially written to showcase her talents and appeal, to being invited to plant her footprints in the forecourt of Graumann's Chinese Theater, to receiving an "Honorary" Oscar" in recognition for her talent, Deanna Durbin received well before her gifted MGM contemporary.

In any case, EVERY Sunday is a delightful, utterly unpretentious musical short. Its plot line (Durbin and Garland use their singing talents to save Durbin's grandfather from being forcibly retired by the town council from conducting his Sunday concerts in the park), presages the plot lines of both Garland's "Let's Put On a Show" musicals with Mickey Rooney and Durbin's 100 MEN AND A GIRL. Unlike Garland's later BABES films, the short never treats the insubstantial storyline seriously, and consequently, its' eleven minute running time flies by.

Of course, the true magic of EVERY Sunday is in observing the already remarkable performing talents/screen presences of Durbin and Garland at the very beginning of their legendary careers. Both girls, even at this early stage, possessed remarkable screen presences and are utterly natural and unaffected in their presentation as both singers and actresses. Garland fairly explodes off the screen with vitality as she literally punches out the lyrics to the jaunty "Americana." As she socks across the number with appropriate hand gestures, acting it as well as singing it, as she interacts with members of the park "orchestra."

By contrast, Durbin's presentation of "Il Bacio," is far more demure and subdued. Although entirely appropriate for her "classical" selection, Durbin's delivery of Arditi's waltz is much more of the traditional "stand 'n sing" variety than Garland's physically emotive turn. Nevertheless, though "miniature diva" Deanna does nothing to call attention to herself, with her candid eyes, dazzling smile and artless delivery, she easily holds the screen with "jazz baby" Judy, and their delightful duetting of "Americana" in the short's finale makes one regret all the more that producer Joe Pasternak was never able to realize his dream of pairing Durbin and Garland in a musical feature film (because Universal refused to loan "Number One Asset" Durbin out).

A priceless document of the nascent talents of two remarkable and utterly unique talents. See this one if you get a chance!

If you are a Judy Garland fan, like myself, you must see this film. As the movie trivia states, this was a short put together by MGM in deciding which young actress should be signed to contract with the motion picture company.

According to "Get Happy" a Garland biography written by Gerald Clarke, Judy was aware that this film was made solely for the purpose of choosing Deanna or Judy to sign to contract with MGM. Judy was also made painfully aware by Louis B. Mayer and her own mother that Deanna Durbin had been classically trained as an operatic singer (Judy couldn't even read music), was thinner, and "prettier." Struggling with these pressures, Judy still managed to win the contract with her obvious acting superiority, and viewers falling for her pop genre singing and American sweetheart style.

Any Judy fan must see this, her first film for MGM. It is an important part of Judy's beginnings and to understand where she started as a singer and actress. Her novice vulnerability is apparent, which makes her all the more charming. "Every Sunday" is available for viewing in the special features menu of the "For Me and My Gal" DVD release. Again, I urge every Judy Garland fan, aficionado and historian to see "Every Sunday." It's only 11 minutes long, but in these 11 minutes we see what Ms. Judy Garland started as, and the beauty little 13 year-old MGM wanted to change (or mangle is more like it.)

I have seen over 2000 Studio-Era sound films-- including lots of Judy Garland, Lena Horne, Shirley Jones, and Deanna Durbin's own Universal features-- plus a decent amount of live and studio-recorded musical comedy and opera. And I assure you, no one tasked with singing in front of a camera and microphone, or maybe anywhere ever, HAS EVER TOUCHED DURBIN'S SOLO here...mono soundtrack and crap 1930s microphones and all. The kid from Canada sings this bit from "Il Bacio" like she lived and wrote it herself and then happened to show up for a retrospective in Italy late in her career, not like a child who learned it from her music teacher.

If you skip this Extra on the DVD-- or skip ahead to the Garland solo-- you are just depriving yourself, since this cheap MGM teaser just happened to capture one of the greatest performances of the 20c.

In itself, this is a lightweight short feature with a predictable story, but it is well worth seeing as a pleasant part of cinema history. Seeing Deanna Durbin and Judy Garland together so early in their careers is a treat for anyone who has enjoyed their later pictures, and their energy and obvious talent more than make up for any lack of depth in the rest of the movie.

The plot is a simple one, with the two young women devoting themselves to saving a local concert series. What's interesting about it is seeing Durbin and Garland perform, since even at such a young age the difference in their styles is already pronounced. Deanna and Judy were both clearly ready for bigger opportunities.

This kind of feature probably doesn't hold an interest for a wide audience today, but for those who appreciate the classic musicals, it's worth seeing as a piece of movie history.

Having previously seen this short on VHS tape with the feature Summer Stock, I just rewatched Every Sunday on the TCM site. It marked the film debut of 15-year-old Deanna Durbin and of 14-year-old Judy Garland outside of her two older sisters. These two teens showcase their musical talents with a solo from Deanna of "Il Bacio", then one from Judy of "Waltz with a Swing" before the two climax with "Americana". The slight plot of this 11-minute film concerns the possible unemployment of Edna's (Durbin's real first name which is the way she's addressed here) grandfather's conducting job at the park because of low attendance. With the two girls' help, you can probably guess what happens from there! Contrasts are marked not only with Garland's and Durbin's musical choice but also with their height, poise, and movement. Despite all that, they perform quite well at the end and it's almost surprising that M-G-M chose Garland while Durbin was already contracted at Universal as this short was made but was briefly allowed back in since her feature debut (Three Smart Girls) was in the early preparing stages. Judy herself would make her first feature (Pigskin Parade) at 20th Century-Fox as M-G-M was deciding what movie she would next star in. That would be Broadway Melody of 1938 where she would perform the show stopping number, "Dear Mr. Gable (You Made Me Love You)". But back to this short, Every Sunday provides a warm and wonderful glimpse of two star singers at the beginning of their legendary careers unaware of what the future holds for them...

In July of 1935, Louis Mayer of MGM was looking to produce a musical based on the life of operatic contralto Ernestine Schumann-Heink, who was in poor health at that time with what was eventually determined to be leukemia, which she died of the following year. MGM was having difficulty finding an actress to play Schumann-Heink as a girl. Casting director Rufus LeMaire heard about a 13 year old named Edna Mae Durbin, who was a member of the Ralph Thomas Academy in Los Angeles. LeMaire arranged an audition with the studio's music director Jack Robbins and sang the aria "Il Bacio" by Luigi Arditi. She repeated the aria for Mayer, who was said to be most impressed. While her coloratura voice was at the opposite end of the vocal spectrum as that of Schumann-Heink, Mayer still decided that there was someplace he could use Durbin, and he signed her to a six month contract.

Frances Ethel Gumm, who changed her professional name to Judy Garland in 1934, was already a veteran of show business, despite being six months Durbin's junior, having appeared with her sisters since at least age three. Songwriter Burton Lane ("On a Clear Day You Can See Forever") heard Garland and her sisters perform, and he hurriedly arranged an audition with Robbins. The music director was floored by her performance of James Hanley's "Zing! Went the Strings of My Heart" and all-but-dragged Mayer down to listen. Mayer was so impressed that he had Garland repeat the number for virtually every employee of the studio, and the "audition" ended up running for nearly 10 hours. Garland, who had made a screen test with the studio a few months earlier (without singing), was hired on the spot.

Mayer now had two 13 year old stars, which was a problem, because he didn't know what to do with either of them. They were a bit too old to be child stars and still too young for glamour or ingenue roles. Garland had the more dynamic personality and a voice better-suited to the music of that time, while Durbin was even then proving a bit difficult to deal with. Eventually, Mayer renewed Garland's contract but let Durbin's lapse. When Joe Pasternak of the struggling Universal Studios found out that Durbin's option had lapsed, he immediately signed her to a contract, had her change her professional name to "Deanna," and set his writers to making a movie that would showcase her talents, said movie being "Three Smart Girls," which is widely said to have saved the studio from bankruptcy.

Around that time, Mayer had come up with a script to showcase his two singers. A clause in Durbin's contract allowed Mayer to use her for one film, provided that she hadn't begun filming with another studio. Pasternak had no objections, since he had Durbin under contract and could use the free publicity, and "Every Sunday" went into production. The plot is simplistic; two teenagers save an orchestra conducted by one's grandfather from being fired from a Sunday park concert series and help him by singing with the orchestra. The music is what this eleven-minute short is about. Durbin repeats her signature "Il Bacio," while Garland sings a specialty medley written for her by Con Conrad and Herb Magidson, "The Americana." The two then team up for a duet of the latter song, in which Durbin's coloratura is sung in counterpoint to Garland's vibrant swing voice.

Durbin went on to save Universal from bankruptcy and become the studio's flagship performer for the next twelve years. At one time, she had the largest fan club in the country. She was no less difficult to handle at Universal than she had been at MGM, but her moodiness and demands were tolerated because of her popularity. She eventually grew tired of the industry and promptly departed in 1948, living in reclusion in France for the remainder of her life and only granting one interview (to David Shipman) for the remainder of her life.

Garland, of course, became a star in her own right, appearing in many musicals for MGM between 1938 and 1950, including "The Wizard of Oz," and on stage and the TV variety show and nightclub circuit thereafter. Unfortunately, she sufered from insecurity, which led to drug use, and that plagued her for the remainder of her life. Garland always claimed that MGM got her and co-star Mickey Rooney started on drug usage, Rooney denied that, stating that he and Garland chose that path themselves. The abuse caused her death at a relatively early age.

We are very fortunate to have such historic pieces of film preserved. Deanna and Judy captured on film at the very beginning of their individual spectacular careers. Two diverse voices blended in a brief eleven minutes. Many other ledgendary performers were filmed at the outset of sound, and these may be the only records in existance of their performances. Living history.

I'm a fan of both girls as well as their singing styles and due to the fact they never made another movie together, this short is a historical gem of the two greatest young singers of their era singing together. I own 'For Me And My Gal' and watch this short regularly, always getting a buzz listening to their rendition of 'Americana'.

I do feel it was an important stepping stone for both their careers..after seeing 'Every Sunday' Joe Pasternak at Universal wanted to use Judy initially for 'Three Smart Girls' but MGM wouldn't release her, so he used Deanna instead and the rest is history. On the back of 'Every Sunday' 20th Century Fox borrowed Judy for 'Pigskin Parade', making MGM realize that if Universal and 20th Century Fox wanted her, she must of had something that they were missing although it took them sometime to properly utilize her, culminating in 'The Wizard of Oz'.

'Every Sunday' convinced me of the brilliance and long lasting popularity in their embryonic stages of the wonderful Judy and Deanna.

As has already been noted, the short film "Every Sunday" (1936) could be considered the first music video. This was a happy accident resulting from MGM's need to crank out a variety of short films for exhibit with its feature length material. They had a couple fresh young singing talents (Judy Garland and Deanna Durbin) available and essentially slapped together a blend of music styles in a kind of Norman Rockwell concert in the park setting.

Who would have dreamed at the time that they would capture the best collection of images since Eisenstein's "Odessa Steps" sequence.

It's Sunday with some inattentive folks sitting around a small wooden band shell in the park while a tired looking ensemble play Strauss. Events unfold and the next Sunday Judy and Deanna save the day. The operatic Deanna sings "Il Bacio" (The Kiss) and Garland follows with the contrasting "Waltz with a Swing". The climax nicely blends the two styles into a duet of "Americana".

A must see.

Then again, what do I know? I'm only a child.

Every Sunday was basically made as a screen test for MGM execs to choose which prodigy they wanted to contract. Obviously, they chose Garland, and Durbin went on to great success for Universal in "Three Smart Girls".

I love this short film, and although it has no plot, it is interesting to observe the dueling divas sing their hearts out.

Every Sunday (1936)

*** (out of 4)

Judy Garland and Deanna Durbin star in this MGM short about two girls who try and save a "concert in the park" series. If you're a fan of the two actresses then you'll certainly want to check this film out, which features the girls doing two duets. Both the songs are pretty good and the film moves just fine.

If you're interested in seeing this title then keep your eyes on Turner Classic Movies as they show this a couple times each year. It's usually shown after a Garland film.

People claim that movie making has gone downhill, but they forget that hollywood was far more commercial in its early days. Along with a force of simple movies put out each year to keep the theaters full, viewers were provided with eye candy in the form of pointless shorts. This musical short, made only to showcase the singing talents of Judy Garland and the operatic voice of Deanna Durbin, has no actual plot, and consists only of about 20 minutes of the pair singing the same song, "Americana". Although we all have seen Garland's talents in the Wizard of Oz, the arrangement of this repetitive song makes her sound very normal, and it is difficult to comprehend opera singing coming from a child. All in all, I shouldn't have expected much, but they could have chosen a better song and arrangement if they simply wished to provide a pleasant musical experience.

This short film featured two of Hollywood's youngest and rising actresses and singers, Deanna Durbin and Judy Garland. While they would star in their own films, they play best friends who attend Sunday concerts in the park. Deanna's grandfather is the conductor and the turnout is low. When the park directors threaten to shut him and the band down on Sundays, the best friends get to work, ringing doorbells and calling everybody in the phone book for a free concert in the park on Sundays. Well, they had high expectations. When they fall short, they take a drastic move in making it a success. The Sunday Concert in the Park is free to all and they want the people to appreciate it. When Deanna sings, crowds start moving toward the sound. Judy of course sings but she has her own style. Deanna's style is more opera and soprano while Judy could have probably been a soprano or opera type but she was more easy and friendly with the music in her selection. It's still worth it just to see both of them so young.