Every Sunday Film Analysis

more about the public image that they worried about. To make profit, the people being put on display have to look attractive enough to guarantee their movie sells. At 13 years old, however, Judy signed over to Metro-Goldwyn-Mayer as one of their few child stars and they didn’t know what to do with her. In fact, MGM was in a similar predicament with another child star around Judy’s age, Deanna Durbin, who had an exceptional voice, albeit more operatic. The studio even filmed the two girls in the musical short titled Every Sunday in 1936 as a “screen test” to help decide which one of the girls they wanted to keep by comparing their voices side by side to an audience (Clarke, 73). According to Judy in a Jack Parr interview, they were
Being a teenager who just started blossoming in her period of adolescence, MGM was conflicted when it came to assigning Judy movie roles (Svenneson). When it came to her first couple years at MGM, she was kept on the radio where no one could see her and where no one would fuss about her appearance or performed at junctions and private parties within the MGM family. The public fell in love with her voice and eventually MGM allowed her on screen time, most famously with her childhood co-star Mickey
Oddly enough, these characters would eerily reflect the demons Judy dealt with in her real life. To quote her character Betsy Booth from Love Finds Andy Hardy, “I’ll never be able to get a man, much less hold him…No glamour. No glamour at all. No glamour. That’s my trouble.” (Clarke, 80). Judy would have problems with being stuck to these juvenile roles until later in her film career. Judy reportedly had a crush on Rooney, or at least a deep admiration for his loyalty to her as a friend, but he would always end up out dazzled by the tall blondes on the set. The