MartinHafer This is a rather unremarkable short film in most ways. The plot is pretty simple and the singing is rather hard on 21st century ears. However, given that this was the first film made by Judy Garland for MGM and it was also Deanna Durbin's first film, it's a heck of a milestone in film making. Oddly, despite Durbin's incredible voice for a girl her age, MGM was apparently not too impressed, so she went on to fame with Universal Studios while Judy remained with MGM for years to make a string of hits. MGM is apparently also where Judy was regularly given stimulants to help her make her many films--leading to her early death from drug abuse.The film begins in the park at a band concert. Almost no one is paying any attention other than the two teens and soon the band leader is informed his job is being terminated due to public indifference to the band. However, the girls ask if they can give the band one more chance and when this is granted, they try their best to publicize the free concerts. When this doesn't work, they resort to singing along and the two darlings manage to save the day thanks to their freakishly strong singing voices.Speaking of singing voices, I really doubt if either performance would go over well today--particularly Deanna's which is like an operetta which might be sung by Jeanette MacDonald. As for Judy, she scats and sings with a lot of energy but with little grace. The entertainment is only passable but for movie buffs and historians, it's still a must-see--with two major soon to be stars in one short film.

d120421 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!

Schlockmeister 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.

canthony 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.