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Simply A Masterpiece

Good concept, poorly executed.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Yet another of the many 'minor' musicals of the '40s and '50s with a nostalgic theme: this time scripted as being in turn of the century Chicago. Unlike many, there's no pretense of remembering a specific notable composer or performer. Unlike many, neither of the lead characters is scripted as being a professional musical performer, composer or director. Rather, they work in a sizable music store, selling instruments and sheet music. Inimical 'Cuddles' Sakall, as the elderly owner(Otto Oberkugen) is his usual irascible self, with thick Hungarian -derived accent. Notable motherly stage, film and TV character actor Spring Byrington plays Nellie, Otto's perennial secretary, girlfriend and sometimes alter ego. Clinton Sundberg and Buster Keaton play rather anonymous salesmen. Sundberg was typecast playing minor characters. I remember him as the bartender in "Easter Parade", and the extraordinarily formal butler in "The Girl Next Door". Buster wasn't originally planned to be in the film, as he was employed by MGM as a gag deviser and occasional director of gags. However, none of the other appropriate actors could do a convincing pratfall that apparently destroys Otto's cherished Stradivarius violin. Thus, he was included so that he could do this scene. Also, apparently he devised and directed the hilarious slapstick initial encounter of Van Johnson's and Judy's characters. Judy was used to doing slapstick while in her family vaudeville acts, refreshed in "The Pirate" the year before. But, Van was a light comedian, along with a passable singer, dancer and dramatic actor. Like Jimmy Stewart, he was tall and thin, with boyish good looks, and popular with audiences. Thus, he was a rather good replacement for Stewart, who costarred in "The Shop around the Corner", upon which this musical version is based. He had also costarred with June Allyson in a musical. June was slated to costar in this film, until a pregnancy induced a last minute substitution with Judy. Thus, the musical numbers weren't really selected with Judy in mind.Marcia Van Dyke, as Judy's apparent rival for Van's matrimonial ambitions, was an actual professional violinist and occasional actress. If I were Van's character(Mr. Larkin), I'd probably have chosen her character(Louise) over the temperamental manic/depressive Veronica(Judy). She appears to be from a wealthy family, whereas Veronica appears to be a struggling music-knowledgeable shopgirl, insecure in her worth as a romantic partner, hence resorting to corresponding with an unseen male pen pal, not even giving out her name!Although the setting for most of the film clearly is in winter, close to Christmas, the title does make sense in that the title song is sung near the beginning and again at the end, when the setting clearly is in the warm season. Judy does sing one Christmasy song: "Merry Christmas". Unfortunately, her character is upset then, resulting in a very somber rendition. While the melody is undistinguished, the lyrics are quite good. In addition to the title song, the well known period songs by brothers Harry or Albert von Tilzer: "Put Your Arms Around Me", and "Wait 'Till the Sun Shines, Nellie" are featured: the latter sung by a somewhat comical barbershop quartet, who also accompany Judy in "Play that Barbershop Chord". Judy previously sang the period lullaby-like waltz "Meet Me Tonight in Dreamland". Judy's biggest production number is to the exuberant period "I Don't Care", as part of the festivities relating to the party put on by Otto and Nellie to announce their long-anticipated engagement. Actually, all these 'period' songs were composed in the first decade of the 20th century, rather than in the '90s. Unfortunately, Mr. Larkin(Van) is characterized as having no singing talent, hence he doesn't sing nor dance. There is no real dance production. The drama reaches a peak in the last portion, when Otto insists on playing his Stradivarius violin at his engagement party. Poor Nellie doesn't want to be embarrassed by his less than stellar talent, hence pleads with Larkin to find an excuse why his violin can't be there. Larkin decides to exchange violins with Louise's, hence giving Louise a better chance to win in the contest that same evening. Larkin shuffles back and forth between the engagement party and violin competition. Keaton accidentally smashes Louise's violin trying to give it to Otto, believing it to be the Stradivarius. Otto, Nellie and Veronica(Judy) rush over to the violin competition to retrieve Otto's Stradivarius, but are mesmerized by Louise's performance. Veronica sees an apparent romantic relationship between Larkin and Louise, and is fearful. Initially, Otto fires Larkin, but then makes him store manager, and gives Louise the Stradivarius. Veronica decides to quit the store so she won't have to see Larkin anymore, and concentrate on trying to land her anonymous pen pal. Larkin says he has met her pen pal and gives a very unfavorable description, upsetting Veronica, before revealing that it is him. Veronica now is pleased.The love/hate relationship between Larkin and Veronica, with an alternative beau as the apparent favorite though most of the film, was a very common screenplay plot in musicals of this era. This may be disturbing to some viewers, but no doubt somewhat reflects the history of a minority of actual marriages.

Musical remake of "The Shop Around the Corner" is pleasing enough but is no match for the Ernst Lubitch masterpiece starring James Stewart and Maragret Sullavan. Garland is spunky as a woman who dreams of being swept off her feet by her pen pal. Johnson, in the role played by Stewart in the original, does OK as Garland's co-worker in a music shop. Sakall, billed with nickname "Cuddles," is definitely cuddly as the owner of the shop. Keaton's comedic talents are wasted. The subplot involving the Stradivarius and aspiring violinist Van Dyke, which was not in the original, wears thin. The musical numbers are nothing to write home about.

Van Johnson and Judy Garland play feuding co-workers who have unwittingly been carrying on a romance through the Postal Service. Johnson steals bits from well-known writers to include in his letters, which seems appropriate since so much of the dialogue was lifted word-for-word from The Shop Around the Corner, the earlier film from which this was remade.They did make a few changes from the original: they shot it in Technicolor and set the story in a music shop so that Garland would have an excuse to sing. (Fair warning: while this movie is often billed as a musical, the songs are few and far between compared to what you would normally expect for that category.) The lavish color, musical numbers, and even the addition of a baby in one scene (and young Liza Minelli in another) do not make up for the charm that was taken out compared to the original.How does this remake fail? Johnson is a bit too caddish and not as likable as Shop's James Stewart. Likewise, Judy Garland match the performance of Margaret Sullavan, who struck a perfect balance between a brash defender of the man with whom she has been corresponding and a sensitive, vulnerable woman seeking romantic love. As a pair, Johnson and Garland lack the chemistry of Stewart and Sullavan, and director Robert Z. Leonard cannot supply the scenes with the naturalism or charm that Ernst Lubitsch provided.Had I not seen The Shop Around the Corner (and in fact I re-viewed it just prior to watching In the Good Old Summertime), Summertime's shortcomings might have been less noticeable, but I cannot ignore the huge difference between the the two films and have rated and reviewed this film accordingly. If you have a choice, I would urge that you take a pass on Summertime and watch the original instead. If you are one of those people who just can't stand watching black & white movies (and oh, what you are missing if you are!), opt for the later remake, You've Got Mail with Tom Hanks and Meg Ryan. They kept the color, tossed out the songs, and brought back much of the charm and chemistry that made the original a classic.

"In the Good Old Summertime" is a remake of the 1940 film "The Shop Around the Corner": this time, with music and with Van Johnson in the James Stewart role and Judy Garland in the Margaret Sullavan role. In the shop where both work, the owner (Frank Morgan in the original) is Cuddles Sakall, as irritating as ever, and there is a tiny role for the great Buster Keaton.Any musical featuring Garland is always worth watching, and although this is minor compared to some of her other works, and does not have any great powerhouse musical numbers, she is in excellent voice and looks great. Van Johnson is a personable leading man (although a fellow singer would have been better) and the story crackles along in a way that does not disgrace itself or the Lubitsch original.