Follow the Yellow Brick Road to New York City, where the Film Society of Lincoln Center has pulled back the curtain to reveal a thirty-film retrospective of Frances Ethel Gumm.

You may know her better as Judy Garland. Or just Judy!! (with at least two exclamation points!! And jazz hands, natch.)

From her debut in Pigskin Parade (1936) to her final feature film bow in the tragically-titled I Could Go On Singing (1963), Garland acted, sang and danced her heart out in a variety of delightful concoctions, one of which has become, arguably, the most beloved movie of all time.

The Film Society series will make Garland completists weep for joy, with everything from her Andy Hardy musical “comedies” (which would be great if only Mickey Rooney wasn’t in them) to her late-career dramatic work, like Judgment at Nuremberg. Even the Chuck Jones-directed Gay Pur-ee (1962) makes an animated appearance, for a special kids screening at the ungodly hour of 10 a.m. on August 7. If Judy were still with us, I’m sure she’d roll in fashionably late, wearing dark glasses. 

The retrospective of Judy’s film work is presented in partnership with the Paley Center for Media, which is offering a concurrent series of rarely seen TV appearances from 1955 until Garland’s tragic death in 1969. The highlight of the Paley Center exhibition (for me) is collection of rare clips they’re calling Judy Potpourri, this Sunday July 31 at 12:30 p.m.

So, if you block out your calendar for the next two weeks, you’ll have the opportunity to see almost every extant piece of visual media featuring Judy Garland. 

Zing, zing, zing went my heartstrings, indeed.

The Film Society of Lincoln Center presents “Judy Garland: All Singin’, All Dancin’, All Judy” at the Walter Reade Theater. Tuesday, July 26 through Tuesday August 9, 2011

TUES 7/26/11

6:15 PM Meet Me in St. Louis (1944) 

9 PM The Clock (1945) 

WED 7/27/11

1:30 PM Love Finds Andy Hardy (1938) 

3:30 PM Listen, Darling (1938) 

THURSDAY 7/28/11

1 PM Babes in Arms (1939) 

3 PM Babes on Broadway (1941)  

FRIDAY 7/29/11

12:30 PM The Clock (1945) 

2:30 PM Meet Me in St. Louis (1944) 

5:00 PM Strike Up the Band (1940) 

7:30 PM Shorts & Rarities, presented by author and Garland expert John Fricke

9:45 PM Little Nellie Kelly (1940) 

SATURDAY 7/30/11

10:30 AM The Wizard of Oz (1939) Sing-along version. Ugh.

1:00 PM Broadway Melody of 1938 (1937)

3:15 PM Pigskin Parade (1936) Garland’s feature debut.

5:30 PM The Pirate (1948) 

8:00 PM Ziegfeld Follies (1946)

SUNDAY 7/31/11

12:00 PM Listen, Darling (1938)

1:45 PM Thoroughbreds Don’t Cry (1937) 

3:30 PM Love Finds Andy Hardy (1938) 

5:30 PM Everybody Sing  (1938) 

7:30 PM A Star in Born  (1954) 

MONDAY 8/1/11

2 PM Everybody Sing (1938) 

4PM The Harvey Girls (1946) 

6:15 PM Babes in Arms (1939) 

8:15 PM Babes on Broadway (1941)

TUESDAY 8/2/11

1:30 PM For Me and My Gal (1942) 

3:45 PM Girl Crazy (1943)

6:00 PM Andy Hardy Meets Debutante (1940) 

8:00 PM Life Begins for Andy Hardy (1941) 


1:30 PM Strike up the Band (1940) 

4:00 PM The Wizard of Oz (1939) Non-Sing-along version. Yay. 

6:15 PM Presenting Lily Mars (1943) 

8:30 PM Ziegfeld Girl (1941) 


2:30 PM Judgment at Nuremberg (1961) 

6:15 PM For Me and My Gal (1942)

8:30 PM The Harvey Girls (1946) 

FRIDAY 8/5/11

2:15PM A Star is Born (1954) 

6:00 PM Easter Parade (1948)

8:30 PM Till the Clouds Roll By (1947) 


6:10 PM Summer Stock (1950) 

8:30 PM In the Good Old Summertime (1949) 

SUNDAY 8/7/11

10:00 AM Gay Purr-ee (1962)

12:30 PM Girl Crazy (1943)

2:45 PM Judgment at Nuremberg (1961)

6:30 PM I Could Go On Singing (1963) Garland’s final film. 

8:40 PM A Child is Waiting (1963) 

MONDAY 8/8/11

2:00 PM Easter Parade (1948) 

4:15 PM A Child is Waiting (1963) 


1:30 PM Summer Stock (1950) 

3:45 PM I Could Go On Singing (1963) 

6:00 PM Meet Me in St. Louis (1944) 

8:15 PM A Star is Born (1954) 

Stay Inside This Weekend!

What a coincidence. The hottest weekend of the year is also the best weekend of the year for old movie buffs in New York City.

Stay inside this weekend, avoid the record-breaking heat and enjoy TWO DOZEN classic films — everything from silent 1920s melodrama to bloated 1990s action films! 


Essential Pre-Code through August 14

Fri: Busby Berkeley’s GOLD DIGGERS OF 1933! 

Fri 6:25/10PM: ROMAN SCANDALS (1933) 

Sat/Mon: First version of THE MALTESE FALCON (1931) 

Sat/Sun/Mon: Paul Muni in Howard Hawks’s SCARFACE (1932)

Sun: THE STORY OF TEMPLE DRAKE (1933) Most notorious Pre-Code of all! 

Sun: Cecil B. DeMille’s THE SIGN OF THE CROSS (1932) 


Prince of the City: Remembering Sidney Lumet through July 15

Fri 6:15PM: Sidney Lumet’s NETWORK (1976)  

Fri 8:45PM: Sidney Lumet’s THE VERDICT (1982)

Sat 10:30AM: Sidney Lumet’s THE WIZ (1978)   

Sat 1:15PM Sidney Lumet’s THE SEA GULL (1968)  NOT ON DVD!

Sat 6:30PM: Sidney Lumet’s DOG DAY AFTERNOON (1976) 

Sat 9PM: Sidney Lumet’s SERPICO (1973)  

Sun 12:30PM: Sidney Lumet’s LONG DAYS JOURNEY INTO NIGHT (1962) 

Sun 4PM: Sidney Lumet’s Q&A (1990) w/ guest Armand Assante 

Sun 7:15PM: Sidney Lumet’s PRINCE OF THE CITY (1981) w/ guest Treat Williams 



Sat/Sun: George Roy Hill’s THE STING (1973) 

Sat/Sun 1PM: James Frawley’s THE MUPPET MOVIE (1979)

Sat/Sun 5PM: Errol Morris’s GATES OF HEAVEN (1978)


Sat/Sun: Tony Scott’s TRUE ROMANCE (1993)


Renny Harlin’s THE LONG KISS GOODNIGHT (1996)

Alejandro Jodorowsky’s THE HOLY MOUNTAIN (1973)

Kurosawa’s RAN (1985)


Dorothy Gish in NELL GWYN (1926) accompanied by Ben Model Sat 2:30PM  

I’m an animal lover and the idea of doing a movie about cockfighting was not necessarily something that appealed to me.

I was in a bad situation in my life. I’d just been fired off a movie in Hong Kong that I had shot about half of. As soon as I got back to the U.S., Roger Corman called me and asked me if I would direct this pet project of his: COCKFIGHTER. I just agreed without even thinking it through very carefully.

Then when I got there and saw my first cockfight I had a gut reaction, and it was not a very nice one. I was really sickened by it, and I wanted to put that emotion into the movie.

I’ll let you decide, but that’s what I tried to achieve.

Director Monte Hellman, before a Film Society of Lincoln Center screening of COCKFIGHTER (1974) at the Walter Reade Theater in New York on June 8, 2011