In November of 1942, 20-year-old Judy Garland began pre-production work on Presenting Lily Mars (1943), a slight "little film" that, although not well known to the general public as one of Judy Garland's big hits, is notable for several reasons:

1) Lily Mars was a major step in Judy's successful transition to adult roles from adolescent roles.

2) Lily Mars was Judy's first teaming with producer Joe Pasternak and with future director Charles Walters.

3) Lily Mars was the first time that MGM would give Judy the "glamour treatment."

4) It's a fun, infectious film!

Based on a novel by Booth Tarkington, Presenting Lily Mars is the story of stage-struck small-town girl Lily Mars.  When Broadway producer (and local boy) John Thornway (Van Heflin) comes to town to visit family and also show off his current hit, Lily sees this as her big chance to impress him with her talent.  She doesn't succeed. He thinks she's a pest. Lily then decides to follow him to New York and sneaks into his theater during rehearsals for his new show.  John finally begins to see something in Lily, and when the diva of his show, Isobel Rekay (played by Marta Eggerth) becomes jealous and walks out, John turns to Lily to quickly learn the show for the opening.  In an interesting twist from the normal "star walks out, unknown becomes star" scenario, Isobel comes back just as John realizes that this role is all wrong for Lily.  Ever the trouper, Lily agrees to taking back her two-line walk-on role, realizing that her time as a star will come.  The film ends with Lily's big debut as the star of her own show.

Judy began work on Presenting Lily Mars while finishing the filming of For Me And My Gal (1942) during the fall of 1942.  During that same time period she recorded and filmed her solo guest spot in Thousands Cheer (1943) singing "The Joint Is Really Jumpin' Down At Carnegie Hall."  Lily Mars had originally been slated as a drama to star Lana Turner.  However, "Smart Ol' Joe Pasternak" (as Esther Williams would later call him) had just come to MGM from producing a successful series of musicals at Universal Studios starring Deanna Durbin (Judy's chief "rival" during the early days at MGM), and he saw the story as a chance to finally work with Judy.  In fact, Presenting Lily Mars is just the kind of film one would expect Deanna Durbin to star in.

Pasternak loved working with Judy Garland.  Back in 1937 Deanna Durbin shot to stardom with Three Smart Girls, a Pasternak production originally meant for Judy as the star.  When MGM wouldn't loan Judy to Universal Studios, Deanna got the part.  Now, 6 years later, Pasternak got his chance. Presenting Lily Mars would be the beginning of a long career at MGM for Pasternak.  His films would only be rivaled by the super-musicals of "The Freed Unit", also at MGM. Both Pasternak and Freed would become the two preeminent producers on the MGM Lot.  So much so that years later, contract dancer Dorothy Raye would remark, "..and we just shuffled between the two."  Pasternak came to Judy's aid several years later, as she was having personal and professional difficulties, and would help restore her confidence, with In The Good Old Summertime (1949) and Summer Stock (1950 - Judy's last MGM film).

Filming Lily Mars went along without any problems.  Judy was happy and healthy, and at a perfect weight, having gained back some of the weight lost during For Me And My Gal.  Filming was completed by November 3, 1942, when Judy had a sitting in the MGM portrait studio, having some of the loveliest photos ever taken of her.

The only issue anyone had once the film was finished was the original finale, "Paging Mr. Greenback," was a topical and appropriately patriotic song, with Judy performing the number with chorus in front of the "U.S. Capitol Building" backdrop first used for Babes In Arms.  Everyone involved at the studio agreed that not only did the number (as good as it was) fail to sufficiently show the Lily Mars character as a new Broadway sensation, but it was also below par for Judy.  Judy was now becomming MGM's biggest female musical star.  She was on the fast track to becoming one of the few child stars to successfully make the transition to adult stardom.  Those around Judy pointed out that, in its present state, Lily Mars was a little beneath what audiences had come to expect from a Judy Garland musical.  Judy went to L.B. Mayer, and he brought in Pasternak and told him to shoot a new finale in the MGM style.  Pasternak enlisted the help of the burgeoning "Freed Unit" (so named after producer Arthur Freed). Pasternak felt that the new ending was too "big" for a little musical such as this.  But, he didn't want to let Judy or the studio down and filmed the ending you see now.

On February 20, 1943, while in the middle of production on Girl Crazy (1943) Judy was in rehearsals for the new Lily Mars "big finale."   Musical arranger Roger Edens and crew devised a big 10 minute finale covering all forms of popular music.  It would be edited down to approximately 5 minutes for the final release.  Tommy Dorsey, at the studio filming Girl Crazy with Mickey Rooney and Judy, was employed to accompany Judy in the "Broadway Rhythm" finale to the finale.  As was Charles Walters.   He had just come to the studio from Broadway as a dancer, but the studio felt he would be better behind the scenes.   He danced with Judy here, and also in Girl Crazy.   He would become one of the studios top musical directors, directing the Garland/Astaire mega-hit Easter Parade (1948).

By March 16, 1943, Lily Mars was completed and released the following month to glowing reviews.  Judy had really blossomed in Lily Mars.  For the first time, the studio presented her in the same glamorous way they would for Lana Turner or Hedy Lamarr.  As with For Me And My Gal (1942) she had a leading man who was NOT an adolescent.

The new finale really showcased the new "adult" Garland, with her hair up and wearing a glamorous dress (see picture above, left).  Judy was at the crest of a "Golden Period" for her at MGM both professionally and personally. A period which would reach its peak with Meet Me In St. Louis (1944), The Clock (1945), and The Harvey Girls (1946) and culminate with the birth of her first child in 1947, Liza Minnelli.

In Lily Mars, Judy is more than just beautiful, she gives one of her best light comedic performances.  Judy is known primarily as a singer/actress but what most people don't realize is that she was an exceptional comedienne.  MGM would notice this too.  Chronologically, each film she made had more and more comedy elements added.  Judy was a master at "self-deprecating humor" - as evidenced in films such as In The Good Old Summertime (1949) and The Pirate (1948).  She was this way in her personal life as well, always being able to see the absurdity and humor of most situations - and being able to make everyone laugh.

Lily Mars is vintage MGM: A nice story with talented stars (Van Heflin would win a Best Supporting Actor Oscar in 1943 for his performance in the 1942 film Johnny Eager), talented and dependable supporting players (Annabelle Logan who played Lily Mars' sister Rosie, would go on to be the popular jazz singer Annie Ross), and expert MGM production values all coming together to make an enduring film for all ages to enjoy. "They Don't Make 'Em Like They Used To" - but don't you think they should??