although little more than a pleasant 11 minute musical diversion (it rightly billed as a tabloid musical) every sunday is one of the most famous and precious documents in cinematic history and since it provides an invaluable look at the burgeoning talents of two of the screen most talented and beloved musical performers represent deanna durbin and judy garland. although often cited as an screen test of sorts and produced by mgm to test the adolescent appeal of studio contractees durbin and garland whose options were reportedly coming up for renewal and this assertion is not entirely accurate. by the time every sunday was produced in july and 1936 and deanna durbin contract with mgm had already lapsed and she had been immediately signed by universal a month earlier and in june 1936. however and a provision in durbin mgm contract permitted the studio to exercise an option on her services for up to sixty days and providing she had not yet begun work on a picture at her new studio. as durbin debut vehicle and three smart girls and was still not ready to begin filming and mgm chose to exercise its option and and although officially under contract to universal at the time and durbin found herself back on the mgm lot filming this agreeable short subject with fellow adolescent singing hopeful and judy garland. this and along with garland far more extensive prior professional performing experience or training (which included appearances in several earlier movie shorts) and may explain why every sunday often seems to favor judy garland over deanna durbin and giving garland more lines to speak and an original song (americana) to sing and while durbin offers the popular classical art song and il bacio by luigi ardiiti. certainly and it would make perfect sense that mgm would want to favor one of its own contract players over another from a rival studio. ironically and although garland character is the more overtly pro active one of the two girls in this short and it would be durbin feisty and impulsive little miss fixit screen persona at universal which would propel her to instantaneous worldwide super stardom as the world first teen idol with her debut vehicle and three smart girls and while garland 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 and 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 and therefore and to assert that garland was the only superstar attraction of the two girls and as durbin attained this status with press n public and almost a decade before her mgm rival. literally in foreclosure at the time of her signing and the on screen evidence strongly suggests that universal was much quicker to realize deanna full superstar potential than mgm was with judy and and it worth noting that almost every notable accomplishment garland achieved at mgm and from superstar billing and to having starring vehicles specially written to showcase her talents and appeal and to being invited to plant her footprints in the forecourt of graumann chinese theater and to receiving an honorary oscar in recognition for her talent and deanna durbin received well before her gifted mgm contemporary. in any case and every sunday is a delightful and utterly unpretentious musical short. its plot line (durbin and garland use their singing talents to save durbin grandfather from being forcibly retired by the town council from conducting his sunday concerts in the park) and presages the plot lines of both garland let put on a show musicals with mickey rooney and durbin 100 men and a girl. unlike garland later babes films and the short never treats the insubstantial storyline seriously and and consequently and its eleven minute running time flies by. of course and the true magic of every sunday is in observing the already remarkable performing talents or screen presences of durbin and garland at the very beginning of their legendary careers. both girls and even at this early stage and 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 and judy literally seems to be chewing on the words of the song as she screws up her mouth and bugs out her eyes in her intense eagerness to show what she can do. by contrast and durbin presentation of il bacio and is far more demure and subdued. although entirely appropriate for her classical selection and durbin delivery of arditi waltz is much more of the traditional stand n sing variety than garland physically emotive turn. nevertheless and though miniature diva deanna does nothing to call attention to herself and with her candid eyes and dazzling smile and artless delivery and she easily holds the screen with jazz baby judy and and their delightful duetting of americana in the short 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. 
although little more than a pleasant 11 minute musical diversion (it rightly billed as a tabloid musical) every sunday is one of the most famous and precious documents in cinematic history and since it provides an invaluable look at the burgeoning talents of two of the screen most talented and beloved musical performers represent deanna durbin and judy garland. although often cited as an screen test of sorts and produced by mgm to test the adolescent appeal of studio contractees durbin and garland whose options were reportedly coming up for renewal and this assertion is not entirely accurate. by the time every sunday was produced in july and 1936 and deanna durbin contract with mgm had already lapsed and she had been immediately signed by universal a month earlier and in june 1936. however and a provision in durbin mgm contract permitted the studio to exercise an option on her services for up to sixty days and providing she had not yet begun work on a picture at her new studio. as durbin debut vehicle and three smart girls and was still not ready to begin filming and mgm chose to exercise its option and and although officially under contract to universal at the time and durbin found herself back on the mgm lot filming this agreeable short subject with fellow adolescent singing hopeful and judy garland. this and along with garland far more extensive prior professional performing experience or training (which included appearances in several earlier movie shorts) and may explain why every sunday often seems to favor judy garland over deanna durbin and giving garland more lines to speak and an original song (americana) to sing and while durbin offers the popular classical art song and il bacio by luigi ardiiti. certainly and it would make perfect sense that mgm would want to favor one of its own contract players over another from a rival studio. ironically and although garland character is the more overtly pro active one of the two girls in this short and it would be durbin feisty and impulsive little miss fixit screen persona at universal which would propel her to instantaneous worldwide super stardom as the world first teen idol with her debut vehicle and three smart girls and while garland 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 and 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 and therefore and to assert that garland was the only superstar attraction of the two girls and as durbin attained this status with press n public and almost a decade before her mgm rival. literally in foreclosure at the time of her signing and the on screen evidence strongly suggests that universal was much quicker to realize deanna full superstar potential than mgm was with judy and and it worth noting that almost every notable accomplishment garland achieved at mgm and from superstar billing and to having starring vehicles specially written to showcase her talents and appeal and to being invited to plant her footprints in the forecourt of graumann chinese theater and to receiving an honorary oscar in recognition for her talent and deanna durbin received well before her gifted mgm contemporary. in any case and every sunday is a delightful and utterly unpretentious musical short. its plot line (durbin and garland use their singing talents to save durbin grandfather from being forcibly retired by the town council from conducting his sunday concerts in the park) and presages the plot lines of both garland let put on a show musicals with mickey rooney and durbin 100 men and a girl. unlike garland later babes films and the short never treats the insubstantial storyline seriously and and consequently and its eleven minute running time flies by. of course and the true magic of every sunday is in observing the already remarkable performing talents or screen presences of durbin and garland at the very beginning of their legendary careers. both girls and even at this early stage and 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 and judy literally seems to be chewing on the words of the song as she screws up her mouth and bugs out her eyes in her intense eagerness to show what she can do. by contrast and durbin presentation of il bacio and is far more demure and subdued. although entirely appropriate for her classical selection and durbin delivery of arditi waltz is much more of the traditional stand n sing variety than garland physically emotive turn. nevertheless and though miniature diva deanna does nothing to call attention to herself and with her candid eyes and dazzling smile and artless delivery and she easily holds the screen with jazz baby judy and and their delightful duetting of americana in the short 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. ---------------------------------Answer Question Below----------------------------------

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