![]() Seen through the eyes of the office worker it’s more intimate. Seen through the soldier’s innocent eyes the city is seen as huge and imposing. Because the film took place in New York City, and it was the fast romance between a soldier on a 48 hour leave (played by Robert Walker) and a local office worker (Judy), Minnelli wisely saw the city as an influence on the motives and machinations of the young couple. Once Minnelli took control, he tightened up some of the loose ends, added some new characters and more importantly made the city of New York a third character. By the end of filming the two were in love and well on their way to getting married. Judy felt she could trust his instincts about what was best for her. ![]() Minnelli had guided her through Meet Me In St. It’s been suggested that Judy had in fact been waiting for Vincente Minnelli to become available. We have no compatibility.'” Freed sent for Zinnemann and the director echoed Judy’s sentiments. Freed later said, “Judy came to see ‘I don’t know – he must be a good director but I just get nothing. She was passionate about the project and wanted the right director to guide her. Freed assigned Jack Conaway as the director but after Conaway became ill he was replaced by Fred Zinnemann. It was the unit’s first dramatic film and just about everyone that Freed had gathered to popular his unit was involved. The Clock was definitely a Freed Unit pet project. Freed later commented that The Clock was produced as a lark to give Judy something different do work on after the musicals she had recently been cranking out, including the just completed masterpiece, Meet Me In St. However, everyone could see that of all the female musical stars of the time, Judy Garland definitely had the talent to carry a dramatic film. ![]() They weren’t considered as “serious” as their more dramatic non-musical counterparts. Musical stars of the era were not considered to be on the same par as dramatic stars mainly because most of the musicals made were light, fluffy entertainment. Judy had wanted to make a purely dramatic film for at least a few years when MGM’s musical producer Arthur Freed greenlit the film with Judy as the star. It’s also the last time Judy appeared in a black and white film at MGM. The Clock was Judy’s only non-singing role for MGM, and one of the few times she’s seen in a contemporary story in contemporary clothing. 1967 – Valley of the Dolls (unfinished).1946 – Till The Clouds Roll By (spotlight).1943 – Presenting Lily Mars (spotlight).Miscellaneous (Radio, Concerts, TV, etc.).
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