It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

This is a gorgeous movie made by a gorgeous spirit.

I'm a fan of both girls as well as their singing styles and due to the fact they never made another movie together, this short is a historical gem of the two greatest young singers of their era singing together. I own 'For Me And My Gal' and watch this short regularly, always getting a buzz listening to their rendition of 'Americana'.I do feel it was an important stepping stone for both their careers..after seeing 'Every Sunday' Joe Pasternak at Universal wanted to use Judy initially for 'Three Smart Girls' but MGM wouldn't release her, so he used Deanna instead and the rest is history. On the back of 'Every Sunday' 20th Century Fox borrowed Judy for 'Pigskin Parade', making MGM realize that if Universal and 20th Century Fox wanted her, she must of had something that they were missing although it took them sometime to properly utilize her, culminating in 'The Wizard of Oz'.'Every Sunday' convinced me of the brilliance and long lasting popularity in their embryonic stages of the wonderful Judy and Deanna.

Instead of making foolish comments praising one over the other (like comparing apples to oranges), fans of JUDY GARLAND and DEANNA DURBIN ought to just sit back and relax while watching this harmless little piece of musical fluff made simply to give audiences a look at two up-and-coming stars of the future.Durbin's fans are insisting that she was the superior talent with the real singing voice and Garland fans are insisting that even then she was beautiful and sings up a storm on something called "Americana"--which, by the way, Garland does handle with finesse even though it's not even worthy of all her energies.But both of them perform in a professional manner. Durbin's soprano voice is lovely and there's no reason for someone to complain that this type of voice "should not be coming from a child" of fourteen, instead of giving credit where it's due. It's obvious that she already had lots of vocal training and was already capable of handling operatic material and there's nothing wrong with that.Judy too is in good voice, even though I personally think the studio could have chosen a more memorable song than "Americana" for her to belt out.Anyway, together they blend nicely in a simple story about two girls who decide to do something when the local band concert is not attracting enough patrons to the park. They take matters into their own hands and come up with the idea of performing with the band as an added attraction. The stunt works and before you know it, they've attracted a good sized audience.Audiences in '36 were probably pleased to see two such talented youngsters demonstrating their musical skills in a short film.

I have seen over 2000 Studio-Era sound films-- including lots of Judy Garland, Lena Horne, Shirley Jones, and Deanna Durbin's own Universal features-- plus a decent amount of live and studio-recorded musical comedy and opera. And I assure you, no one tasked with singing in front of a camera and microphone, or maybe anywhere ever, HAS EVER TOUCHED DURBIN'S SOLO here...mono soundtrack and crap 1930s microphones and all. The kid from Canada sings this bit from "Il Bacio" like she lived and wrote it herself and then happened to show up for a retrospective in Italy late in her career, not like a child who learned it from her music teacher.If you skip this Extra on the DVD-- or skip ahead to the Garland solo-- you are just depriving yourself, since this cheap MGM teaser just happened to capture one of the greatest performances of the 20c.

Although little more than a pleasant 11-minute musical diversion (it's rightly billed as a "Tabloid Musical") EVERY Sunday is one of the most famous and precious documents in cinematic history, since it provides an invaluable look at the burgeoning talents of two of the screen's most talented and beloved musical performers: Deanna Durbin and Judy Garland.Although often cited as an screen test of sorts, produced by MGM to test the adolescent appeal of studio contractees Durbin and Garland whose options were reportedly coming up for renewal, this assertion is not entirely accurate. By the time EVERY Sunday was produced in July, 1936, Deanna Durbin's contract with MGM had already lapsed and she had been immediately signed by Universal a month earlier, in June 1936.However, a provision in Durbin's MGM contract permitted the studio to exercise an option on her services for up to sixty days, providing she had not yet begun work on a picture at her new studio. As Durbin's debut vehicle, THREE SMART GIRLS, was still not ready to begin filming, MGM chose to exercise its' option and, although officially under contract to Universal at the time, Durbin found herself back on the MGM lot filming this agreeable short subject with fellow adolescent singing hopeful, Judy Garland.This, along with Garland's far more extensive prior professional performing experience/training (which included appearances in several earlier movie shorts), may explain why EVERY Sunday often seems to favor Judy Garland over Deanna Durbin, giving Garland more lines to speak and an original song ("Americana") to sing, while Durbin offers the popular classical art song, "Il Bacio" by Luigi Ardiiti. Certainly, it would make perfect sense that MGM would want to favor one of its' own contract players over another from a rival studio.Ironically, although Garland's character is the more overtly pro-active one of the two girls in this short, it would be Durbin's feisty and impulsive "Little Miss Fixit" screen persona at Universal which would propel her to instantaneous worldwide super stardom as the world's first "Teen Idol" with her debut vehicle, THREE SMART GIRLS, while Garland's 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, 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, therefore, to assert that Garland was the only "superstar" attraction of the two girls, as Durbin attained this status with press 'n public, almost a decade before her MGM rival. Literally in foreclosure at the time of her signing, the on screen evidence strongly suggests that Universal was much quicker to realize Deanna's full superstar potential than MGM was with Judy, and it's worth noting that almost every notable accomplishment Garland achieved at MGM, from superstar billing, to having starring vehicles specially written to showcase her talents and appeal, to being invited to plant her footprints in the forecourt of Graumann's Chinese Theater, to receiving an "Honorary" Oscar" in recognition for her talent, Deanna Durbin received well before her gifted MGM contemporary.In any case, EVERY Sunday is a delightful, utterly unpretentious musical short. Its plot line (Durbin and Garland use their singing talents to save Durbin's grandfather from being forcibly retired by the town council from conducting his Sunday concerts in the park), presages the plot lines of both Garland's "Let's Put On a Show" musicals with Mickey Rooney and Durbin's 100 MEN AND A GIRL. Unlike Garland's later BABES films, the short never treats the insubstantial storyline seriously, and consequently, its' eleven minute running time flies by.Of course, the true magic of EVERY Sunday is in observing the already remarkable performing talents/screen presences of Durbin and Garland at the very beginning of their legendary careers. Both girls, even at this early stage, 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, acting it as well as singing it, as she interacts with members of the park "orchestra."By contrast, Durbin's presentation of "Il Bacio," is far more demure and subdued. Although entirely appropriate for her "classical" selection, Durbin's delivery of Arditi's waltz is much more of the traditional "stand 'n sing" variety than Garland's physically emotive turn. Nevertheless, though "miniature diva" Deanna does nothing to call attention to herself, with her candid eyes, dazzling smile and artless delivery, she easily holds the screen with "jazz baby" Judy, and their delightful duetting of "Americana" in the short's 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!