Original subtitles

At the height of Hollywood's golden era, one studio traditionally towered over

the others.

Metro-Goldwyn-Mayer brought to the screen a series of classic films that

movie audiences would never forget and would always cherish.

We'll be met again if we hang for it. You're taking the ship?

You see?

Pass the word.

She's gone.

You're sending me to my doom, eh?

Well, you're wrong, Christian.

I'll take this boat if she floats to England if I must.

Yeah, I do mind. Suppose you back up and don't call me Shorty.

Shorty or Sonny, what difference does it make?

Now, you're liable to get all muddy if you don't put it in reverse.

Move over, bud. Now, I'm wearing Justin's boots with four-inch heels.

They'll sure make big dents in that little frame of yours.

I was reading a book the other day.

Reading a book? Yes, it's all about civilization or something. Another kind

of a book. Do you know that the guy says that machinery is going to take the

place of every profession?

Oh, my dear.

That's something you need never worry about.

Your hair is like a field of silver daisies.

I'd like to run barefoot through your hair.

Oh, please let me stay.

But I want to be alone.

How

do

you do?

I'm Betsy Booth.

Won't you come in?

My mother just sent these over to your grandmother.

Andy Hardy, aren't you? Uh-huh. I live right next door.

There. That's better.

I'm Father Flanagan.

I am Tandaleo.

Goodbye, Mrs. Cathy.

Goodbye, Mrs.

Chisholm.

Frankly, my dear, I don't give a damn.

During Hollywood's golden era, Metro-Goldwyn-Mayer's pride and joy, its

most precious commodity was the MGM musicals.

Audiences of the day were dazzled by the lavish settings, the memorable music,

and above all, the incredible array of talent that performed in these films.

Astaire, Kelly, Garland, Grayson, and Lonza.

They starred in a series of motion pictures, the likes of which we will

never see again.

Clang, clang went the trolley.

Ding, ding, ding went the bell.

Ding, ding, zing went my heart strings from the moment I saw him I fell.

All night long they'd chat away. All day long they were happy and gay.

Swimming and singing in the honky-tonky way.

Good evening. I'm George Hamilton, and this is my wife, Alana. For the next 90

minutes, we'll be your narrators, your host, and, in effect, your tour guides

to a time and place that's hard to believe ever existed and certainly will

never exist again.

Tonight, Metro-Golden-Mayer is celebrating its 50th birthday with the

world premiere of That's Entertainment, a tribute to the fabulous MGM musicals

of the past.

To honor this golden anniversary, the studio has invited from across the

country and around the world some of its most famous alumni to attend a gala

reunion. This is a unique gathering of Hollywood's most glamorous stars and

personalities of then and now.

In a moment, we'll be speaking with these great performers, and we'll be

showing you excerpts not only from that's entertainment, but from many

favorite MGM classics of the past half century.

Mr. and Mrs. Sammy Davis are here tonight.

And so is our friend Liza Minnelli.

Ginger Rogers is making a rare appearance with a former dancing

partner, Fred Astaire.

Gene Kelly will be here soon, and so will Debbie Reynolds, Donald O'Connor,

Ava Gardner, Elizabeth Taylor, and many other legendary MGM stars.

Let's hear it for Lassie, everybody. Let's have a nice hand for Lassie.

Ladies and gentlemen, welcome to That's Entertainment,

50 years of MGM.

With these pants falling down or the dance, that's a dream of romance or the

scene where the villain is me.

That's entertainment.

The lights on the lady in tights. Or the bride with the guy

on the side.

Or the ball where she gives him her all.

That's entertainment.

The plot can be hot simply teeming with sex.

A gay divorcee who is after her ex.

It could be Oedipus Rex.

Where a chap kills his father and causes a lot of bother. The clerk who is thrown

out of work.

By the boss who is thrown for a loss. By the skirt who is doing him

dirt. The world is a stage. The stage is a world of entertainment.

Over the years, I made over a dozen films at MGM.

Most of them were done at the end of Hollywood's golden era.

Yet just working on that lot, well, it gave you a very special feeling, a

feeling I never felt anywhere else in this town.

When you worked at MGM, you really knew you were in the movies.

For Ilana and me, tonight is very special.

We feel part of a family, some good friends.

others we've admired ever since we first held hands at the Saturday night picture

show.

I've often wondered what it was like working at MGM during that time and now

I think I know thanks to a friend of ours who was there and describes it so

well in this sequence from That's Entertainment, Peter Lawford.

This building, or what's left of it, was, among other things, Tate College in

good news.

You might say that June Allison, Mel Tomei, and I graduated from here.

We were all under contract to MGM in those days, and the studio pretty much

told us what pictures we were going to appear in.

They put us in dramas, comedies, and in my case, and don't ask me why, an

occasional musical.

As a singer or dancer, I was ill-equipped to compete with Astero

Kelly.

But we did what we were told to do.

When I first came to MGM, the world was at war.

The G.I.s overseas and the audiences here at home. The musicals were a very

special kind of escape, both during the war and afterwards.

The films we made here had a certain style, a look that was unmistakable.

Whether it was the directing or the writing or the scenery, the costumes,

the lighting, I don't really know.

But somehow you could always tell that it was an MGM movie, especially the

musicals.

All right, cut it.

Print it, Jane. All right, take me into number one.

Okay, number one. Can you see him, Marks? Joel!

Okay, everybody. We're rolling.

Feed.

Action.

Good news has often been described as everyone's favorite college musical, and

I certainly won't quibble with that.

It starred Peter Lawford and MGM's musical sweetheart, The talented June

Allison.

They sure are blue.

June Allison, as vivacious and as pretty as ever, is with us tonight.

And no one can ever forget the marvelous contributions made by Cyd Charisse and

her husband, Tony Martin.

In Sigfell Girl, which also starred Judy Garland, Lana Turner, and Hedy Lamarr,

Tony introduced this lovely song in an unforgettable sequence directed by the

brilliant Busby Berkeley.

Two young MGM contract players also starred in this film. They're with us

tonight, Jackie Cooper and James Stewart.

Today, Jackie Cooper is a successful actor and director, still an important

part of an industry that nominated him for Best Actor Oscar when he was only

nine years old.

And here's one of my favorites, James Stewart.

He narrates a delightful sequence in That's Entertainment, which tells how

nearly every MGM star was forced into musicals.

I was lucky enough to sing a Cole Porter song in Born to Dance with Eleanor

Powell. At first, the studio planned to have someone else record the vocal, but

the tune became such a big hit that they decided to let me do it. You see, they

figured the song was so good that even my singing couldn't hurt it.

That it does seem a shame that you can't see

your future with me.

Cause you'd be all so easy

to love.

I know that you will join with us in giving a really rousing, rip-roaring

reception to Harry Van and Les Blondes.

Mr. Vance.

Norma Shearer and Edward Arnold looked on as Clark Gable made his musical debut

in Idiot's Delight.

Hello, people, and thanks, Don, for that very, very lovely introduction you gave

us. All I can say is thanks a million, and I won't settle for a cent less.

Now, in our modest act tonight, we'll be ably assisted by Professor Pelota and

his talented little team.

Give them a hand, folks.

Hold it up, you guys. Take it away.

This will be amusing, Gatil.

I hope so.

and see the thread turn last two bits.

Hollywood has a delightful way with self-parody. This is the premiere

sequence from Singin' in the Rain starring Gene Kelly.

Perhaps the wittiest spoof of these traditional ceremonies ever filmed.

Tonight, history and Hollywood repeat themselves.

Gene Kelly and Shirley MacLaine are here for the studio reunion, as are nearly 50

other MGM stars.

Elizabeth Taylor, truly a child of Hollywood.

She spent over 17 years at MGM, and audiences watched her grow up on the

screen, literally before their eyes, in a series of memorable films like Lassie

Come Home with Roddy McDowell.

Thank you. Thank you very much.

Poor Lassie.

Poor Lassie.

Poor girl.

Several years later, she starred in National Velvet with Mickey Rooney.

From 40 horses and riders ready to trample you over, I'll not let you ride,

Velvet. I won't let you do it. But he'll be an enchanted horse with invisible

wings to take him over every jump if I ride him.

At 18, Elizabeth was luminous in Father of the Bride.

One of her finest performances, Cat on a Hot Tin Roof, with Paul Newman.

I don't mind making a fool of myself over you.

Well, I mind. I feel embarrassed for you.

Feel embarrassed?

But I can't live on this way. Now, you agreed to accept that condition. I know

I did, but...

Go, Maggie.

There's another face movie audiences will never forget, the screen's most

famous Tarzan, Mr. Johnny Weissmuller.

How did you get to be Tarzan?

I made a test. I wanted to see Clark Gable at Metro-Goldwyn-Mayer, and they

wouldn't let me in.

So some kid came along, he says, hey, they got 75 guys on the back lot there

making a test for Tarsen. Go back and make a test, and they let you in the

studio. So I went back and made the test, and the guy says, can you run? I

says, sure, I can run.

He says, can you climb that tree? I says, yeah, sure.

And then can you swing on the winder? Yeah, I won that in the YMCA, swinging

on the rings one time, you know.

So I'm not about to let go of a lion 40 feet up in the air, am I?

So I got to get on the studio, and I met Tarsen. Clark Gable, and I knew Greta

Garbo and so on.

And I was ready to go home, and they called me over, and they said, a week

later, and they said, you got the job as Tarzan.

That's incredible.

And I went in the office, and they said, what's your name? I said, Johnny

Weissmuller. He says, well, we're going to have to change that.

I said, what are you talking about? It won't go on the marquee. I said, what's

a marquee?

So he said, no, you're not going to change my name.

And one man next to him said, you know who that guy is? He's got all the

world's records in swimming.

He said, well, that's wonderful.

Let him have his name. It puts him swimming in the picture.

Well, MGM kept their promise.

This is a scene from Johnny's first film, Tarzan the Ape Man, with Marino

Sullivan.

Well, it's great to see you, and I hope that you...

that that hip heals and we'll see you swinging from another another tree

pretty soon i'll be all right it's good to see you thank you very much nice to

meet you

we'll

be back in a moment with hollywood's greatest gathering of stars in over a

quarter of a century on that's entertainment 50 years of mgm

our very good friend mr jack haley good evening

Columnist Arnie Archard is our host at the theater. Do you remember when you

were making The Wizard of Oz and playing the Tinwoodsman? Yes, it's 104 years

ago. I remember it very well.

You're the best friends anybody ever had.

To us?

To us.

When Jack Haley, Judy Garland, and Ray Bolger danced down the yellow brick

road, they joined a roster of great stars who created unforgettable

performances during their careers at MGM.

One of the screen's most distinguished actresses, Miss Myrna Loy.

Movie audiences will always remember her films with William Powell when they

played Nick and Nora Charles in the Thin Man series.

You finished with this?

Yes, and I know as much about the murderers as they do.

Oh, I'm a hero.

I was shot twice in the Tribune.

I read where you were shot five times in the tabloids.

It's not true.

He didn't come anywhere near my tabloid.

Margaret O'Brien.

Delighted audiences when she starred with Judy Garland in Meet Me in St.

Louis.

Well, if it isn't Ethel Barrymore.

When Debbie Reynolds appeared in Singing in the Rain with Gene Kelly, she became,

as Hollywood is fond of saying, an overnight sensation.

In many ways, Debbie Reynolds symbolizes the type of performer that MGM was noted

for developing.

Versatile, disciplined, and dedicated.

Her love of show business is evident in the way she narrates an amazing

sequence, and that's entertainment.

An event that took place exactly 25 years ago at MGM.

When I first reported to the studio, MGM was celebrating its 25th

anniversary. They had converted the biggest soundstage on the lot into a

restaurant. They only served one meal, but it was a lunch that old-timers still

talk about.

The studio used to boast that it had more stars than there are in the

heavens, and that day they weren't kidding.

The first time I met the king, Clark Gable, he looked down at me and said,

Hello, beautiful.

And I nearly fainted.

This place was the land of giants and I was a small fry But like any other young

hopeful I was determined that somehow and someday I'd measure up in the early

1950s MGM was entering a new era of motion pictures with more star power

than virtually every other studio in Hollywood combined

Tell me something.

Tonight, seeing that film must have been quite an experience for you.

Well, you see, it isn't for me necessarily. It's for really all of us.

what it stood for i think what it is george when i was a young girl i went to

matinees saturday i'm i loved films and i still love some films i think that

we've lost the romance that we used to have all that corny nostalgia that

people laugh about that's really my thing i love that all the kissing i fall

over so he kissed her and today they shake hands and They're right in the

hay, you know. And there's no romance left. And I disagree with that, you

know. And I'm allergic to hay, so I can't do that stuff.

But I love all that corny stuff because life itself, for a lot of people, and

I'll include some of us or most of us at moments, have hard times. Well, hard

times, of course, make you appreciate the better times. So that's all right.

To have unhappiness makes you appreciate the happy times. So that's all right to

go through that. But the most joyful moment can be when you really... really

can get so lost in a picture. Escape. It's an escape, but it's really more of

a dream.

An escape is really, in reality, an impossible thing.

But a dream is something that you enjoy so much. Because I dream in color,

George. Do you dream in color? Well, from time to time.

Lately, I'm dreaming in this color. As long as you're with it.

um i like to dream in color because well i don't like i do dream in color i never

dreamt in black and white and i think that's my life i've never had a black

and white life i have a very colorful life and the reason is my business and

i'm lucky to be in show business i love everything about show business and

tonight i enjoyed this picture there were moments of great nostalgia for me

the moment in in singing the rain how did how did it feel to to work in that

film what was it like it was a fantastic i was very lucky to be in the film

because in the old days producers took chances on young talent that was very

undeveloped talent i wasn't any talent they took a young person who was named

mary frances reynolds i was debbie at the time but in the initial jack warner

changed my name to debbie someone took a chance and there wouldn't be any debbie

reynolds if there hadn't been someone to take that chance and i wish they'd do it

much more today that you could take the young talent give them a chance they

can't be bad They'll be good. You know, you just have to let them go a little

bit.

I remember when we were making Singing in the Ring, we'd add so much and so

hard that at the end of the day shooting, they'd carry me home in a

basket.

But that was a small price for a newcomer to pay if it meant working with

Gene Kelly or Donald O'Connor.

That's entertainment. Fred Astaire tells us about Gene Kelly.

I've had a lot of partners in my day, but can you imagine a grown man dancing

with a mouse?

Well, Gene did just that in Anchors Away.

His dancing partner was Jerry the Mouse, of Tom and Jerry fame.

The critics said it was the most effective use of live and animation

technique ever put on film.

And I certainly agree.

We're obviously sitting with a man who needs no introduction, Gene Kelly.

How did it feel tonight to see your life's work passed in front of your

eyes? Well, it was some of my life's work, and some of it was enjoyable, but

I must say that some of it made me quite wistful, because I was looking at other

people who I'd worked with for many years, Fred Astaire and Judy Garland and

people that...

I don't have the opportunity to work with anymore.

And it was a strange mixture of a performer

enjoying the audience, liking the film, and at the same time being a bit sad

about it.

Time's gone by. Alana was asking me a question earlier about your stunts.

Well, there was a section of That's Entertainment that was devoted to all

the marvelous stunts you did in so many of the films. Now, I want to know, how

did they let you get away with doing these?

I was a little nutty in those days, but also, if you're a dancer, you move in a

certain way, and I would have loved to have Stuntman do a lot of those things.

As a matter of fact, I never did any of the horseback riding.

Stuntman did that because I could never handle a horse very well.

When I had to and I did the dialogue, I'd do it, but I was scared to death all

the time.

But, you know, I started out as a gymnast, as far as the dancer, and the

stunts weren't that hard.

But the studio was very careful about their properties, you know.

In those days, we were all like baseball players, you know. We were under

contract and we were owned and traded and put around.

So we weren't supposed to do stunts.

Here's another sequence from Vance Entertainment.

The voice is Fred Astaire's.

Kelly was forever breaking rules Though the studio often tried to stop him gene

insisted on doing his own stunts His bosses always seemed to find out about

it after the scene had been shot But audiences loved the sight of gene

himself flying through the air and film after film

I think that you'll probably be doing a lot more of those dangerous stunts. I

hope you don't get hurt, Gene.

I hope not.

It's good to see you. Thank you. Pleasure. Thank you very much. It's nice

talking to you. So nice to see you.

Dancing and singing in the rain.

And the motion picture musical owes him a great deal.

The way you wear your hat The way

you sip your tea The memory of all that

No, no, they can't take that away

from me The way your smile just beams

The way you sing off-key The way you haunt

my dreams No, no, they can't take that

away from me When he starred in a series of musicals with Ginger Rogers,

they quickly became the most popular dance team in the history of motion

pictures. But for Fred, as an individual, It was only the beginning of

a screen career that would delight several generations of moviegoers.

Ladies and gentlemen, Mr. Fred Astaire.

Fred, I wanted to ask you, when I saw the film tonight, it must have brought

back a lot of memories for you and a lot of hard work. I know that you made

things look simple, but you must have stayed up a lot of hours rehearsing.

Well, that's a fact.

You know, it takes a long time to prepare dancing numbers. You come into

the studio some, oh, like day after day, and you get no ideas.

fool around and all of a sudden something comes to you and it takes an

awful lot of time that's true there's one thing i'd love to ask you and i know

it's boring because probably hundreds of people have asked you this but how did

you do the in the royal wedding how did you do the dancing scene on the walls

and the ceiling well uh no it was a very complicated uh

arrangement because the room had to turn you know it's like a room about this

size it was actually And this whole thing was built for this purpose. The

whole room had to turn upside down and the camera with it. And when I was

on the ceiling, the ceiling was down here.

You understand what I mean?

Yes. Very clear.

I'm sure I'm telling this right. And the side wall was down here always.

And when getting, in other words, what you see is the room standing still

and me.

going up around it, but it's just in reverse.

But the room actually rotated.

The room rotated, and I had to meet it as it came down.

It's, well, that's... I think we better see it to explain that. How long did it

take you to shoot that?

Well, it took about, it was about three or four weeks of preparation, and they

had to build that thing.

And I had to work after I got the routine set and everything. I just...

Can't remember. It took about four or five weeks to get the thing.

Fred and director Stanley Donnan collaborated on this mind-boggling

routine from Royal Wedding.

Movie buffs are still arguing about how it was done.

Donald O'Connor. Hi, Donald.

Sit down, sit down. How you doing? Good to see you, Donald. I thought I'd come

over here because your program's pretty dull.

Please sit down.

Sit the dull. Thank God you did.

But don't you think that's something, what did I say?

Whatever it was, do you think I'm right?

Absolutely. I've been over there listening to you. You were at Metro in

what, two films, weren't you, or more?

What? Were you at Metro more than two films?

Actually, it was just, let's see, I Love Melbourne, Singing in the Rain, and that

was it. Two films. Just the two films.

Singing in the Rain is my favorite musical, and Fit as a Fiddle with Donald

and Gene Kelly is one of the best numbers in the film.

I think we need something like this now. It's thrilling, especially for me to see

something like this. I wasn't around.

I didn't know it. I came in the tail end of that era.

And it's something that's absolutely thrilling. We need it today after all of

the problems that we have about politics and what have you.

I can agree with you there. I think it's going to be a tremendous success. Well,

I don't know.

They're going on reviving a whole lot of the stuff they have.

uh in stock there i mean they can do probably 10 more of it it's a question

you know how many how long the nostalgia bug will go on i don't know the

nostalgia bug will be around as long as that's entertainment is on the screen

the voice is gene kelly's the gimmicks fred used were exciting and fun but his

talents were so extraordinary that you could easily get along without them this

is the stair i love to watch with a lovely partner like centuries

a simple setting, a marvelous song by Howard Dietz and Arthur Schwartz, these

are the only ingredients Fred would need to create a classic moment.

Dancing in the Dark from the Bandwagon.

We'll be back with That's Entertainment, 50 years of MGM, in just a moment.

Ladies and gentlemen, Miss Liza Minnelli.

The first studio I'd ever been inside was MGM.

I can't really say that I grew up here, but I know that for over 10 years I used

to race like crazy after school to get down here and visit whatever set my

mother and father were working on.

I saw something tonight that was really funny to me. What was your first film at

MGM? You really started at MGM in a film.

Well, the first thing I ever did... George, my whole career is a comeback.

The first thing I ever did was Van Johnson and Mama at the end of The Good

Old Summertime.

Supposedly had a child, and the last shot was they brought... this child

forward you could tell there was real talent there total attention yeah but

i'll tell you why i mean they dressed me all up anyway the shot was that it was

mama and um van and they picked me up at the end and it was a close-up of three

people the family terrific but they dressed me properly now i

had always been taught by my father and by my mother that i was a lady from the

minute i was born

The only thing they forgot in the whole wardrobe, I mean, I had things, I had

this, I had that, I had a hat, I had another parasol. I don't know.

It was a little pair of panties. Oh, no.

So when Van Johnson picked me up, all I can remember is a rather cold hand, you

know, on a rather private place and thinking, something's not

right.

In the very last shot, For the good old summertime, they needed a little girl to

play the daughter of Van Johnson and Mama.

Well, guess who got the part?

Oh, there she is, folks.

What personality!

It's no wonder I didn't get any billing.

I asked your father the same question I asked you, and I said, what would it be

like to work with Liza, do you think? He said, what do you mean? I said, well...

Would it be a little bit difficult to be objective?

He said, no. He said, I was in love with Judy Garland. He said, and I directed

her.

And I think that that should be something really all of us would look

forward to seeing, because Vincent has such incredible talent. And I really

started.

My whole career started from a film that Vincent had seen, and he brought me to

Hollywood with my South American suit and oil in my hair.

He had my hair bleached. I know. I remember. I was there.

Indeed.

Well, see, the thing is, George, is that he made a woman out of Mama.

In other words, she had been playing little girls, and she'd been playing,

like, ingenue roles.

And he turned her into a young woman.

And I look forward to his influence on me as

a public figure.

Has he helped you a lot now?

for the for the first few things have you did you yeah i always check with him

before i do anything i have a feeling though you check with yourself first i

mean i think that yeah well he gave me that too and so did mama i checked with

myself then i think about mama then i asked daddy you have your own style

which is which is incredible it's a it's a combination of uh of a lot of things

but mainly it's you

Thank you. I've always felt that you have some quite special, different

quality that sets you apart.

And that's the marvelous thing, because otherwise, people would try to compare

you with your mother.

And you've done it all on your own, which I'm sure if your mother was here

today, she'd feel the same way, too.

Yeah, I hope so. I wish she could have been here tonight.

She would have loved it.

Summer Stop was Mama's final film for MGM.

Her last days of shooting here were devoted to this number, which a lot of

people, including myself, feel was one of her very best.

Forget your troubles, come on, get happy You better chase all your cares away

Shout hallelujah, come on, get happy Get ready for the judgment day The sun

is shining, come on, get happy The Lord is waiting to take your hand Shout

hallelujah, come on, get happy.

We're going to the promised land.

We're heading across the river, cross your sins away in the tide.

It's all so peaceful on the other side.

Forget troubles, come on, get happy.

You better chase all your cares away.

Shout hallelujah, come on, get happy. Get ready for the judgment day. Forget

your troubles. Come on, get happy.

They shook hands away.

Hallelujah. Get happy.

For the judgment day.

The sun is shining. Come on, get happy. The Lord is waiting to take your hand.

Shout hallelujah. Come on, get happy.

We're going to be going to the promised land.

Shout hallelujah. Come on, get happy.

You better chase all your cares away.

Show Boat is one of MGM's great musical classics.

It starred Katherine Grayson, Howard Keel, Marge and Gower Champion, William

Warfield, and the beautiful Ava Gardner as Julie.

David Gardner has joined over 50 other MGM stars to help celebrate Metro-Golden

-Mayer's golden anniversary and to attend the charity world premiere of

That's Entertainment.

Hollywood hasn't seen an evening like this since the opening of Gone with the

Wind. Sammy Davis and Liza Minnelli are the co-hosts for this evening's

entertainment. The audience is paraded along a red carpet leading from the

theater two blocks away to the grand ballroom of the Beverly Wilshire Hotel

in Beverly Hills. And now an historic event is about to take place.

The MGM clan is gathering.

We're going to have you meet some chums.

First of all, I have the good pleasure of introducing to you Miss June Allison.

Ladies and gentlemen, Miss Adele Astaire.

Ladies and gentlemen, Mr. Fred Astaire.

George Vance.

My champion.

Mr. Jackie Cooper.

Mr. Jack David.

Mr. Dick Lamar.

Mr.

Buddy Epson.

Mr. Glenn Ford.

And Miss Zaza Gabor.

Ladies and gentlemen, Miss Ava Gardner.

Mr. George Hamilton.

Mr. Gene Kelly.

Miss Lillis Kerr.

Miss Lillis Kerr, ladies and gentlemen.

Miss Janet Lee.

Ladies and gentlemen, this march remains.

Mr.

Dennis Morgan.

Ladies and gentlemen, the fabulous Nicholas Brothers.

Miss Margaret O'Brien, ladies and gentlemen.

Ladies and gentlemen, Miss Virginia O'Brien.

Ladies and gentlemen, Miss Donna Reed.

Ladies and gentlemen, Miss Kelly Reynolds.

Ladies and gentlemen, Miss Ginger Rogers.

I believe it.

Ladies and gentlemen, Mrs.

Alexis Smith.

And her very handsome leading man, Mr. Craig Stevens.

Ladies and gentlemen, Mr. Jimmy Stewart.

Mr.

Johnny Weissman.

Ladies and gentlemen, Mr. Russ Tablet.

Ladies and gentlemen, Miss Audrey Byrne.

Ladies and gentlemen, Miss Elizabeth Taylor.

Ladies and gentlemen, Mr. Keenan Witt.

Come on out here.

Come on up here.

Come on up here.

Are you crazy?

Get on up here.

Ladies and gentlemen, Miss Shirley MacLaine.

Mr. Ronnie McDowell and his companion, the great grandson of Lassie.

Not since MGM's legendary luncheon in 1949 has such a group of stars from one

studio banded together to have their picture taken.

What is happening here tonight will never happen again in Hollywood, or at

least not in our lifetime.

The great studio dynasties of the past no longer exist, and no one could afford

to assemble such an incredible array of talent today.

Even for Hollywood, this is a magic moment.

And then we're going to have Kenner listen to some music and whatever

happens, happens.

Ain't no show if you can't follow what we just saw on the screen. You know

that.

There it is. Everybody straight up.

I love it. The one guy, somebody asked me, how come you doing this? I said, I'm

the little boy in the tree that was going, here come the showboats.

They wouldn't even let me on the lot.

You got it?

You got the picture, gentlemen?

One more!

All right.

One more?

You got it?

Can I have the nicest round of applause?

Well, Alana and I hope you've enjoyed this extraordinary evening as much as we

have. And we want to thank you for helping us celebrate the launching of

Rats Entertainment and MGM's 50th birthday party. Hey, George, do you

think we can do the next 50th birthday party?

Quiet, Gracie. Good night, everybody.

Good night.

That is winging along or a dance with a touch of romance in the art

that appeals to the heart.

That's entertainment.

Admit we're a git and we'll go on from there. We played a charade that was

lighter than air.

A good old-fashioned affair. As we sing this finale, we hope it was up your

alley. No doubt.

Like you get in Macbeth, no ordeal.

Like the end of Camille, this goodbye brings a tear to the eye.

The world is a stage. The stage is a world of entertainment.