and Chorus "Leave It to Jane" (Reprise) - MGM Studio Orchestra and Chorus/June Allyson/Ray McDonald "Look for the Silver Lining" - Judy Garland "Sunny" - Judy Garland/MGM Studio Orchestra and Chorus "Who?" - Judy Garland/MGM Studio Orchestra and Chorus "One More Dance" - Lucille Bremer (Dubbed by Trudy Erwin) "I Won't Dance" - Van Johnson/Lucille Bremer (dubbed by Trudy Erwin) "She Didn't Say Yes" - Lee and Lyn Wilde, aka "The Wilde Twins" "Smoke Gets in Your Eyes" - Cyd Charisse/Gower Champion "The Last Time I Saw Paris" - Dinah Shore "The Land Where the Good Songs Go" - Lucille Bremer (dubbed by Trudy Erwin) "Yesterdays" - MGM Studio Orchestra and Chorus "Long Ago (and Far Away)" - Kathryn Grayson "A Fine Romance" - Virginia O'Brien "All the Things You Are" - Tony Martin "Why Was I Born?" - Lena Horne "Ol' Man River" (Reprise/Finale) - Frank Sinatra/MGM Studio Orchestra and Chorus Surviving Judy Garland outtake A video of an excised musical number survives from this film, although part of the soundtrack has been lost. Judy Garland, as Marilyn Miller, sings "D'Ya Love Me?" to two clowns in a circus setting, representing a scene from the Broadway musical Sunny. Soundtrack album The film was one of the first motion pictures to have a soundtrack album released concurrent with it arriving in theaters. The soundtrack was produced by MGM Records, originally released as four 78-rpm records featuring various artists and songs from the film and cover artwork by Lennie Hayton. The album was later released on LP. No official authorized version has yet been released on CD, but several unauthorized versions have appeared on the market. Rhino Entertainment currently owns the rights to issue an authorized CD of the soundtrack, under license from Turner Entertainment; in the past, MCA Records and Sony Music Entertainment held such rights. Reception Critical response Bosley Crowther, reviewing the film for The New York Times, wrote: "Why did Metro...have to cook up a thoroughly phoney yarn about the struggles of a chirpy young composer to carry the lovely songs of Jerry Kern? And why did it have to do it in such a hackneyed and sentimental way as to grate on the sensibilities of even the most affectionately disposed?" Variety began its review with a similar sentiment: "Why quibble about the story?" In a retrospective review, American film critic Pauline Kael commented, "This monster thing, spawned