A Thought on a Moment in Meet Me in St. Louis (Vincente Minnelli, USA, ) | First Impressions
Jul 6, Meet Me in St. Louis My Favorite Halloween costume - Tootie. Meet Me In St Louis: Lucille Bremer and Margaret O'Brien Halloween Shots. In a lovely note on his memories of seeing Meet Me in St. Louis as a four year old in , writes, 'I didn't understand what was going on in the Halloween sequence. But then neither did (Margaret) O'Brien's character, 'Tootie'. Meet Me in St. Louis () on IMDb: Movies, TV, Celebs, and more The songs are perfect, the cinematography, the set direction, costumes, Little Margaret O'Brien plays Tootie, Judy's little sister in the film, who is a real standout . .. Judy Garland's matchless "Trolley Song" and Tootie's Halloween adventure in the.
Louis, Missouri in the early s. She originally published eight stories, but when they proved popular she wrote four more and published all twelve in a book called Meet Me in St. MGM bought the rights and turned them over to musical-producer-and-songwriter-extraordinaire, Arthur Freed. Besides bringing together two immense talents, Freed and MGM also played matchmaker on this movie: Garland and Minnelli fell in love during production of Meet Me in St.
Louis and were married in ! They had a daughter, Liza, and made four more movies together before getting a divorce in The movie begins in the summer ofopening on a very Victorian-looking filigreed illustration of an ornate, turreted, gingerbread mansion.
Meet Me in St. Louis (1944)
The illustration morphs into a sepia-photograph, which in turn morphs into a brilliantly Technicolor-ed moving image. Minnelli said that he wanted this film to look like a Thomas Eakins painting. MGM wanted him to use their pre-existing Andy Hardy street, but Minnelli persevered and they built an entire turn-of-the-century world on the backlot: As is typical for Minnelli, the art direction and the whole look of the movie is highly detailed, stylized, and gorgeous.
So keep an eye out for the sets, costumes, and color. For example, this bathroom appears only once in the film for a few moments, but look at how sumptuously striking it is!
Once the house goes from postcard to moving picture, we jump to the kitchen where Mrs. Anyway, eventually Esther, played by a luminous, grown-up Judy Garlandarrives home in a fetching tennis outfit. Please note the striped socks and long cap. The telephone is in the dining room, you see, and Esther would hate to have everyone hear Warren propose!
She is certain he is going to propose; why else would he call long distance? For more on why a long distance call is such a huge deal, read my History Through Hollywood: But back to St. She pauses on the front steps to surreptitiously surveil something wonderful next door: Rose is a good big sister, so she hurries into the house to alert Esther. They stroll onto their porch for some subtle stalking: He does make her look absolutely stunning.
And Judy Garland said that this was the first film in which she felt beautiful…She would request the makeup artist, Dotty Ponedel, who worked with her on this film, for every MGM movie she made after this.
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Rose and Esther go inside, too, and Esther tells Rose how she has arranged for dinner to be served earlier so that Rose can take her phone call in private.
Rose is not as grateful as Esther perhaps thought she would be: She dances a little, giving us a nice view of her two-layer skirt: And she closes the lovely song by closing the lovely curtain… Watch it hereplease. We continue to get lovely snatches of family life in the Smith household.Watch Meet Me in St Louis 1944 Online Free Movies
There is a brother, Lon, Henry Daniels, Jr. Tootie rides the ice wagon and is disturbingly morbid. You can watch the scene here. As Tootie delivers ice, Rose and Esther sing in the parlor in their underthings and coordinating dressing gowns.
You know, just like all sisters do in the afternoon. There were musicals in the Thirties, but much of the music was staged, performed by performers. Gradually, beginning perhaps with The Wizard of Oz, studios shifted over to free form musicals, where singing and dancing arose spontaneously from ordinary people.
Garland played a key role in the evolution of these musicals because of her top notch musical interpretations.
To get a feel for the development of the modern musical, you need to see Meet Me in St. Louis, and see other movies around this time period to get perspective.
State Fair copied the device of the opening song about the fair, passed around among the characters, but otherwise was distinct. Louis was inspired by the theme of the earlier non-musical State Fair in There is some free form singing, but much of it is tied to musical performances, so it is still mostly old form.
On the other hand, The Trolley Song is great fun, but the words are glaringly inconsistent with what you see on the screen. State Fair has a stronger story line, and a more elaborate, expressive dance number choreographed by Hermes Pan, during the Iowa song. There is more humor and more pathos. But it is essentially a light, escapist story, like Meet Me in St.
When I look at the two, State Fair makes me heartsick for the normalcy and decency of an America we seem to be losing, while St. Louis produces no such emotion, perhaps because it is so long ago, but mostly because it looks so artificial. Louis has Garland, the charming Margaret O'Brien, demonstrating her remarkable ability to cry on cue, and Marjorie Main, performing some delightful scenes. Some people love this movie, and these are probably why. And some people just go gaga over the theatricality of musicals, the color, dancing, music, even when there is little or no plot to hold it together.
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The movie opens with the main characters singing the title song. Gee, I wonder what's going to happen?
The suspense is killing me! Let's face it, Meet Me in St.
DVD Extra Extra: How ‘Meet Me in St. Louis’ nearly killed Margaret O’Brien
Louis is famous for its songs, especially the Trolley Song. Take out the music, and what have you? A movie without a plot, a slice of life story. Next year all our troubles will be miles away, Someday soon, we all will be together If the Fates allow What does this have to do with the movie? The song was first published in Without the music I would rate this movie a 3 out of 10; with it, a 5.
It is highly over-rated.