Meet Me in St. Louis - Wikipedia
Meet Me in St. Louis is a musical film about four sisters living in St. Louis at the time of the Mrs. Anna Smith; 6 John Truett; 7 Others; 8 Dialogue; 9 Taglines ; 10 Cast; 11 See also; 12 External links . They'll never tear it down, will they?. A classic musical adapted from the stories of Sally Benson, Meet Me in St. Louis was directed by Vincente Minnelli and starred his future wife, Judy Broken Tears: At Christmas, while Esther is singing "Have Yourself a Merry Little income alone is apparently enough to support a family of seven (plus a cat), and. Judy Garland (center) starred in the movie musical Meet Me in St. Louis. Meet Me in St. Louis, along with dozens of other songs for MGM and . "My favorite Christmas memory was of being 6 or 7 years old, and my.
Margaret's mother had decided with justification that the studio had been working her daughter too hard - so she took it upon herself to take the child away from the studio for a few weeks.
Naturally this caused quite a stir at the studio - upset the production schedule, and added thousands of dollars to the budget click here to read memo by Dave Friedman dated this day which begins the "layoff" of the company due to Margaret O'Brien's unscheduled absence which last through early February and click here to read related memo.
The children weren't the only ones causing delays due to illness, Mary Astor and Harry Davenport were both ill as well - and as noted on the previous page, many delays were caused by accidents which was normal for any film.
And there you have it - Minnelli's first chance to show what he can do as a director - which he does to meticulous detail!
Minnelli's use of color and movement in the film is nothing short of genius. In an interview, he stated "You have to have great discipline in what you do. I spent a great deal of time in research, and finding the right things for it. I feel that a picture that stays with you is made up of a hundred or more hidden things.
There are so many little things filling out the backgrounds - yet they blend in naturally so as not to look to over done. Now here is a "man's" room of the time.
Filled with muted colors and all kinds of masculine brick-a-brack. Minnelli raided the MGM props and costume departments, looking for just the right things with which to clothe them and surround them.
In fact, Minnelli was such a perfectionist that he drove practically everyone crazy! At which time he would rehearse and rehearse with them until he found everything to be perfect, then filming would finally begin. This was especially maddening for Judy. Judy had just this side of a photographic memory. People still speak with awe about the way in which she could read a script for the first time and speak it like she had rehearsed it for months.
The same with music. She would hear a song once or twice on the piano, then sing it right back to the composer.
The Story Behind 'Have Yourself A Merry Little Christmas' : NPR
A TRUE natural talent. So, just like the kid in school who's to "fast" for the class, so Judy was too "fast" for Minnelli. And it drove her crazy. She would try to get out of the studio, only to be stopped at the studio gate by Minnelli and summoned back to the set for more rehearsals. Although it seems that the production was mired in chaos, there were wonderful times too. Once Judy saw herself in the dailies she realized that not only was Minnelli making her the most beautiful she had ever been, but he was also making a beautiful and touching film.
The credit for Judy's new appearance doesn't belong solely to Minnelli. The bulk of the credit goes to "Dottie" Ponedel. Minnelli had specifically asked for "Dot" to be Judy's make-up artists. This was a first at the time. Up to this time, all of the major make-up artists who worked on the stars were men. Sure, there were women assistants, but never before had one woman been given the task of making up a star of Garland's caliber.
Dottie was a "no nonsense" type of person, and it's been reported several times that if there were no cup of water around, Dottie would simply dip her make-up brush in the nearest cup of coffee and continue!
Meet Me In St. Louis was the first time Judy and Dottie worked together. Dottie reportedly looked at Judy's inserts for her nose and said "What are those? From this moment on, Judy insisted that only Dottie would do her make-up in all of her subsequent films. As Judy's appearance blossomed so did her acting.
Although still a high school girl, the role of Esther Smith is light years away from the characters Judy had previously played. Instead of a peppy "teen" or "juvenile", Esther Smith is a young lady on the verge of womanhood.
Meet Me in St. Louis () - IMDb
And Judy plays her with a subtleness and a sort of softness that effectively makes you believe that this character is real. That her emotions are real. Even though the film is a "musical" there are many wonderful scenes that rely on Judy's incredible comic timing. Once again, very subtle and never once forced.
This is the film in which Judy completes her transition to mature leading lady. From here on out, Judy would always be presented as a beautiful and desirable woman.
Louis has a look and feel all its own. Minnelli and his crew took great care in creating this singular palette. For the scene in which Esther and John go through the house turning out the lights, Minnelli went to great pains in creating just the right mood. To achieve the right multiple lighting effects when Esther and John turn out the lights, Minnelli had the technicians use everything from conventional dimmers to actual window blinds.
The scene is beautifully effective in showing the deepening of Esther and John's romance as the rooms slowly darken. A very happy accident occurred when filming the lights from the kitchen beaming onto the nighttime snow.
This beautiful shot actually was an accident. When it was filmed by the Assistant Director, the word came back from the lab that film wasn't exposed properly. Happily, the beauty of the scene remained intact. Louis had it's first preview on June 5, and a second on July 3, And that's when more heartache came in.
Some executives at the studio wanted the entire Halloween sequence cut - they thought it slowed down the picture and didn't have anything to do with the plot.
Arguing, as Minnelli would state later, that the sequence actually underlined the entire crux of the story - the reason WHY this family would want to stay in St. Louis - it was their HOME. Luckily, this wasn't to be. The film had it's official premiere in St. Louis, Missouri on November 22, Running minutes, it was a smash!
No one objected to the Halloween Sequence, and audiences everywhere fell in love with the Smiths of S. Judy Garland's status went from "star" to "superstar" - and there was no denying that while Margaret O'Brien was cute and funny and quite the scene stealer - the REAL star of the picture was Judy.
Now, in her first color film since The Wizard Of Oz and one song in Thousands Cheer inJudy Garland blossomed into a beautiful, talented young woman - the epitome of what young girls everywhere wanted to be - and what the boys overseas were fighting for.
When it was released inMeet Me In St. Selznick production that MGM owned the release rights to, and would eventually own the entire film. The film would go on to be nominated for 4 Academy Awards: It wouldn't win any Oscars, but it did win a lasting fame and place in film history that few films of would be able to achieve. It's also considered one of, or THE, best efforts of many of the people involved. It's the film that launched Vincent Minnelli on his stellar directing career as the greatest director of film musicals.
Louis for the "Show Time" radio program. As charming as those film are, none have that special magic that Meet Me In St. Having finally made up his mind about his feelings for Rose, Warren decides to make them known by bursting into her house after midnight on Christmas morning and loudly declaring in front of her entire family that "We are to be married at the earliest opportunity and I don't want to hear any argument about it!
Esther and Rose are entirely certain that Lucille is both of these, despite never having met her.
They rationalize their assumption by the fact that she's "an eastern girl", but it's more likely that they relish in the idea of her being a snob because she's in the way of Rose's relationship with Warren. The ending hints that Rose, Esther, and Lucille become this, as Lucille is implied to marry Rose and Esther's brother Lon and is present with the rest of the family at the fair. It really doesn't hurt that Lucille herself is much more interested in Rose's brother Lon.
Louis, and has a full-blown meltdown where she runs out of the house in tears and starts destroying all the snow people they had madebecause she can't take them with her to New York. He sings and dances! Louis", he's more cheerful and optimistic than his son, he knows how to comfort Esther when she doesn't have a date to the dance, he's fun-loving, gives the younger girls advice on how to make the flour stick to their trick-or-treat victims, and he is more tolerant and willing to humor his grandchildren than their father is.
The Smiths' Christmas is under a pall due to the family's imminent move to New York. Ultimately subverted when Mr. Smith announces they're staying in St. Louis after all, followed by Warren proposing to Rose. Almost everybody gets some snark in at least once. Grandpa uses it very effectively to comment on the entire family keeping a secret from Mr. It's enough we're letting him work hard every day to support the whole flock of us.
He can't have everything. Esther, with her reddish-blonde hair, is a bit tomboyishvery protective of her sisters to the point of beating up her crush because she thought he hurt one of themand a Spirited Young Lady. Inverted, as the girl is the main character and sings about "The Boy Next Door. They share an incredibly lovely duet called "You and I" just to drive the point home. Have a Gay Old Time: Rose is not pleased with Esther drawing attention to her relationship with Warren by trying to make sure everybody's out of the room when he calls, and haughtily declares, "When you get to be my age, you'll realize that there are more important things in life than boys!
She also claims she doesn't care about Warren's phone call, but then starts crying when it seems that she's missed it. Jerk with a Heart of Gold: He can be, as he puts it, "a little bombastic" when things aren't going his way. But it's also shown very clearly that he genuinely loves every member of his family, and this scene reveals what a softie he can be: Oh, Lon, really now. What else am I to think?
The Story Behind 'Have Yourself A Merry Little Christmas'
My eldest daughter is practically on her honeymoon and everybody knows about it but me! In view of this family's refusal to let me in on their little intrigues, I'll handle the telephone in my own way! From now on, I'll take all incoming calls! Rose, you answer that.
Smith's income alone is apparently enough to support a family of seven plus a catand pay for a live-in maid, in a house that's large by almost any standard, with enormous, luxurious rooms, good furniture, lots of decor, a large yard, etc. The family doesn't seem to want for anything, and doesn't appear to be struggling; they host parties, attend parties, wear good clothes, send the oldest to college, go to the St.
Louis World's Fair, etc. Yet, when Agnes asks why they wouldn't be living in a house in New York, Rose replies, "Rich people live in houses. People like us live in flats", implying that they're considered middle class at best.
It's not clear if this discrepancy is because the creators just couldn't be bothered making them appear less well-off, or if it's a justified artifact of the setting St. Louis inwhere the middle class might have had a much higher standard of living than they have on average nowadays. Not to mention that New York may have had a much higher cost of living than St.
Louis, just like it does today; Rose may have only meant that they're not rich compared to people who can afford houses in New York. Why don't you sit on stage with me? Judy, you shouldn't kid an old friend. I'm not kidding, I felt a little light-headed. Isn't Roger coming east to play for you? He can't, he's in production with something for Arthur and they're right in the thick of it.
I know you're terribly busy, but it's only for three weeks. I would so love it if you would. How much will I have to pay you?
She laughed that marvelous Judy Garland laugh. I'll talk to Sid about it. Sid Luft was her manager and soon-to-be third husband. I liked him immediately. That was a watershed moment in Judy's career at a time when she felt threatened and rejected. Sid thought the time was ripe for her to get away from the cameras and back to her roots: He contacted the bookers, and he and Judy were gratified at the immediate interest.
The British had always deeply loved her, and her four weeks there quickly sold out. Sid felt it had to be the New York Palace. Judy and Mickey Rooney, in their early juvenile "Let's put on a show!