MEET ME IN ST. LOUIS ( TV version)
Based on the characters from the MGM hit of the same name, this TV pilot is about one day in the Judy Lang in Meet Me in St. Louis () Shelley Fabares and Michael Blodgett in Meet Version of Meet Me in St. Louis () See more ». Meet Me In St. Louis Jane Powell Patti Duke TV DVD for sale. Meet Me In St. Louis ~ () ~ CBS-TV ~ Tab Hunter, Jane Powell, Walter Pigeon, Patty Duke, Myrna Loy, Lois Nettleton, Jeanne Crain, Reta Shaw.
Smith ignorant to the goings on and having him hang up the phone when it first rings. They also took out scenes at Princeton University and a Smith family visit to their grandparents in Manitowoc, Wisconsin. Some other changes made were: Smith's decision NOT to move the family to New York from immediately after the family's objections to the night before the planned move Christmas Eve heightening the tension; Removing a romance between Rose and Colonel Andrews renamed Darly in the final film -only a small scene remains that hints of Rose's attraction to him;Removing an announcement by Tootie that she did not want to go to the fair; Changing the hair color of Rose and Esther from blonde and black to both being auburn; Removing a blackmail subplot involving Esther and finally, they divided the film into four segments representing the four seasons of the year Sally Benson's book had been 12 chapters, one for each month of the year.
Name changes were made too, sometimes for legal reasons. Benson objected to "Truett".
Meet Me in St. Louis - Wikipedia
Louis Street" even after the backlot was torn down. Warren Sheffield originally was named Warren Sheppard, and for legal reasons the Waughops became the Braukoffs. The real life name of the maid was indeed Katie, and the real-life Katie was alive and well and provided a signed release to the MGM legal department, giving the "ok" to use her name.
The ketchup tasting scene that opens the film is an very expanded version of a simple paragraph in the book; In the book Rose gets mixed up with a middle-aged man; Mrs. Smith loses her temper; Tootie's ride on the ice wagon was originally a ride on a water-sprinkler; The cakewalk scene is danced in the book by Agnes, in a man's hat Sally Benson based the Agnes character on herself ; The Halloween sequence is in the book although it's Agnes who takes on the Braukoffs or Waughops ; A slight reference in the March segment of the book to a trolley gave birth to the entire "Trolley Song" sequence; The scene of Tootie and Agnes coming down the stairs during Lon's farewell party and Tootie singing "I Was Drunk Last Night" also comes from the book; Mr.
Smith's decision to move the family to New York, and the subsequent tension it creates for the final half of the film, is from a small three-page episode in the book; and finally, it's Agnes who ends the book by saying "I can't believe it.
Right here in St.
With the script in place, producer Arthur Freed turned to Hugh Martin and Ralph Blane to compose the original songs for the film. Still, they hadn't obtained the success they wanted so Meet Me In St. Louis was their big chance. Freed felt strongly enough about their abilities to ask them to write new songs for Meet Me In St.
Louis, to help complement the use standards of the day. Freed also took a chance on hiring Vincente Minnelli to direct. At first Minnelli seemed like an odd choice to helm such a costly and risky project. Although to Freed, it probably seemed like the logical choice. Known for his use of composition and his unusual flair for design, Minnelli was an inspired choice.
Click here for a biography of Vincente Minnelli. Many at the studio felt the story had not plot and that the film would be a flop. It was even referred to by some as "Freed's Folly". But Freed stood by his choices and went about the tasks of pre-production on the film, including the casting of the major roles. Louis she was not happy. She feared, and with good reason, that the film would set her career back.
She had finally been allowed to grow up on the screen. In For Me And My Gal she was given a real romantic lead in newcomer Gene Kelly, and she was the undisputed star of the film, with her name alone above the title for the first time. After that she appeared in Presenting Lily Mars which was the first time the studio made a real effort to make her look glamorous, even if it was mainly for the finale at the end of the picture. She was seen for the first time with her hair up and looking quite beautiful.
In this film, Mickey chased Judy rather than the other way around, and she was portrayed not as a teenager deep in puppy love, but as a lovely young woman. Now, after reading the St. Louis script, it appeared as though the studio wanted her to revert back to playing a high school girl with a crush on the boy next door. Judy was dating Joe Mankiewicz at the time, and he was also instrumental in allowing her to see herself as not just a little girl with a big voice, but a desirable woman.
At 22 years of age, Mankiewicz reasoned, Judy Garland had the talent and ability to graduate to more adult roles. And Judy not only agreed with it, but with Mankiewicz in her corner, for the first time she summoned up the strength to actually resist the studio for her own benefit. Judy went to L. Mayer and complained, and for once he sided with her. He went to producer Arthur Freed to discuss the matter, but was effectively swayed in the other direction by Freed, director Vincent Minnelli, and most importantly the reigning studio storyteller Lillie Messinger.
Once Lillie got a hold of a story, no one was immune. She was able to effectively point out the charms and magic of the story.
Mayer loved a good sentimental "all-American" story and this had everything he loved. Next Judy went to see Minnelli on her own, thinking that she might be able to persuade him, since she was one of MGM's biggest stars, and he was a novice director. Minnelli had directed only two films before, neither was a big financial success.
The best of the two, Cabin In The Sky, although a beautiful film that critics liked, was an all-black film and in that meant a limited audience. Judy was sure that not only would St. Louis be a mistake but that she could persuade Minnelli that it really wasn't very good! In his memoirs, Minnelli reports what happened when Judy came to see him about the film: She later told me that she'd come to see me thinking I would see it her way.
I see a lot of great things in it. In fact, it's magical. Judy may have been going on an early draft of the screenplay which was, according to most accounts, not very good. But it was shaped up by the time rehearsals began.
And since Mayer switched and sided with Freed, and Freed stood behind Minnelli, Judy had no choice but to acquiesce. Rehearsals began on November 11, and Judy did not exactly throw herself into the role. She was used to the more contemporary, "wise cracking" dialog. When filming began almost a month later on December 7, things weren't much better. In fact, it's reported that when Minnelli was away from the set, Judy would sometimes entertain the cast and crew with a devilishly satire of Minnelli centered around his "perfectionism.
But Minnelli again acted by Judy has other things in mind and suggests the actor try saying his lines with a different inflection. Taken aback, the actor tries it that way. The Minnelli suggests a different way, then another and yet another until finally the bit actor is reduced to tears of frustration and confusion.
This story illustrates how funny Judy could be when she wanted to be her wit is legendary in Hollywood and she was known as the perfect mimic. This could also be seen as her way of dealing with a situation of which she had no control and was not happy about.
Judy had a practically photographic memory when it came to lyrics and script, and she resented Minnelli's constant rehearsals and multiple takes.
Judy usually got her lines and hit her marks perfect the first time. But with Minnelli, not only was he insisting that she rehearse and endure long, multiple takes he didn't like the idea of using the stand-in for much of thisbut he was breaking down her confidence. He was exacting but in a quiet way. Her frustration grew as she began to question her merits as an actress, feeling like she wasn't doing anything right. She went to Freed to complain, who told her to bide her time and give him a chance.
She also reportedly complained to Mary Astor, who flatly said to Judy: Suddenly, under his direction, Judy not only looked more beautiful and vibrant than ever before, but Minnelli was getting a beautifully realized understated performance from her. And whatever qualms she had about being a "teenager" or lost in the ensemble were put to rest as well.
Soon Judy was entrusting Minnelli with her trust. But that trust came with a price. Judy would be absent from the set of St. Louis for close to 3 weeks. Initially this was due to a lack of interest in the project.
But aside from that, Judy was beginning to show signs of the strain that the previous years of overwork, malnutrition, and medications had caused. She was going through the ups and downs that addicts begin to experience when the drugs begin to take over. Judy was never a morning person, having been raised in a Vaudeville atmosphere of late nights and late mornings.
But at MGM, she was expected to be at the studio usually at 5 or 6am. And she had other commitments as well: Radio appearances; Personal appearances for the war effort; and making records for Decca Records.
All of this, added to her fragile psyche and her low self esteem, created a time bomb ticking away just waiting for the time to explode. Mankiewicz saw this and suggested she go to therapy to help solve her deep emotional issues and restore her self worth. She agreed and went.
But when the studio found out, they put a stop to it - not believing that one of their stars was "crazy" the world of psychoanalysis in the 's was still considered suspect and charlatan by nature.
In a few short years the studio would find themselves paying for Judy to continue treatment. Beginning in and ending inJudy Garland changed from a nervous insecure young lady to a glowing, confidant woman in command of her talent and happily exploring and learning all avenues of that talent, then back again to an insecure young lady. Louis, Kay Thompson and the rest of the legendary "Freed Unit.
Arthur Freed had been assembling a platoon of personnel, mostly from Broadway, to populate his little kingdom. These people were bright, young and talented individuals who would change the look and style of the movie musical forever. For Judy Garland, being in this atmosphere was exciting and exhilarating. She was allowed to flourish and experiment with all aspects of her performing.
Minnelli was perfect at this time to help guide her into his world of savvy, articulate and witty people. And she would do some of her best work during this time and was, for the most part, quite happy. Louis, and although many people thought the union was all wrong, for Judy it was the right man at the right time. At least as far as her career goes. Kay Thompson was a new addition to the Freed Unit, one of the many transplants from Broadway.
Kay would take Judy under her wing and develop her singing style even further than her mentor, Roger Edens had. This would be Judy's closest friendship to any woman in her entire life.
Kay had a sophistication and style that was classy, brassy, and highly stylized. The affair with Joe Mankiewicz over he had evidently gone to the studio to argue that Judy needed professional psychiatric help and ended up walking out on his contract because Mayer and Judy's Mom wouldn't listenJudy put all of her energies into St. Louis and her relationship with Minnelli. The end result is several wonderful performances given by Judy, most of them under Minnelli's direction.
Judy Garland wasn't the only performer on the set causing problems. If you look at the timeline to this site, you'll see in great detail the constant barrage the company was under due to one illness or accident after another. As with so many films, accidents happen.
Louis was no exception. When things got mired in molasses, conductor Donald Yap and choreographer James Smock cranked up orchestra and chorus for a repeat of the signature tune, "The Trolley Song.
Meet Me in St. Louis : posavski-obzor.info
Rarely, if ever, has a film originated so many hits: To deliver the songs, producer Martin Wiviott has employed flesh and blood singers — especially boy next door Ed Evanko, this season's brightest new star. The handsome baritone has it all — range, timbre, presence and power that the tent can't contain. As his girlfriend we have Hollywood's Jane Powell, whose soprano is equally melodic, if considerably less sizable. I, for one, feared that I wouldn't be able to suspend my disbelief enough to accept the year old matron as Evanko's year old lovebird.
Happily, however, from my third row seat her remarkable face and figure seemed equal to the challenge. But I could have done with some less stylized fluttering. Though he encourages Joan Carvelle as her sister in much of the same overposturing, director Stuart Bishop has staged the show with commendable feeling for the period. In a particularly nice touch, Bishop opens many scenes with a ferrotype picture freeze. The production numbers exhibit his designer's feeling for color.
I also liked Erik Rhodes as the put-upon father and Dorsey Vogt as the vinegarish maid. But grandfather Clyde Miller squashed some good lines by bellowing declamations. Photo by Sally Marks. The whole company has gotten into the act. From the front office on back, the men, including producer Martin Wiviott, are decked out in turn-of-the-century plus fours — that is, knickers — and wildly patterned stockings.
It's sort of overkill. The show, with its hit songs familiar from the time of the Judy Garland film and its picture of harmonious family life, breathes a different kind of atmosphere scented with wonderful memories of a gentler time. In the center of the nostalgia bit is the show's star, petite Jane Powell, whose contemporaries looking down from their full decades of living marveled at the miracle of her youth.