HAPPY HOLIDAYS!

<div class="separator" style="clear: both; text-align: center;"></div> <br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhIGLIeGpzU_McrW-jF1kC2hXk7diMBOmp2DzhBV4QwbYP9WYehHaBi_ymHulIVVsS51JisvBfbO2oF2Jhxi-f3tADp5DDGyKhaTp757ctM5gug6cyZPWWYzPNTe30OD3x348KatM2_Yg9/s1600/Meet-Me-in-St.-Louis-house-Winter%255B1%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhIGLIeGpzU_McrW-jF1kC2hXk7diMBOmp2DzhBV4QwbYP9WYehHaBi_ymHulIVVsS51JisvBfbO2oF2Jhxi-f3tADp5DDGyKhaTp757ctM5gug6cyZPWWYzPNTe30OD3x348KatM2_Yg9/s320/Meet-Me-in-St.-Louis-house-Winter%255B1%255D.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: large;">MEET ME IN ST. LOUIS</span></b></td></tr></tbody></table>One of the most charming and potent portrayals of Americana to grace the screen, <b>Meet Me in St. Louis</b> (1944) tugs at the heartstrings as powerfully today as it did 65+ years ago when it was crafted by MGM's "Freed Unit."<br /><br />The film's sparkling perfection is the work of producer Arthur Freed, director Vincente Minnelli, an incomparable ensemble cast, an ace artistic and technical team, songwriters Ralph Blane and Hugh Martin and...Technicolor.<br /><a name='more'></a><br />This is one of my all-time favorites...<br /><br /><b>Meet Me in St. Louis</b> was adapted from a series of reminiscences by Sally Benson that first appeared in <i>The New Yorker</i> in early 1942. Told from the perspective of five-year-old 'Tootie' Smith, Benson's memory pieces, though rich in warmth and humor, were light on plot and conflict. A more defined storyline was developed, the characters were strengthened and 17-year-old Esther Smith (played by Judy Garland) became the pivotal character. The plot evolved into a "year in the life" of an idealized American family and was comprised of vignettes set in each of the four seasons with its dramatic climax, a family crisis, set at Christmastime. <br /> <br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsj82o226JHaChOULsPpWonspNesiY1p0np_zHUEB3qA4H_YhlFLUbyG1eoSYWcPrhyphenhyphenYooKyN7BbpMFl-cf3MWzYWzQVD6_MFEB2jh2adjhdqFDvfdSPBa6_ygnyN-ziguJSqWyedNLFu_/s1600-h/judy+-+no+-+eakins+baby+at+play.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="143" id="BLOGGER_PHOTO_ID_5417563524708086562" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsj82o226JHaChOULsPpWonspNesiY1p0np_zHUEB3qA4H_YhlFLUbyG1eoSYWcPrhyphenhyphenYooKyN7BbpMFl-cf3MWzYWzQVD6_MFEB2jh2adjhdqFDvfdSPBa6_ygnyN-ziguJSqWyedNLFu_/s200/judy+-+no+-+eakins+baby+at+play.jpg" style="float: left; margin: 0px 10px 10px 0px;" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Baby at Play" by Thomas Eakins</td></tr></tbody></table>  The Smith family home at 5135 Kensington Avenue (Sally Benson's real childhood address) was the film's central interior and Minnelli made the decision to build a continuous set with interconnecting rooms, just like an actual house. He reportedly wanted the entire picture to have the look of a painting by Thomas Eakins, and art director Preston Ames' assignment was to recreate a St. Louis neighborhood, circa 1904, as evocatively as possible. Ames did so, creating a full block of Kensington Avenue (at a cost of 200,000 1944 dollars) on Metro's back lot.<br /><br />Focused on the film's visual look and intent on accurate period detail, Minnelli supervised every aspect of set and production design. He brought in top Broadway set decorator Lemuel Ayres and, in addition, spent time with Sally Benson who described to him every feature of her girlhood home. To handle costume design, he turned to Irene Sharaff, another recent Broadway-to-Hollywood transplant. Sharaff researched the historic era carefully, even using a 1904 Sears & Roebuck catalog as a reference.<br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsBY_Kmjgqocj_TEmeQTUg7CLVssTA1hjw0LzjZvcoObubscdOdo9Z64tJnM7LOHWZRuw0_CbDd9ixNTdwKNr4eaL7xCYYQjGBco-ASK-5p0IKwns_Eiea70KhT4mu4S4KfqvbG-QCMoJ-/s1600/meet-me-in-st-louis_snow_family%255B1%255D.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="141" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsBY_Kmjgqocj_TEmeQTUg7CLVssTA1hjw0LzjZvcoObubscdOdo9Z64tJnM7LOHWZRuw0_CbDd9ixNTdwKNr4eaL7xCYYQjGBco-ASK-5p0IKwns_Eiea70KhT4mu4S4KfqvbG-QCMoJ-/s200/meet-me-in-st-louis_snow_family%255B1%255D.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"The Snow People"</td></tr></tbody></table>Minnelli and cinematographer George Folsey took such pains with the film's colors and textures that some scenes do resemble period paintings. <b>Meet Me in St. Louis</b> was the first MGM film to be fully shot in Technicolor and Folsey and Minnelli proved to be adept at its use, even managing to capture subtle changes in seasonal light.<br /><br />The songwriting team of Ralph Blane and Hugh Martin composed three very special songs for Judy Garland: "The Boy Next Door," "The Trolley Song," and "Have Yourself a Merry Little Christmas" (click below to watch and listen). Each became a standard in Garland's later repertoire and "Have Yourself a Merry Little Christmas" remains a holiday classic today. To add more period flavor, Blane and Martin also reworked popular tunes from the turn of the century - "Meet Me in St. Louis," "Skip to My Lou" and "Under the Bamboo Tree." Up to this time, most films had music inserted arbitrarily, but the songs in <b>Meet Me in St. Louis </b>were integrated into the action and dialogue to help advance the plot.<br /><br /><object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/yudgy30Dd68?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/yudgy30Dd68?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br /><br /><b>Meet Me in St. Louis</b> was an immediate hit, the highest grossing film of 1944. It turned out to be just the tonic a country at war needed to lift its spirits. The film firmly established Minnelli's reputation as a top director, provided Judy Garland with a solid push to the next plateau of her career and toward her ultimate status as a legend, and it ushered in a golden age of Hollywood musicals.<br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6q095LvAonf0dhIU0fGpFL-i1B1J8msUxNuf7DPlEYh-rZmVooeeOIx12wQNTgQnCKVeRGKkM2vyqtnGr4rQYYPRWwBCXuYAHNDjyBAnxJ06_WiEsA-ddgwyRd63w7FS9IkEjFkL3axlk/s1600/meet+me+1.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="147" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6q095LvAonf0dhIU0fGpFL-i1B1J8msUxNuf7DPlEYh-rZmVooeeOIx12wQNTgQnCKVeRGKkM2vyqtnGr4rQYYPRWwBCXuYAHNDjyBAnxJ06_WiEsA-ddgwyRd63w7FS9IkEjFkL3axlk/s200/meet+me+1.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Christmas Ball</td></tr></tbody></table>There is much to admire about <b>Meet Me in St. Louis</b>. For me its appeal is that, though nostalgic, the sentiment isn't heavy-handed. The film beguiles gently, taking one on a fanciful trip into a golden epoch. The turn of the century in America is depicted as a languid time before the World Wars and the Great Depression, an era when multi-generational families lived under the same roof...when mothers made vats of ketchup every summer in large, window-filled kitchens...when horse-drawn ice wagons regularly clattered down neighborhood streets...and when a young lady might easily fall in love with and dream of marrying a boy who lived right next door...<br /><br />As Esther Smith, Judy Garland glows as the film's heart and soul. She is at her best - wistful and endearing, spunky and warm, her voice at an early peak.<br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAiRLlFmErdQ-8-DGBR-HYAhWrdKtdpIJrkG2dyfoJTZWH2dsQnh0oZP97yguMFo-UZsJOxUMwaStVIRPR7iivbCl_H6rAJeytY6RSOQKA2sueWPZ2HJF9Rnlfe05KINHlVG6bYy7F_Izn/s1600/meet+me+2.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAiRLlFmErdQ-8-DGBR-HYAhWrdKtdpIJrkG2dyfoJTZWH2dsQnh0oZP97yguMFo-UZsJOxUMwaStVIRPR7iivbCl_H6rAJeytY6RSOQKA2sueWPZ2HJF9Rnlfe05KINHlVG6bYy7F_Izn/s1600/meet+me+2.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joan Carroll and Margaret O'Brien</td></tr></tbody></table><br />Margaret O'Brien as the high-spirited young 'Tootie' adds a dimension of childhood mischief and carries the imaginative Halloween sequence almost entirely on her own. She takes another precocious turn during the climactic Christmas scenes with Judy Garland.<br /><br />Leon Ames blusters as good-hearted family patriarch, Alonzo Smith. Mary Astor is light-as-air as 'Mrs. Anna Smith;' Lucille Bremer is winning as the older sister, Rose; Harry Davenport shines as lovable 'Grandpa' Smith; Marjorie Main adds spice as the cantankerous maid, Katie...and Tom Drake is affecting as 'boy next door' John Truett. Very fine in fleeting roles are Chill Wills and a young June Lockhart.<br /><br /><a href="http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=131412133&m=131412356"><span style="color: #cc0000;">Click here</span></a> to listen to a 1989 interview by Terri Gross on NPR's "Fresh Air" with Hugh Martin and Ralph Blane in which the songwriters discuss working with director Vincente Minnelli and writing the songs for <b>Meet Me in St. Louis</b>...<br /><br /><div style="text-align: center;"><span style="font-size: large;"></span><span style="font-size: small;"><i><b>Meet Me in St. Louis</b> airs Sat., Dec. 11, on TCM's "The Essentials" and again on Christmas</i></span></div>

Arthur Freed Harry Davenport Hugh Martin Judy Garland Leon Ames Margaret O'Brien Marjorie Main Mary Astor Meet Me in St. Louis Ralph Blane The Lady Eve (author) Tom Drake Vincente Minnelli HAPPY HOLIDAYS!

 MEET ME IN ST. LOUIS One of the most charming and potent portrayals of Americana to grace the screen, Meet Me in St. Louis (1944) tugs...

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COFFEE TIME!

<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbqLmALtHZJ8As5Q6G770NRLpiIGSNbavNsCsLjGOk-NWWYVOVo43tn9O-6Dqtq5mVaLMz-cH1hCUDi-XCRC_xJmUbBI3pDxwCtwAsFxeGPIpuhRwVvKA99VdOWBYKKQ0VE5Tlg7_p9DYD/s1600/cwb_coffee_cup%255B1%255D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" px="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbqLmALtHZJ8As5Q6G770NRLpiIGSNbavNsCsLjGOk-NWWYVOVo43tn9O-6Dqtq5mVaLMz-cH1hCUDi-XCRC_xJmUbBI3pDxwCtwAsFxeGPIpuhRwVvKA99VdOWBYKKQ0VE5Tlg7_p9DYD/s320/cwb_coffee_cup%255B1%255D.jpg" width="320" /></a></div><br /><br /><span style="font-family: Arial, Helvetica, sans-serif;">Although Vincente Minnelli's 1945 musical <b>Yolanda and the Thief</b> is not one of his or Fred Astaire's most popular films, it contains a jewel of a musical number that has earned raves from day one...<i>Coffee Time</i>...</span><br /><div class="separator" style="clear: both; text-align: center;"></div><br /><span style="font-family: Arial, Helvetica, sans-serif;">When the film was released, none other than stuffy Bosley Crowther, critic for <i>The New York Times</i>, was impressed: "...a rhythm dance, done to the melody of Mr. Freed's <i>Coffee-Time</i>, puts movement and color to such uses as you seldom behold on screen."</span><br /><br /><span style="font-family: Arial, Helvetica, sans-serif;">More recently, Stuart Klawans of <i>The Nation</i> was even more enthusiastic: "Minnelli puts Astaire and Lucille Bremer into the midst of a mad pulsation of dancers in mocha and cafe au lait costumes...the chorus swirls; the camera swirls; the gringo-Latin rhythms shift giddily...<i>Coffee Time</i>  is heaven itself, and a warm-up for the 18-minute ballet that Minnelli and Gene Kelly would create in <b>An American in Paris</b>."</span><br /><br /><span style="font-family: Arial, Helvetica, sans-serif;"><i>Coffee Time</i> is the reworking of an earlier tune by composer Harry Warren called <i>Java Junction</i>. His collaborator, producer/songwriter Arthur Freed, created new lyrics for the updated melody. In the film, the routine begins as a captivating contrast in rhythms, with the orchestra playing in 4/4 time while the dancers dance in 5/4 time. The number goes through a series of variations and ends up a full-blown swing number showcasing Astaire and Bremer.</span><br /><br /><span style="font-family: Arial, Helvetica, sans-serif;">The <i>Coffee Time</i> sequence is a fiesta for the eyes. Costumer Irene Sharaff developed the stylized combo of costumes and decor. She created coffee-colored outfits for the extras and, to set off the costumes, devised a pattern of rolling black and white lines on the dance floor that form an optical illusion. With Fred Astaire, choreographer Eugene Loring came up with a dance based on slow jazz rhythms. Minnelli's lighting and camera work added the finishing touches.</span><br /><br /><span style="font-family: Arial, Helvetica, sans-serif;">Watch <i>Coffee Time</i> here - </span><br /><div style="text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/RrtyKQsVooI" width="420"></iframe></div>

Arthur Freed Eugene Loring Fred Astaire Harry Warren Irene Sharaff Lucille Bremer The Lady Eve (author) Vincente Minnelli Yolanda and the Thief COFFEE TIME!

Although Vincente Minnelli's 1945 musical Yolanda and the Thief is not one of his or Fred Astaire's most popular films, it contains...

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