Coming Soon to REEL LIFE...

<div class="separator" style="clear: both; text-align: center;"></div><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/AVvXsEjDbIJYubHGXO9lipgoQ5l4jReN_OaEcr8NDBS8IXB_K_dfjsm9Qv0f66G1CDM0-Q41bHFy6h8AF7EIE4KiouZeUSgAZcYKn75erYSRg8vRXeizUArIXjpLT8DjHEGY8npccfs3ZgyiEZok/s1600/Some+Came+Running.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDbIJYubHGXO9lipgoQ5l4jReN_OaEcr8NDBS8IXB_K_dfjsm9Qv0f66G1CDM0-Q41bHFy6h8AF7EIE4KiouZeUSgAZcYKn75erYSRg8vRXeizUArIXjpLT8DjHEGY8npccfs3ZgyiEZok/s320/Some+Came+Running.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana,sans-serif;"></span><i style="font-family: Verdana,sans-serif;">Some Came Running</i></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">A sampling of a few posts and one event (my first!) on the near horizon for <i>The Lady Eve's Reel Life</i>:</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Verdana,sans-serif;"><u><span style="font-size: small;">The Families of Vincent Minnelli</span></u></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">A look at some of the director's most memorable family-themed films, including <i>Meet Me in St. Louis </i>(1944), <i>Father of the Bride</i> (1950), <i>Some Came Running </i>(1958) and <i>Home From the Hill</i> (1960). Plus a look at the award-winning artist's own life.</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9LxofMT1YMiX0ESLFXCg4sKaJehVj7Cuxqm7nibs7Pli7RDtPCvWlzbuiSGULviNoo5BcBnxN0o7HX1jhuFUHBUcN3AaDkzRFnX0zqhqHpZChxeBf4iFvPpUHnYbgaAmhbQNr-_khoMrc/s1600/These+Amazing+Shadows.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9LxofMT1YMiX0ESLFXCg4sKaJehVj7Cuxqm7nibs7Pli7RDtPCvWlzbuiSGULviNoo5BcBnxN0o7HX1jhuFUHBUcN3AaDkzRFnX0zqhqHpZChxeBf4iFvPpUHnYbgaAmhbQNr-_khoMrc/s320/These+Amazing+Shadows.jpg" width="320" /></a></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><u><i>These Amazing Shadows</i></u></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Late in December the PBS series "Independent Lens" will spotlight  "culturally, historically... aesthetically significant" American films included in the National Film Registry with the one-hour documentary, <i>These Amazing Shadows</i>. The registry's beginnings with National Film Preservation Act of 1988 is also covered. I'll be previewing the documentary ahead of its air date.</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRO1PX2cADvf1Hm7aRrum8oSbV9CYYb-xzvWrkjs8UaFtEvkb_LmI4A6_tS0ILHNfjs3mSPkiZWe8tuSU8BCvmQaFbiMA2EPzZkinHUNTNJok0xJtGk7xKmv78dfkrdurBbcfkhya2CtkI/s1600/shop+around+the+corner.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRO1PX2cADvf1Hm7aRrum8oSbV9CYYb-xzvWrkjs8UaFtEvkb_LmI4A6_tS0ILHNfjs3mSPkiZWe8tuSU8BCvmQaFbiMA2EPzZkinHUNTNJok0xJtGk7xKmv78dfkrdurBbcfkhya2CtkI/s1600/shop+around+the+corner.jpg" /></a></div><div style="font-family: Verdana,sans-serif;"><u><span style="font-size: small;"><i>The Shop Around the Corner</i></span></u></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Just in time for the holidays...a reflection on Ernst Lubitsch's 1940 classic. The director's own favorite among his films, it is set at Christmastime in Budapest, features a sparkling ensemble cast led by James Stewart, Margaret Sullavan and Frank Morgan...and 'tis perfection.<i> </i></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Verdana,sans-serif;"><u><span style="font-size: small;">A Month of <i>Vertigo</i></span></u></div><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">A great group of guest contributors - and me - will blog on myriad facets of Alfred Hitchcock's masterwork. I'm hoping <i>A Month of Vertigo</i> makes for a very interesting beginning to 2012...</span></span><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOdGtLOI-ui_uWgq6WQJflIQtMXT96tJ0H5xFyuIlZ9wMfpuyBG4wMKy8fZ0uTROz_7iv6WE3X1wb1aG3yB649yM8DVYYAxHv88H0y84ektWA4OCAk42P5ANp4kMCeHmdNu-vNxqgeJJD1/s1600/scottie+and+madeleine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOdGtLOI-ui_uWgq6WQJflIQtMXT96tJ0H5xFyuIlZ9wMfpuyBG4wMKy8fZ0uTROz_7iv6WE3X1wb1aG3yB649yM8DVYYAxHv88H0y84ektWA4OCAk42P5ANp4kMCeHmdNu-vNxqgeJJD1/s400/scottie+and+madeleine.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><br /><div class="separator" style="clear: both; text-align: center;"></div>

Alfred Hitchcock PBS The Lady Eve (author) The Shop Around the Corner These Amazing Shadows Vertigo Vincente Minnelli Coming Soon to REEL LIFE...

Some Came Running A sampling of a few posts and one event (my first!) on the near horizon for The Lady Eve's Reel Life : The Families of...

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Father of the Bride (1950)...and a reflection on mid-century Hollywood...

<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXjUTaNJlyyj_G5lT9Xjqv-v6zrCLkmgEWXLm49C0-LAQXMHqtjHp_KNA-TR-1lkNlU8IaCrPUol9tME59_oK9KpmKfzt0LORi_4xf6oPfFfuszELZmJV7qjWxtPRH1JEUOQ2slEA8tcdW/s1600/ElizabethTaylor_FatheroftheBride%255B1%255D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXjUTaNJlyyj_G5lT9Xjqv-v6zrCLkmgEWXLm49C0-LAQXMHqtjHp_KNA-TR-1lkNlU8IaCrPUol9tME59_oK9KpmKfzt0LORi_4xf6oPfFfuszELZmJV7qjWxtPRH1JEUOQ2slEA8tcdW/s1600/ElizabethTaylor_FatheroftheBride%255B1%255D.jpg" /></a></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /><span style="font-family: Verdana,sans-serif;">During World War II Hollywood churned out popular pictures both entertaining and patriotic, bolstering home front morale and earning enormous box receipts. Between 1942 and 1945, Americans were spending 23% of their recreation dollars on movies and by 1946 weekly attendance was over 90,000,000. But the boom years would soon go bust.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;"></span><br /><a name='more'></a><span style="font-family: Verdana,sans-serif;"></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><div class="separator" style="clear: both; text-align: center;"></div><span style="font-family: Verdana,sans-serif;">A decline in movie attendance began in the late '40s driven by changing audience tastes and two major events. In 1948, the Supreme Court ruled that certain film industry practices violated anti-trust laws and required studios to divest themselves of their theater chains. Without a guaranteed outlet for every film produced, filmmaking became riskier and the studios began cutting costs and making fewer films. And then, just as the 20^th century reached its mid-point, the industry faced a threat unlike anything that had come before - the arrival of commercial television.</span><br /><div class="separator" style="clear: both; text-align: center;"></div></div><br /><div class="MsoNormal" style="margin: 0in 0in 0pt;"><div class="separator" style="clear: both; text-align: center;"></div><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/AVvXsEgcmJvSWrW4TroK8KfI6nnX_fCVOcZ10PKaFfvDFQlr6XP2CzTuBr6MCqOvVFzo4KbrToKXn011CZ7BwQAAYXVEN7iBcZBPpOUcKieoAzmCQ6FR6hiayoQoho9a2VwmxWco-Jsb3w_x_MvH/s1600/vernon+theatre+empty+2.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="129" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcmJvSWrW4TroK8KfI6nnX_fCVOcZ10PKaFfvDFQlr6XP2CzTuBr6MCqOvVFzo4KbrToKXn011CZ7BwQAAYXVEN7iBcZBPpOUcKieoAzmCQ6FR6hiayoQoho9a2VwmxWco-Jsb3w_x_MvH/s200/vernon+theatre+empty+2.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">empty seats</td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">Metro-Goldwyn-Mayer, headed by founder Louis B. Mayer since the 1920s, had been the dominant studio for nearly two decades. But the blow to the studio system and declining audiences affected production companies large and small.  By 1951, Mayer was forced out and MGM’s head of production, Dore Schary, took over.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;"><br /></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">Director Vincente Minnelli had been one of MGM’s top directors since his breakout film, <b style="mso-bidi-font-weight: normal;">Meet Me in St. Louis</b>, the top-grossing film of 1944. Minnelli married the film’s star, Judy Garland, in 1945. The following year he and Garland produced Liza Minnelli, but from 1946 to 1948 the director's career was uneven, including only minor successes along with outright failures. But a 1949 effort, <b>Madame Bovary</b>, was successful and a point of pride with Minnelli. For the most part he'd felt sidelined from major film work by the overwhelming demands of his marriage to the emotionally volatile MGM star.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><div class="separator" style="clear: both; text-align: center;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br /><span style="font-family: Verdana,sans-serif;">In 1950 MGM assigned Minnelli to a Robert Walker comedy, <b style="mso-bidi-font-weight: normal;">The Skipper Surprised his Wife</b>. The director was rescued from this bland task by producer Pandro Berman who offered him a more enticing project. Also a comedy, it was an adaptation of Edward Streeter’s 1949 bestseller, <b style="mso-bidi-font-weight: normal;">Father of the Bride</b>, for which Berman owned screen rights. Because the two stories shared similarities, Berman wanted the director of <b>Meet Me in St. Louis</b> on his new production.</span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-family: Verdana,sans-serif;">  </span></div></div><div class="MsoNormal" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; margin: 0in 0in 0pt;"><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/AVvXsEgp74-3-IJjZw8lrVEewBoJL4apHbBA9ydL5CHmbAuU7uAnUDSKEVJvq6-lCtH_9Ehg3TGpDqnI2D7fB4YXlD6avIb5BHCwO0OiI6agsXYgEVGtDqtNtlrHKAgKI5E-Zqf2mez2nn-qQ_an/s1600/jack+benny.gif" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp74-3-IJjZw8lrVEewBoJL4apHbBA9ydL5CHmbAuU7uAnUDSKEVJvq6-lCtH_9Ehg3TGpDqnI2D7fB4YXlD6avIb5BHCwO0OiI6agsXYgEVGtDqtNtlrHKAgKI5E-Zqf2mez2nn-qQ_an/s200/jack+benny.gif" width="144" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jack Benny</td></tr></tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-family: Verdana,sans-serif;">As the project began to develop, comedian Jack Benny heard about it and approached Dore Schary. He told the production boss he wanted the role of Stanley Banks, the father of the bride. Without consulting the film’s production team, Schary all but promised Benny the part. Berman was not pleased, nor was Minnelli who went to Benny Thau, veteran MGM executive, and told him he wanted <a href="http://myloveofoldhollywood.blogspot.com/2011/04/spencer-tracy-1900-1967.html"><span style="color: #990000;">Spencer Tracy</span></a> for the part and no one else. Thau gave Minnelli the bad news that Tracy was out of the running – the actor had already flatly refused to do the picture.</span></div></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;"><br /></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">1950 would mark Spencer Tracy’s 20^th year in movies. The winner of back-to-back Best Actor Oscars in 1938 and 1939, he was by this time one of the most respected actors around. Laurence Olivier remarked that he learned more about acting from watching Tracy than from any technique. But away from the set Tracy wrestled with a serious problem - he was a notorious drinker. Between the efforts of MGM’s PR team and Katharine Hepburn’s care, Tracy had been able to avoid scandal and continue working. By the late '40s it appeared the actor’s drinking had tapered off somewhat, however, his hard living had aged him and he looked older than his years. Despite all this, Tracy was still much in demand and worked steadily, even as the industry went into a serious slump.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><div class="separator" style="clear: both; text-align: center;"></div> <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/AVvXsEg7aPKgiTOmYaTFXr9ZZoqRZk8eIU0UAEqb-ARbLNCuWFVw1Gsyn_kpkYqdfULV3eL-fq0px4-FB1ijOq5MI1VUX_QJ1aq2VpztVH_qBBiiNcgTq4-PiSni68sLIjsOJWS7HxqTcjGqNaG9/s1600/Adams+Rib.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="281" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7aPKgiTOmYaTFXr9ZZoqRZk8eIU0UAEqb-ARbLNCuWFVw1Gsyn_kpkYqdfULV3eL-fq0px4-FB1ijOq5MI1VUX_QJ1aq2VpztVH_qBBiiNcgTq4-PiSni68sLIjsOJWS7HxqTcjGqNaG9/s320/Adams+Rib.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hepburn and Tracy, <b>Adam's Rib</b> (1949)</td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">In the midst of the box office downturn, <b style="mso-bidi-font-weight: normal;">Adam’s Rib </b>(1949), one of the the best of the Tracy/Hepburn battle-of-the-sexes comedies, became a major hit. Though Tracy’s follow-up had been a less memorable potboiler called <b style="mso-bidi-font-weight: normal;">Malaya </b>(1949), Vincente Minnelli remained convinced that he was the only actor to play Stanley Banks. Eventually, Minnelli decided to enlist Katharine Hepburn’s help. Hepburn invited him over for dinner and, during the meal, Minnelli told Tracy that with him in the lead the comedy had the potential to become a real classic.This was all it took to win Tracy over and he agreed to take the part. It came out that the actor had not refused to do the picture at all, but had known others were being considered for the part and assumed Minnelli didn't want him. To save face, Tracy had resorted to spreading a rumor that he had turned down <b>Father of the Bride</b>.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;"><br /></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: Verdana,sans-serif;">Joan Bennett was chosen to play the bride's mother, Ellie Banks. Bennett and Tracy had last co-starred in Raoul Walsh’s <b style="mso-bidi-font-weight: normal;">Me and My Gal</b> (1932) eighteen years earlier. That film had ended with Tracy and Bennett’s characters marrying each other, and Tracy liked to joke that the plot of <b style="mso-bidi-font-weight: normal;">Father of the Bride</b> indicated that his 1932 “marriage” to Bennett had worked out. </span>  </div><div class="MsoNormal" style="margin: 0in 0in 0pt;"> <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/AVvXsEioMxb69uq8Ej7XmK3lGRyQVkMGd1Sy1_lwHyyCVIfc1Qycg18lWDw4V8znCZYjnhPI-U_H1oitLadXAZeHHMEAbyYv10fw_3Gsq3lZuFP5tW3NmSUfdAxVV_fDD7E9RyHztc2b_qZfMp8c/s1600/father+of+bride+taylor+2.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Verdana,sans-serif;"><img border="0" height="320" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioMxb69uq8Ej7XmK3lGRyQVkMGd1Sy1_lwHyyCVIfc1Qycg18lWDw4V8znCZYjnhPI-U_H1oitLadXAZeHHMEAbyYv10fw_3Gsq3lZuFP5tW3NmSUfdAxVV_fDD7E9RyHztc2b_qZfMp8c/s320/father+of+bride+taylor+2.jpg" width="252" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana,sans-serif; font-size: x-small;">Elizabeth Taylor in the 1950s</span></td></tr></tbody></table> <span style="font-family: Verdana,sans-serif;">Elizabeth Taylor, as bride-to-be Kay Banks, supplied the delectable frosting on the rich cake of <b>Father of the Bride</b>'s cast. Spencer Tracy cracked that the film's only hard-to-believe detail was that the lovely girl could possibly be his daughter. Taylor was just 17 when she made the picture, but had already begun to portray more mature characters; at 16 she’d played the wife of 38-year-old Robert Taylor in <b style="mso-bidi-font-weight: normal;">Conspirator </b>(1949). But Elizabeth Taylor was not so mature off-screen. She was still under the thumb and eagle eye of her mother and although the young actress had begun to date, her romances consisted of girlish infatuations and arranged dates mined for publicity by MGM. She was, despite her stunning beauty and poise, quite naïve when it came to love.</span><br /><br /><span style="font-family: Verdana;"><b>Father of the Bride</b>, like <b>Meet Me in St. Louis</b> before it, is in its way a fond glimpse into American family life. Contemporary when it was released, the film plays today as a snapshot of a bygone, fairly idyllic, era. That mid-century moment is caught as if in amber by the solid screenplay of screenwriting team Frances Goodrich and Albert Hackett, Vincente Minnelli's meticulous attention to what is now period detail...a well-chosen cast, cinematographer John Alton and the minimal, mostly diegetic soundtrack of Adolph Deutsch. <b>Father of the Bride </b></span><span style="font-family: Verdana,sans-serif;">is invariably referred to as a “sparkling comedy.” It most certainly sparkles and brims with sophisticated humor as it casts a skeptical, if bemused, eye on the incongruous goings-on at the heart of its plot, the American marriage ritual, circa 1950. The plot follows suburban lawyer Stanley Banks who is by turns besieged and put upon as he as he spends an enormous amount of money to finance every stage of a tradition that will end in his beloved daughter Kay leaving home. Adding insult to injury, Banks is (amusingly) ignored, belittled, the butt of jokes and barely tolerated while at the same time forced to pay and pay and pay. As the wedding nears he is beset by irrational fears and surreal nightmares. Given that the Stanley Banks character, a lovable and loving curmudgeon, carries the film, Minnelli's judgment was unerring when he insisted on Tracy or no one for the part.</span><br /> <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/AVvXsEgkAdP91dKKmqd2nucNypyWa7ZZGqFOyvFTfVedRVFPo-dVrai626P6CEc5wK9QQeli-iEGlQiLyqIGsO1P_x3BFayf63qo4sWZI7zXf3mX0-xk6KqFhGG0HoMO_m-b_wche5yhzE0Bvutu/s1600/crying_over_invitations%255B1%255D.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkAdP91dKKmqd2nucNypyWa7ZZGqFOyvFTfVedRVFPo-dVrai626P6CEc5wK9QQeli-iEGlQiLyqIGsO1P_x3BFayf63qo4sWZI7zXf3mX0-xk6KqFhGG0HoMO_m-b_wche5yhzE0Bvutu/s320/crying_over_invitations%255B1%255D.jpg" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Elizabeth Taylor and Joan Bennett</td></tr></tbody></table><span style="font-family: Verdana;"><b>Father of the Bride</b> was released on June 16, 1950, and was an immense hit. Contributing what can best be described as a publicist's dream, Elizabeth Taylor married her first husband, Nicky Hilton, just weeks earlier. Hilton was the son of the founder of Hilton Hotels, and though the pair had only begun dating months earlier, they succumbed to a whirlwind courtship. MGM naturally, and heartily, approved. Taylor's marriage at the very moment she starred as a virginal bride onscreen was an early indicator of something that would become a habit...her life imitating her art. Taylor's marriage to Hilton ended less than a year after it began...even before a quickie follow-up film to <b>Father of the Bride </b>was released in late 1951.</span><br /><br /><span style="font-family: Verdana;"><b>Father's Little Dividend </b>(1951) is a charming, if less inspired, sequel. The dividend is Kay and her husband's first child and the plot, once again, covers the indignities Mr. Banks (Tracy) must endure...this time as grandfatherhood approaches. It, too, was a hit, but it was not on a par with <b>Father of the Bride</b> which had earned Oscar nominations for Best Picture, Best Screenplay and Best Actor and become an instant classic.</span><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTLdT8R8EqIPDf0-eVrhfklePCwb-0reSRCPRba3qhJBiaBuPbBQyb5mtdB0ti-02GhSvFO8cG1WNl7Yl1e7d1jPPmJZ0K1qHysrXBfASewtZtYrg4Rn1u0cjLrbxtS5lMdxXbgv3SxeGa/s1600/2009_oscar_winners_and_results%255B1%255D.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="185" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTLdT8R8EqIPDf0-eVrhfklePCwb-0reSRCPRba3qhJBiaBuPbBQyb5mtdB0ti-02GhSvFO8cG1WNl7Yl1e7d1jPPmJZ0K1qHysrXBfASewtZtYrg4Rn1u0cjLrbxtS5lMdxXbgv3SxeGa/s200/2009_oscar_winners_and_results%255B1%255D.jpg" width="200" /></a></div><span style="font-family: Verdana;">By the time both films had been released, Minnelli and Garland were divorced. Their final split came not long after MGM terminated Garland's contract in 1950. As she struggled to rebound and rebuild her career, Minnelli went back to work with a vengeance. He embarked on the most productive and celebrated decade of his career, a period that included <b>An American in Paris </b>(1951), <b>The Bad and the Beautiful</b> (1952), <b>The Band Wagon </b>(1953), <b>Brigadoon </b>(1954), <b>Lust for Life </b>(1956), </span><span style="font-family: Verdana,sans-serif;"><b>Designing Woman </b>(1957), <b>Gigi </b>(1958) and <b>Some Came Running </b>(1958). Minnelli received a Best Director Oscar nomination for <b>An American in Paris</b> (winner of six Oscars including Best Picture)<b> </b>and won for <b>Gigi</b> (winner of nine Oscars including Best Picture). Though Minnelli wasn't nominated, <b>The Bad and the Beautiful</b> won five Oscars.</span><br /><br /><span style="font-family: Verdana,sans-serif;">Spencer Tracy went on make another 17 films and earn five more Best Actor Oscar nominations. His later years were difficult; he fell off and got back on the wagon, became withdrawn and taciturn and lost his health. He was fired from a picture for the first time with <b>Tribute to a Bad Man </b>(1956); it would the last time he worked for MGM. He was so ill during the making of his final film, <b>Guess Who's Coming to Dinner </b>(1967) that he was uninsurable and Hepburn put up her own money to help cover the costs. Spencer Tracy died a few weeks after the film was completed and received a posthumous Academy Award nomination for his performance.</span><br /><br /><span style="font-family: Verdana;"><span style="font-family: Verdana,sans-serif;">Elizabeth</span> Taylor made a permanent transition to adult roles with <b>Father of the Bride</b>.<b> </b>Her stardom was cemented a year later with the haunting George Stevens drama <b>A Place in the Sun</b> (1951). Taylor went on to become one of the biggest film stars of the 1950s and 1960s and remained a celebrity for the rest of her life.</span><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSh2CGpbZc4XjkYD-KlZWEeX_mQ7AdcSyX9D22TC4lZOxroon-52rtH1N0KcVlLbJD6fqZcGDPwOr9Ca0FMg8gTFNLDta6kMPLGQHCWSJvxlRudfl6DICKqPgV8fOpo6wt9RcKWpS1Pdn6/s1600/TV+set+w+rabbit+ears.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSh2CGpbZc4XjkYD-KlZWEeX_mQ7AdcSyX9D22TC4lZOxroon-52rtH1N0KcVlLbJD6fqZcGDPwOr9Ca0FMg8gTFNLDta6kMPLGQHCWSJvxlRudfl6DICKqPgV8fOpo6wt9RcKWpS1Pdn6/s1600/TV+set+w+rabbit+ears.jpg" /></a></div><span style="font-family: Verdana;">The studios of Hollywood met a less cheerful fate. By 1951, TV had made significant inroads into the movie audience. Cities with TV stations showed a decrease in movie attendance and wherever TV appeared, theaters closed. The age of the studio system came to an end by 1954. In 1956, Dore Schary, who had tried in vain to restore MGM's glory, was fired and in 1957 Louis B. Mayer, who had never recovered from his ouster, died at age 73. T</span><span style="font-family: Verdana;">elevision, of course, continued to flourish. By the end of 1952 there were 19,000,000 TV sets in homes across America and by 1955 there were 31,000,000...</span><br /><br /><div class="separator" style="clear: both; text-align: center;"></div><span style="font-family: Verdana;">Some have called <b>Father of the Bride</b> prototypical of the family-oriented TV sitcoms of the '50s and early '60s. In fact, in 1961 a series version of <b>Father of the Bride</b> debuted on CBS; it was shot at MGM studios. Ruth Warrick (<b>Citizen Kane</b>) played Ellie Banks, Myrna Fahey starred as Kay...and Leon Ames, who had portrayed the father, Alonzo Smith, in Minnelli's <b>Meet Me in St. Louis</b>, took the role of Stanley Banks.</span></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/gC3Ic5qOWkc" title="YouTube video player" width="425"></iframe></div>

Dore Schary Elizabeth Taylor Father of the Bride Father's Little Dividend Joan Bennett Judy Garland Louis B. Mayer MGM Pandro S. Berman Spencer Tracy Vincente Minnelli Father of the Bride (1950)...and a reflection on mid-century Hollywood...

During World War II Hollywood churned out popular pictures both entertaining and patriotic, bolstering home front morale and earning enormou...

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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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