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. release year 1944. country USA. Runtime 113 Minutes. Genres Drama. directed by Vincente Minnelli. Meet Me in st. louis.

Meet Me in St. Louis (1944) SYNOPSIS In turn-of-the-century St. Louis, the close-knit Smith family are swept up in the excitement over the impending arrival of the 1904 World's Fair. The Smiths are a happy well-to-do family whose two oldest daughters are preoccupied with the usual dramas of young love. Seventeen-year-old Esther Smith falls in love with boy-next-door John Truett and tries to get him to notice her. Meanwhile, twenty-year-old Rose is preoccupied with getting her long-distance beau to propose before she is deemed an old maid. Their young sister Tootie is an incorrigible tomboy with a morbid streak who constantly stirs up trouble. When their father announces that he is moving the family to New York, the Smiths must decide if they are willing to give up the bucolic charm of small-town life in St. Louis in exchange for the glamour of the big city. Director: Vincente Minnelli Producer: Arthur Freed Screenplay: Irving Brecher, Fred Finklehoffe Based on Sally Benson's stories in The New Yorker, published in 1945 as the book Meet Me in St. Louis Cinematography: George Folsey Art Direction: Cedric Gibbons, Lemuel Ayers, Jack Martin Smith Editing: Albert Akst Music: Roger Edens, Georgie Stoll, Conrad Salinger Costume Designer: Irene Sharaff Cast: Judy Garland (Esther Smith) Margaret O'Brien ( Tootie" Smith) Mary Astor (Mrs. Anna Smith) Lucille Bremer (Rose Smith) Leon Ames (Mr. Alonzo "Lon" Smith) Tom Drake (John Truett) Marjorie Main (Katie) Harry Davenport (Grandpa) June Lockhart (Lucille Ballard) Henry H. Daniels, Jr. (Lon Smith, Jr. Joan Carroll (Agnes Smith) Hugh Marlowe (Colonel Darly) Robert Sully (Warren Sheffield) Chill Wills (Mr. Neely) Donald Curtis (Dr. Girard) Mary Jo Ellis (Ida Boothby) Ken Wilson (Quentin) Robert Emmett O'Connor (Motorman) Darryl Hickman (Johnny Tevis) Leonard Walker (Conductor) Victor Kilian (Baggage man) John Phipps (Mailman) Major Sam Harris (Mr. March) Mayo Newhall (Mr. Braukoff) Belle Mitchell (Mrs. Braukoff) Sidney Barnes (Hugo Borvis) Myron Tobias (George) Victor Cox (Driver. C-113m. Closed Captioning. Letterboxed. Why MEET ME IN ST. LOUIS is Essential With its homespun charm and focus on the family, Meet Me in St. Louis captures the warmth and nostalgia of a bygone era. It is widely considered one of MGM's signature films in terms of its style and look and one of the most popular film musicals ever made. Louis stands out as one of the most outstanding collaborations between director Vincente Minnelli and MGM producer Arthur Freed. It is often credited for launching what became known as the Golden Age of the MGM musical. Its success for MGM ushered in a wave of first-rate musicals from the thriving studio-many of them collaborations between Freed and Minnelli- that lasted until the 1960s. Although Judy Garland was reluctant to make Meet Me in St. Louis at first, her role as Esther Smith is one of the most luminous film roles of her career and the camera has never better captured her beauty. Louis is the film on which director Vincente Minnelli and star Judy Garland first worked together and fell in love. The pair married in 1945 and made four more films together before splitting up in 1951. Judy Garland debuted three songs in Meet Me in St. Louis, all of which became popular hits: The Trolley Song. The Boy Next Door" and "Have Yourself a Merry Little Christmas. Have Yourself a Merry Little Christmas" became one of the most beloved holiday standards of all time and has been recorded by hundreds of musical artists. Louis is the film that solidified Vincente Minnelli's reputation as a superlative director. Minnelli had worked on a couple of films previously for MGM, but Meet Me in St. Louis was his first A-list picture in which his talent was given the chance to shine. The memorable character of "Tootie" Smith in Meet Me in St. Louis is one of child actress Margaret O'Brien's most famous roles. Her work as a troublemaking tomboy with a morbid streak showcased her astonishing talent and almost stole the movie from her co-star Judy Garland. by Andrea Passafiume back to top On December 2, 1946 Judy Garland, Tom Drake and Margaret O'Brien reprised their roles from Meet Me in St. Louis for a Lux Radio Theatre broadcast. On April 29, 1959 Jane Powell, Tab Hunter, Walter Pidgeon, Jeanne Crain, Myrna Loy and Patty Duke starred in a CBS television broadcast version of Meet Me in St. Louis. On June 9, 1966 the St. Louis Municipal Opera presented a stage version of Meet Me in St. Louis with some new songs added. In 1966 a television pilot was made for a situation comedy based on Meet Me in St. It starred Shelley Fabares, Celeste Holm, Larry Merrill, Judy Land, Reta Shaw and Morgan Brittany. It was not picked up as a series. In 1989 Meet Me in St. Louis was turned into a Broadway musical. It ran for 252 performances. The original songs in Meet Me in St. Louis, all of them introduced by Judy Garland, became well-known hits. Garland sang "The Boy Next Door" and "The Trolley Song" for years at her live concert shows, and they were always audience favorites. "Have Yourself a Merry Little Christmas" became a perennial holiday classic and has been recorded by hundreds of music artists the world over. Louis was also responsible for the union of director Vincente Minnelli and star Judy Garland, who married on June 15, 1945. Their daughter Liza Minnelli was born nine months later. "This is the first picture my father and mother did together. said Liza Minnelli in a 1987 interview. "It's also the first one in which she said she felt beautiful on the screen. In the beginning she hadn't wanted to make Meet Me in St. Before it was finished, she loved it and the director who expressed his feelings for her in every shot. The couple made several more films together before divorcing in 1951. by Andrea Passafiume An early draft of the screenplay for Meet Me in St. Louis included a subplot in which Judy Garland's character, Esther, is blackmailed. The character of Tootie, played by Margaret O'Brien in the film, was based on Meet Me in St. Louis author Sally Benson when she was a child. There was a number called "Boys and Girls Like You and Me" that was shot for Meet Me in St. Louis, but was cut before the film's release since the film was running too long. The number was sung by Judy Garland to John Truett following "The Trolley Song" as the two visit the construction site for the World's Fair. The song had originally been cut from the 1942 Rodgers and Hammerstein stage musical Oklahoma. While MGM wanted director Vincente Minnelli to use their Andy Hardy street set for the film, Minnelli convinced them to have an entirely new St. Louis street set constructed on the backlot for Meet Me in St. Director Vincente Minnelli and star Judy Garland fell in love while making Meet Me in St. They married in 1945, had their daughter Liza Minnelli, and divorced in 1951. In the introduction to Stephen Harvey's 1990 book Directed by Vincente Minnelli Liza Minnelli said, You can see his love for her in every frame of Meet Me in St. That's the film where they met and would ultimately fall in love. It's my favorite, for when all is said and done I wouldn't be here if it hadn't been for that movie. MGM producer Arthur Freed provided the singing voice for Leon Ames in the "You and I" number in Meet Me in St. Minnelli wanted the father's singing voice to sound real, and not professional. Reportedly actor Van Johnson was originally hired to play Judy Garland's beau, John Truett, in the film. However, the role was ultimately played by Tom Drake. The original lyrics to "Have Yourself a Merry Little Christmas" written for Meet Me in St. Louis went: Have yourself a merry little Christmas / It may be your last. The dark tone of the words were too much and were later changed to the more appropriate "Have yourself a merry little Christmas / Make the yuletide bright. The song went on to become a holiday classic. The songs "Skip to My Lou" and "Under the Bamboo Tree" were old turn-of-the-century period favorites used with new arrangements in Meet Me in St. In the film Meet Me in St. Louis the Smith family, based on author Sally Benson's own family, decides at the last minute to stay in St. Louis and not move to New York. In reality, Benson's family did move to New York and missed the St. Louis World's Fair. The "St. Louis Street" that was built especially for the film on MGM's back lot was torn down in 1970. Author Sally Benson's father, Alonzo Smith, bought the actual house located at 5135 Kensington Avenue in St. Louis for his family in 1891. The family moved to New York in 1910. The house was torn down in 1994. Several bricks from the original home were kept and sold as commemorative items with a plaque attached explaining its unique history. Co-star Mary Astor, who played the Smith family matriarch, loved making Meet Me in St. Louis, but loved it even more when she was able to get out of her restrictive period costume every day. "It was indeed a lovely picture. said Astor in her 1967 memoir A Life on Film, but I think I remember most clearly the end of the day when I could remove my high button shoes, and get out of the heavy clothes and finally bliss! get out of the damned corset. When a rough cut of the film was shown to MGM executives, the general consensus was that it was running too long. Some suggested that the lengthy Halloween sequence was slowing the film down and should be cut. Minnelli was dismayed at this idea since the Halloween sequence was the entire reason he had signed on to make Meet Me in St. Louis in the first place. Minnelli agreed to show the film to the executives without the Halloween portion, but argued strongly that removing it would change the whole mood of the film. To his immense relief, following a screening of the film in which the sequence had been removed, the executives agreed that the footage should remain. Louis simply wasn't the same film without it. Instead, the Rodgers and Hammerstein number "Boys and Girls Like You and Me. which Judy Garland sang following "The Trolley Song. was cut. Louis was released in late 1944 to great critical acclaim and a warm response from the public who made it one of MGM's highest grossing films of the year. The success of the film firmly established Vincente Minnelli's reputation as a fine director as he went on to make some of MGM's best films over the course of his thirty year career. For his future bride Judy Garland, Meet Me in St. Louis helped firmly transition her into adult roles as she maintained her position as the top female musical star of her generation. It also positioned MGM, already the most powerful studio in Hollywood, as the creator of the biggest and best film musicals in the world-a reputation that stayed with MGM for the next 20 years. by Andrea Passafiume Famous Quotes from MEET ME IN ST. LOUIS "Well, Papa, if losing a case depresses you so, why don't you quit practicing law and go into another line of business. Esther Smith (Judy Garland) to her father, Alonzo Smith (Leon Ames) You've just ruined Rose's chance to get married, that's all! That was Warren Sheffield calling long-distance to propose. Esther Smith (Judy Garland) to her father, Alonzo Smith (Leon Ames) Well, I'll bet there isn't another girl in St. Louis who's had a Yale man call her long-distance just to inquire about her health. Esther Smith (Judy Garland) referring to a phone call received by her sister Rose (Lucille Bremer) What do you mean hitting a 9-year-old child? The next time you want to hit somebody, pick on somebody your own size. If there's anything I hate, loathe, despise, and abominate, it's a bully. Esther Smith (Judy Garland) to John Truett (Tom Drake) You're the most deceitful, horrible, sinful creature I ever saw, and I don't want to have anything to do with you again. Esther Smith (Judy Garland) to Tootie (Margaret O'Brien) after discovering she has lied about being struck by John Truett. "You're the first human being I've danced with all evening. It's our last dance in St. I feel like I'm going to cry. Esther Smith (Judy Garland) to her grandfather (Harry Davenport) New York is a wonderful town. Everybody dreams about going there. But we're luckier than lots of families because we're really going. Wait until you see the fine home we're going to have and the loads and loads of friends we'll make. Wonderful friends. But the main thing, Tootie, is that we're all going to be together just like we've always been. That's what really counts. We could be happy anywhere as long as we're together. Esther Smith (Judy Garland) to her sister Tootie (Margaret O'Brien) My dear, when you get to be my age, you'll find out there are more important things in life than boys. Rose Smith (Lucille Bremer) to Esther (Judy Garland) It'll take me at least a week to dig up all my dolls in the cemetery. Tootie (Margaret O'Brien) when she learns about having to leave St. Louis and move to New York "For heaven's sake, stop that screeching! That song! The fair won't open for seven months. That's all everybody sings about or talks about. I wish everybody would meet at the fair and leave me alone. Alonzo Smith (Leon Ames) to his daughters as they sing the song "Meet Me in St. Just when was I voted out of this family. Alonzo Smith (Leon Ames) You don't need any beauty sleep. John Truett (Tom Drake) to Esther (Judy Garland) A lie's a lie, and dressed in white don't help it. Katie, the Maid (Marjorie Main) She may be loathe to say the things a girl's compelled to say to get a proposal out of a man. Personally, I wouldn't marry a man who proposed to me over an invention. Esther (Judy Garland) and Katie (Marjorie Main) discussing Rose's pending long-distance phone call from Warren Sheffield "I expect she won't live through the night. She has four fatal diseases. And it only takes one. But she's gonna have a beautiful funeral in a cigar box my Papa gave me, all wrapped in silver paper. That's the way to go if you have to go. Oh, she has to go. Tootie (Margaret O'Brien) speaking about her doll to Mr. Neely (Chill Wills) I'm going to let John Truett kiss me tonight. Esther Smith. Well, if we're going to get married, I may as well start it. Nice girls don't let men kiss them until after they're engaged. Men don't want the bloom rubbed off. Personally, I think I have too much bloom. Maybe that's the trouble with me. Esther (Judy Garland) and Rose (Lucille Bremer) Money! I hate, loathe, despise, and abominate money. You also spend it. Rose (Lucille Bremer) and her father Alonzo Smith (Leon Ames) If there ever was a time we definitely needed every ounce of allure, it's tonight. If we're going to wreck Lucille Ballard's evening, we've simply got to be a sensation. Rose (Lucille Bremer) to Esther (Judy Garland) Meet Me in St. Louis began as a series of short stories written by Sally Benson that first appeared in the New Yorker Magazine. Under the title "5135 Kensington. Benson's stories were published in the New Yorker from June 14, 1941 through May 23, 1942. Based on Benson's childhood memories, the stories were charming vignettes about the well-to-do Smith family and their adventures during turn-of-the-century St. Benson published eight stories total in the magazine. However, when they proved to be extremely popular with readers, she put them all together in a book called Meet Me in St. Louis published in 1942 that included four additional new stories, making a total of twelve - each chapter representing one month out of the year. MGM producer Arthur Freed came across Benson's stories and found them delightful; he believed they would make the perfect subject matter for a film musical. He envisioned the project as a "sentimental mood piece. a film that would evoke the warmth and nostalgia of a bygone era - something that audiences were hungry for during the war-torn years of the early 1940s. At first, Freed asked George Cukor to direct Meet Me in St. Cukor was interested, but was soon called to serve in World War II and was unable to get involved with the film. Next, Freed approached Vincente Minnelli, who was relatively new to MGM. He had directed Cabin in the Sky and I Dood It (both 1943) but hadn't yet solidified his reputation with the most powerful studio in Hollywood. Vincente Minnelli read the book Meet Me in St. Louis and found it "affecting, humorous, and warm. according to his 1974 autobiography I Remember It Well. The book's Halloween sequence with the children was the clincher for him. "The burning of feet and slashing of throats they envisioned, almost a wistful longing for horror wasn't the sweet and treacly approach so characteristic of Hollywood. said Minnelli. "This was the type of fantasy that real children, raised as the grimmest of Grimm's fairy tales, would have. Yes, I told Arthur [Freed] I would gladly direct the picture. Freed and Minnelli hired two writers to turn Benson's book into a screenplay. To their chagrin, however, the writers didn't think there was enough of a storyline for a movie so they added a subplot to Meet Me in St. Louis involving the blackmailing of Judy Garland's character, Esther Smith. "This is hardly the stuff of which lyrical evocations of an era are made. said Minnelli, so I suggested we get another version. Arthur Freed then hired Fred Finklehoffe to try his hand at a new draft of the screenplay. Finklehoffe wrote the majority of the new script with Irving Brecher, tightening" it up along the way whenever Minnelli felt it was necessary. This time, the writers found their focus. "They took the very human values of the Benson work - the simple goodness of the time. said Minnelli, the earnestness and purity of its people, the gentle humor and the laughs of recognition at their universality and constructed a story out of an episode in the revolved around the imminent transfer of the husband to New York and the effect the prospective move has on his family. All along Arthur Freed had Meet Me in St. Louis in mind as a vehicle for MGM's top musical star at the time, Judy Garland. He envisioned the rising young actress as the second eldest Smith daughter, Esther, who at 17 is eager to find romance with handsome boy-next-door John Truett. Garland, however, was not interested. She had just turned 21 and had spent years playing adolescents. She saw the role of Esther as just another juvenile part and wanted to graduate to more mature roles like her recent turn in Presenting Lily Mars (1943. She believed that playing yet another teenager would set her career back and told MGM studio head Louis B. Mayer that she wouldn't do it. Mayer, in turn, called Arthur Freed. "Judy says she doesn't want to do the picture. Mayer told Freed. "For once I have to agree with her. I've read it and there's no plot. Freed was adamant that Meet Me in St. Louis should have Judy Garland as its star. It was a fine part, he argued, in a film that would certainly be something unique and very special. The character was not a silly juvenile but a beautiful young woman whose emotions would run the gamut as she dealt with her first love as well as the threat of her family being uprooted from the only place she's ever called home. Freed's track record at MGM so far had been excellent, and Mayer decided to give him the benefit of the doubt. He told Garland that she was being assigned to star in Meet Me in St. Louis whether she liked it or not. To play Garland's youngest sister, Tootie, a quirky tomboy with a dark side, MGM assigned one of their greatest assets at the time, child star Margaret O'Brien. Tootie was a significant and complex part requiring a young actress of great talent. O'Brien certainly fit the bill having already tackled some challenging roles in films such as Journey for Margaret (1942) and Jane Eyre (1944. Actress Lucille Bremer was hand-picked by producer Arthur Freed to play Rose, the eldest Smith daughter. The striking Bremer was a former Radio City Rockette and had enjoyed some success with a nightclub act when Freed discovered her and put her under contract to MGM. According to Vincente Minnelli, Freed felt that Bremer had the makings of a major star. Louis would mark Bremer's film debut. Rounding out the cast of Meet Me in St. Louis were Leon Ames as family patriarch Alonzo Smith, Mary Astor as his wife, Tom Drake as Esther's boy-next-door love interest, Harry Davenport as Grandpa, and Marjorie Main as Katie, the Smiths' no-nonsense maid. The songs planned for Meet Me in St. Louis were to be a blend of old and new to fit the story's turn-of-the-century period. "Skip to My Lou. Under the Bamboo Tree" and the title song were old tunes that had been popular during the film's time period which were given new arrangements to freshen them up for modern audiences. Ralph Blane and Hugh Martin ( Best Foot Forward, 1943) were hired to write most of the film's new songs, which included "The Boy Next Door. The Trolley Song" and "Have Yourself a Merry Little Christmas. A song written by Rodgers and Hammerstein that had been dropped from the musical Oklahoma! called "Boys and Girls Like You and Me" was also added to the mix. It was to be sung by Judy Garland as she toured the construction site of the World's Fair with beau John Truett. Although the "Boys and Girls Like You and Me" number was shot, it was ultimately dropped from the film. Vincente Minnelli was a perfectionist and wanted every detail in Meet Me in St. Louis to accurately reflect its turn-of-the-century setting. MGM wanted Minnelli to use the already existing Andy Hardy street on the back lot as the Smiths' neighborhood. However, Minnelli was resolute that a whole new "St. Louis" street needed to be built in order to realize his vision. It was a great expense for the studio, but L. B. Mayer complied and Minnelli got his wish. Louis would be Vincente Minnelli's first Technicolor film. As would become one of his signature stylistic traits, he looked to the art world for inspiration on the visual look of the film. "I felt the whole picture should have the look of Thomas Eakins's paintings. he said, though not to the point of imitation. He divided the structure of the film into four seasons, each with a strong stylistic impact. "I decided to introduce each segment of the film by using the Smiths' American Gothic house at 5135 Kensington Avenue as a lovely filigreed illustration. he said, like the greeting cards of that era. Each card would dissolve into the live action of the Smith family. by Andrea Passafiume When shooting began on Meet Me in St. Louis in the Fall of 1943, director Vincente Minnelli had a very specific vision in mind to bring Sally Benson's quaint childhood reminiscences to life on the big screen. With a talented cast, a first-rate screenplay and a handful of charming new songs, Meet Me in St. Louis had all the ingredients to be a wonderful film. The entire cast and crew were immediately impressed with Minnelli's attention to detail in every shot. He had consulted author Sally Benson on how the interiors of the Smith home should look, and she had provided a wealth of first-hand information. As a result, the look of each set was near perfection according to the time period. "The only anachronisms. according to actress Mary Astor in her 1967 memoir A Life on Film, were the girls' long-swinging hairdos. Girls 'put their hair up' as soon as they got out of pigtails, the first instant they were allowed to by reluctant parents. It was a symbol, like the first long pants for boys. Judy Garland, who at 21-years-old was transitioning into more adult roles, received a whole new look for Meet Me in St. She had always been insecure about her appearance, having begun her career in the movies during her awkward adolescent years and had faced much criticism for her fluctuating weight and imperfect features. By the time she played Esther Smith, however, Garland had slimmed down and was emerging as a natural beauty, even if she hadn't realized it yet. When she went to MGM makeup artist Dotty Ponedel, who was assigned to the film, Garland showed Ponedel the tricks she had been using up to then whenever she appeared on camera: caps for her teeth and rubber discs she inserted into her nose to change its shape. To Garland's surprise, Ponedel quickly disposed of the items. "You don't need all this junk. she told Garland. "You're a pretty girl. Let's see what we can do. With that, Ponedel set about transforming Garland by enhancing the natural beauty that was already there. "I raised her eyebrows a bit, and gave her a fuller lower lip. said Ponedel. "I put on a makeup base that was pretty to the eye. I knew it would be pretty to the camera too. I tweezed out some of the hairline. The work was minimal, but the effect was stunning. Garland was the most beautiful she had ever been, which gave her a new confidence. She was so pleased with the results, that she made sure to use Dotty Ponedel from then on as her makeup artist on every feature she made for MGM. Garland may have been happy with her new look, but she still wasn't pleased about making Meet Me in St. She didn't take her role very seriously at first. According to Vincente Minnelli, when they first started shooting, Garland was reading her lines in a way that poked fun at the script. At that point Minnelli believed that Garland's co-star Lucille Bremer was doing a better job than she because Bremer understood the role better and delivered every line with utter sincerity. Minnelli took Garland aside and asked her to do the same. "I want you to read your lines as if you mean every word. he advised her. Judy Garland was also indulging in some bad habits during the making of Meet Me in St. She would complain of illnesses and headaches, often arriving late to the set and keeping the cast and crew waiting for hours. "Judy was no longer a rotund little giggler, but her growing up was not maturing. said co-star Mary Astor. Astor had played Garland's mother once before in the 1938 film Listen, Darling. "The fun was still there and she seemed to have great energy. But it was intense, driven, tremulous. Anxious. She was working way over the capacities of any human being. She was recording at night and playing in the picture in the day, and people got annoyed when she was late on the set, and when she got jittery and weepy with fatigue. Including myself. I often felt that her behavior during this period was due to bigshotitis and very unprofessional. Making a movie was a communal effort: Everyone depended on everyone else, and for one person to keep 150 other workers sitting around on a sound stage while she fiddled with her lipstick in her dressing room was just plain bad manners. One day Mary Astor had had enough of the inconsiderate behavior and decided to give Garland a piece of her mind. "I walked into Judy's portable dressing room one tense morning. said Astor, and she greeted me with her usual cheery, Hi, Mom. I sat down on the couch while she went on primping, and said, Judy, what the hell's happened to you? You were a trouper once. She stared at me. I went on, You have kept the entire company out there waiting for two hours. Waiting for you to favor us with your presence. You know we're stuck there's nothing we can do without you at the moment. She giggled and said, Yeah, that's what everybody's been telling me. That bugged me and I said, Well, then, either get the hell on the set or I'm going home. She grabbed me by the hand, and her face had crumpled up, I don't sleep, Mom. And I said, Well, go to bed earlier then like we all have to do. You're not so damn special, baby. and stalked out in my own unthinking high dudgeon. It was some years later before I really knew what she'd been going through. Garland also hated rehearsing for her scenes, and Vincente Minnelli liked to have a lot of rehearsals. She took to sneaking off the set early in order to avoid them. "She'd get in her car and zoom off before I had a chance to call a run-through; said Minnelli. "I'd phone to the studio gate to intercept her. Throughout the Meet Me in St. Louis shoot, Garland continued to have problems. Arthur Freed had a talk with her one day in her dressing room and then told Minnelli what was on Garland's mind. "She said she doesn't know what you doesn't feel she can act anymore. said Freed. Minnelli was worried, but Freed reassured him. "Don't worry. Freed said. "It'll work out. I told Judy you know what you're doing and to trust you. Minnelli remained determined to coax a good performance out of her. "I didn't give up trying to reach her. said Minnelli. "I eventually could tell Judy what I wanted her to do with just a look, but at first I had to find the key words to get her to react. What seemed obvious to me was perplexing to her. Though the lines seemed silly to her, she had to believe in them. Each of Esther's crises, no matter how minor, had to be treated like the 1929 crash. Finally the message got to her. I still don't know how. Once she grasped the motivation, she was as brilliant in the dramatic scenes as she's been in the musical numbers. She was alternately wistful and exuberant, but always endearing. A former child star herself, Judy Garland couldn't help but be concerned about young Margaret O'Brien. Garland was worried that O'Brien was being overworked on Meet Me in St. Louis and was missing out on her childhood. However, O'Brien herself said in a 2004 interview that while she appreciated Garland's concern, this was not the case. O'Brien loved her time acting, and the child labor laws had been strengthened in the time since Garland had been an underage star. "Tootie was fun because I could do a lot of the things I maybe wouldn't normally do myself. said O'Brien, and she was really kind of bratty and mischievous, so I loved playing Tootie. Margaret O'Brien was capable of being mischievous herself on the set of Meet Me in St. Louis according to Mary Astor. "Margaret O'Brien was at her most appealing (I might say 'appalling' age. said Astor. "And she could cry at the drop of a cue. Real tears, an endless flow, with apparently no emotional drain whatsoever. She was a quiet, almost too-well-behaved child, when her mother was on the set. When Mother was absent, it was another story and she was a pain in the neck. According to Astor, O'Brien liked to have fun with the prop master - the person in charge of all of the movie props. For instance, when shooting a scene at the Smith family dinner table, all of the dishes and utensils had been laid out meticulously. "It was Maggie's favorite form of mischief, when his back was turned. said Astor, to put things in disorder again, to reverse knives and forks, to put two napkin rings beside a plate. It would drive him nuts. And remember the strong caste system on the sets: she was a star and he was just a lowly property man, so all he could do was to smile and say, Please, Maggie dear. when he'd have liked to have shaken her. Vincente Minnelli was impressed with Margaret O'Brien's exceptional acting at such a young age, though he found some of her methods "enervating. Minnelli explained, Her mother and aunt would whisper to her just before we shot the dramatic sequences and, like the salivating of Pavlov's dog, Margaret would get highly emotional and cry. I often wondered what they said to her to get that reaction. I was soon to learn. Minnelli, according to his autobiography, discovered one of O'Brien's techniques during the scene in which Tootie, upset over the thought of leaving St. Louis, tearfully takes a stick to the snow people in the backyard and violently knocks them down. "Her mother came to me. said Minnelli. Margaret's angry at me tonight. She doesn't want me to work her up for the scene. You'll have to do it. But how. I asked. 'She has a little dog. her mother replied. 'You'll have to say someone is going to kill that dog. Minnelli was reluctant to do something that seemed so harsh, but O'Brien's mother convinced him that it would elicit the emotional response that was needed for her to do the important scene. Minnelli eventually told O'Brien what her mother suggested about her dog, and on cue, the tears began to flow on camera. "She did the scene in one rcifully for went skipping happily off the set. said Minnelli. "I went home feeling like a monster. I marvel that Margaret didn't turn out to be one too. That sort of preparation struck me as most unhealthy. In her mother's defense, years later Margaret O'Brien claimed that the story was false. "My mother would never have allowed that. said O'Brien in 2004. "June Allyson was also a big crier at the studio and so we had a little contest going: who was the best crier? So all my mother would have to say if I had a hard time crying was that maybe she'd better have the makeup man come over and spray the false tears instead of my crying the real tears, and that would upset me terribly, and then I would cry. As shooting progressed on Meet Me in St. Louis, something unexpected and special was happening between Vincente Minnelli and Judy Garland: they were falling in love. "I found Judy's self-deprecating wit disarming. said Minnelli, and the vulnerability she disguised with it all the more touching. Like everyone else at the studio, I wanted to protect and love her. And Judy was affectionate and loving right back. They had their first date towards the end of shooting with another couple. Soon the two were seeing each other exclusively. Shooting wrapped on Meet Me in St. Louis in April of 1944. By the time Minnelli started editing the film in post-production, according to his autobiography, he and Judy Garland were living together. by Andrea Passafiume Although only the climactic scenes of its year-long story span focuses on the winter holiday, Meet Me in St. Louis (1944) regularly shows up on lists of "Favorite Christmas Movies. That's probably because no one can forget Judy Garland's delivery of "Have Yourself a Merry Little Christmas" to her screen sister, Margaret O'Brien, who is distraught at the prospect of leaving her beloved hometown. Also likely to remain in the memory is the scene that follows, as little O'Brien, with shocking intensity, destroys a group of "snow people" she has created to represent her once-happy family. The problems have a sunny resolution, but it's the melancholy mood of this particular Christmas that touches the heart. MGM producer Arthur Freed had settled on Sally Benson's "5135 Kensington" stories as a source for family-oriented, turn-of-the-century nostalgia after he lost the rights to the Howard Lindsey-Russell Crouse play, Life With Father. to Warner Bros. Benson's stories tell of the day-to-day lives of the Smiths, a St. Louis family with four beautiful daughters whose serenity is threatened when their father accepts a transfer to New York. Freed envisioned the distinguished George Cukor as the ideal director for the project, but settled on relative newcomer Vincente Minnelli after Cukor was pressed into creating training films for the Army. Louis, Minnelli's third film, established his reputation as a master of the movie musical and became one of the most memorable vehicles for his wife-to-be, Judy Garland. Among her other musical highlights in the film are "The Boy Next Door" and "The Trolley Song. both of which became Garland standards. The Minnelli-Garland collaboration did not get off to a happy start, thanks to the director's perfectionism and his star's determination to parody the sweet, naive 17-year-old she was playing. Garland, now in her early 20s, was weary of playing juveniles and wanted to move on to more sophisticated roles. During the first day of shooting, Minnelli demanded endless retakes because of dissatisfaction with Garland's line readings, while Garland was reportedly in near-hysterics and demanded that producer Freed intercede. Gradually, however, Garland began to appreciate her director's vision and settled down to deliver an unaffected performance of great sincerity. Soon she and Minnelli became a couple and were engaged by the end of filming. (They would wed on June 15, 1945, and divorce in 1952. Meet Me in St. Louis broke box-office records and won high critical praise including The Hollywood Reporter's description, a warmly human entertainment which has captured a nostalgic charm rarely if ever equaled on the screen. A critic for Variety wrote, Miss Garland achieves true stature with her deeply understanding performance. Producer: Arthur Freed, Roger Edens (Associate) Director: Vincente Minnelli Screenplay: Irving Brecher, Fred F. Finklehoffe, from stories by Sally Benson Art Direction: Lemuel Ayers, Cedric Gibbons, Jack Martin Smith Costume Design: Irene Sharaff Cinematography: George J. Folsey Editing: Albert Akst Musical Direction: George E. Stoll Original Music: Ralph Blane, Hugh Martin, George E. Stoll (uncredited) Principal Cast: Judy Garland (Esther Smith) Margaret O'Brien ( Tootie" Smith) Mary Astor (Mrs. Alonzo Smith) Tom Drake (John Truett) Marjorie Main (Katie the Maid) Harry Davenport (Grandpa Prophater. Close captioning. Descriptive Video. By Roger Fristoe AWARDS AND HONORS Meet Me in St. Louis was nominated for four Academy Awards including Best Cinematography, Best Original Song (for "The Trolley Song. Best Musical Score and Best Writing, Screenplay. Young Margaret O'Brien won a special Academy Award as the Most Outstanding Child Actress of 1944 for her performance as Tootie in Meet Me in St. Louis won an ASCAP Award for the song "Have Yourself a Merry Little Christmas" which they named the Most Performed Feature Film Standard. In 1994 the National Film Preservation Board added Meet Me in St. Louis to the National Film Registry. The National Board of Review named Meet Me in St. Louis one of the top ten films of 1944. In 1945 the Library of Congress selected Meet Me in St. Louis as one of 7 films to be the first inclusions in the library's film collection. In 2005 the American Film Institute ranked Meet Me in St. Louis the 10th Greatest Movie Musical of All Time. In 2004 the American Film Institute ranked "The Trolley Song" from Meet Me in St. Louis as the 26th Greatest Movie Song of All Time. In 2005 Time Magazine named Meet Me in St. Louis as one of the Top 100 All-Time Movies. In 2004 the American Film Institute ranked "Have Yourself a Merry Little Christmas" from Meet Me in St. Louis as number 76 on its list of the Greatest Movie Songs of All Time. THE CRITIC'S CORNER MEET ME IN ST. LOUIS "All of these bits of family humor-and several more in the same vein-are done in a manner calculated to warm and enthuse the heart. The Smiths and their home, in Technicolor, are eyefuls of scenic delight, and the bursting vitality of their living inspires you like vitamin A. Miss Garland is full of gay exuberance as the second sister of the lot and a rich voice that grows riper and more expressive in each new Margaret O'Brien makes a wholly delightful imp of Satan as Tootie, and Lucille Bremer is lovely and old-fashioned as Rose, the nubile sis. Marjorie Main as Katie, the maid; Harry Davenport as Grandpa and Tom Drake as the boy next door are only three of the several excellent members of the cast. Vincente Minnelli, in his direction, has got all the period charm out of ladies dressed in flowing creations, gentlemen in straw 'boaters' and ice-cream pants, rooms lush with golden-oak wains-coating, ormolu decorations and red-plush the words of one of the gentlemen, it is a ginger-peachy show. The New York Times " Meet Me in St. Louis is a musical that even the deaf should of the year's prettiest pictures. Louis has a good deal more substance and character than most solidest single achievement of the movie, in fact, is to give the Smiths something to be sorry about: the real love story is between a happy family and a way of living. Technicolor has seldom been more affectionately used than in its registrations of the sober mahoganies and tender muslins and benign gaslights of the period. Now and then, too, the film gets well beyond the charm of mere tableau for short flights in the empyrean of genuine domestic poetry. These triumphs are creditable mainly to the intensity and grace of Margaret O'Brien and to the ability of Director Minnelli and Co. to get the best out of her. Her song (Drunk Last Night) and her cakewalk, done in a nightgown at a grown-up party, are entrancing little acts. Her self-terrified Halloween adventures, richly set against firelight, dark streets and the rusty confabulations of fallen leaves, bring this section of the film very near the first-rate. Time Magazine "Captivating musical based on Sally Benson's slice of Americana. Leonard Maltin, Movie and Video Guide "Garland achieves true stature with her deeply understanding performance, while her sisterly running-mate, Lucille Bremer, likewise makes excellent impact with a well-balanced performance. Variety "Most of its rather pretty new and old tunes are sung in an up-to-date chromium-and-glucose style which bitterly imposes on one's ability to believe that the year is 1903; and most of its sets and costumes and colors and characters are too perfectly waxen to belong to that or any other year. Indeed, this habit of sumptuous idealization seriously reduces the value even of the few scenes on which I chiefly base my liking for the picture; but at the same time, and for that matter nearly all the time, it gives you, for once, something most unusually pretty to watch. I can't remember ever having seen studio-sealed Technicolor better used. James Agee, The Nation "Wonderful M-G-M is a warm, unsentimental tribute to family, home, and tree-lined America. Garland and O'Brien give lovely performances. Danny Peary, Guide for the Film Fanatic "A family group framed in velvet and has everything a romantic musical should have. Dilys Powell [1955] Patchy but generally highly agreeable musical nostalgia with an effective sense of the passing years and seasons. Halliwell's Film Guide Compiled by Andrea Passafiume back to top.

Released November 28, 1944 1 hr 53 min Music/Performing Arts Tell us where you are Looking for movie tickets? Enter your location to see which movie theaters are playing Meet Me in St. Louis near you. ENTER CITY, STATE OR ZIP CODE GO Sign up for a FANALERT and be the first to know when tickets and other exclusives are available in your area. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more. Meet Me in St. Louis Synopsis A lawyer's (Leon Ames) family (Judy Garland, Margaret O'Brien) attends the 1904 World's Fair. Read Full Synopsis Movie Reviews Presented by Rotten Tomatoes.

Meet me in st louis movie. Meet me in st. louis cast of movie. Meet Me in st louis du rhone. Meet me in st. louis christmas. Love this movie❤. Meet me in st. louis movie i'll be home for christmas. This is one of the best musical numbers in movie history.

Where We're Located Covedale Center for the Performing Arts 4990 Glenway Ave. Cincinnati, OH 45238 Phone: [phone] Get Directions Information Rates 26 Seniors and Students, 29 Adults Category Dates and Times Meet Me in St. Louis Covedale Center for the Performing Arts 4990 Glenway Ave., Cincinnati, OH 45238 Thu, Feb 13, 2020 7:30 pm Fri, Feb 14, 2020 8:00 pm Sat, Feb 15, 2020 8:00 pm Sun, Feb 16, 2020 2:00 pm Thu, Feb 20, 2020 7:30 pm About MEET ME IN ST. LOUIS is a rare treasure in the musical theatre; a delightful portrait of a turn-of-the-century American family. It is the summer of 1903, and the Smith family eagerly anticipates the opening of the 1904 Worlds Fair. As they mark each holiday over the course of the year, the familys love, zest for life and good-natured humor, helps them through each romance, opportunity, escapade and heartbreak. The musical has all the best-loved songs from the film, including “Have Yourself a Merry Little Christmas, ” “The Boy Next Door” and “The Trolley Song”! Show more Related Articles Browse Related Listings Places to Stay Nearby Budget Host Town Center Motel 3. 91 Miles Situated on a beautifully wooded section of Central Parkway, our Inn is conveniently located minutes from downtown Cincinnati and offer... Quality Inn & Suites Downtown 4. 06 Miles Located near the Duke Energy Convention Center, Quality Inn & Suites Downtown is convenient to theaters, entertainment venues. Clifton House Bed and Breakfast 4. 33 Miles A Classical Revival manor home built in 1900 by Cincinnati financier Henry Morgenthaler in the unique neighborhood of Gaslight More Nearby Hotels Places to Eat and Drink Nearby Cancun Glenway Crossing 0. 09 Miles Cancun is a casual Mexican restaurant known for it's strong margaritas delivered in pitchers. The menu boasts popular favorites, like the... Don's Corner Pub 0. 11 Miles Don's Corner pub is a casual laid back bar where you can play video games and have a good time. On Fridays they have karaoke night where... Price Hill Chili 0. 18 Miles Price Hill Chili is a West Side staple. The restaurant serves up specialty Cincinnati-style chili and double-decker sandwiches, along with... More Nearby Restaurants Things to Do Nearby Queen City Chamber Opera 0. 57 Miles Queen City Chamber Opera is dedicated to presenting emerging opera starts in fully staged production of repertory works with full orchestral accompaniment. Dunham Golf Course 0. 64 Miles An ideal short course for the new player learning the game or the skilled player sharpening iron play, Dunhams seven par threes and two par fours provide the perfect mix of challenge and fun. 9 Holes, Par 29 – 1, 310 yards Practice Green More Nearby Things to Do.

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GREAT CLASSIC. Meet Me in St. Louis Broadway promotional poster Music Hugh Martin Ralph Blane Lyrics Hugh Martin Ralph Blane Book Hugh Wheeler Basis 1944 film Meet Me in St. Louis Productions 1989 Broadway 2004 Off-Broadway 2006 Off-Broadway revival 2009 St. Louis, Missouri 2013 London Meet Me in St. Louis is a 1989 musical based on the 1944 film of the same title, about a family living in St. Louis, Missouri on the eve of the 1904 World's Fair. The musical varied from the film with additional songs and some additional character development; the focus is not primarily on the character of Esther, as in the film. The musical ran on Broadway in 1989. Productions [ edit] Dancers in a stage production of the musical The musical opened on Broadway at the George Gershwin Theatre on November 2, 1989 and closed on June 10, 1990, after 252 performances. [1] It was directed by Louis Burke with choreography by Joan Brickhill. [2] The show was performed Off-Broadway by the Irish Repertory Theater in December 2006 through February 2007, with direction by Charlotte Moore (the mother in the Broadway production) choreography by Barry McNabb and sets by Tony Straiges. The cast featured George S. Irving as Grandpa Prophater. [3] The musical has been produced by Musicals Tonight! New York) in October 2004 [4] the Paper Mill Playhouse Millburn, New Jersey in November to December 2007, with Brynn O'Malley as Esther, Gregg Edelman as Alonso Smith, and Donna English as Anna Smith, 5] and The Muny, St. Louis in July 2009, with Lewis J. Stadlen as Grandpa Prophater, Brynn O'Malley as Esther Smith, Max von Essen as John Truitt and Stephen Bogardus as Mr. Alonzo Smith. [6] The musical has also had its UK professional premiere at the Landor Theatre, in Clapham, London. The show ran from 11 December 2013 to 18 January 2014. Plot [ edit] The musical opens in the summer of 1903. The family is going about their daily businesses – Tootie is playing with her dolls, Agnes is practicing her stilt walking, Esther is playing tennis, Rose is relaxing, Lon received his Princeton catalog in the mail, Mrs. Smith and Katie, their maid, went shopping, Grandpa is playing with Agnes, and Mr. Smith was at work ( Opening. Meet Me in St. Louis. Upon request from Esther, Katie asks Mrs. Smith if they could have dinner an hour earlier because her sister is having trouble with her husband. We soon learn that the real reason is that Warren Sheffield, a Yale scholar and heir to a grand fortune, is calling Rose long-distance at 6:30, when they usually eat dinner. Esther was trying to get dinner to be an hour earlier so the family would be out of the room when he called. Soon Rose enters and tells Esther that John Truitt, their neighbor and the boy that Esther has a crush on, is outside with his friend. They pretend to want to go to the pool, and try to attract the boys' attention. However, Agnes enters looking for her cat, and John leaves, causing Esther to lament about how John Truitt never notices her ( The Boy Next Door. A little later that day, Mr. Smith comes home in a bad mood, because he lost his case. He refuses to eat an hour earlier and storms offstage to go take his cool bath. Meanwhile, Tootie and Agnes begin to fight over a doll, causing the older siblings to have to break them up and remind them that they're all friends (Whenever I'm With You. Everyone exits except for Ester and Mrs. Smith. Esther asks if she is too young to fall in love, and her mother is shocked by the question. She proceeds to tell of how she fell in love with Mr. Smith ( You'll Hear a Bell. Dinner is approaching, and by now everyone in the family knows about Warren's telephone call except for Mr. When he joins the family at the dinner table, everyone gulps down their food so they can leave before Warren calls. Unfortunately, they are not fast enough, and the telephone rings. Mr. Smith answers, but is confused when the operators tell him that someone is calling from New York. He hangs up, and Esther accidentally tells him everything out of anger. He soon figures out that he was the only one who didn't know about the call, and tries to put his foot down, but when the phone rings again he tells Rose to answer it. Her phone call turns out to be less than successful, because he was only calling to ask how she was, and he said if his parents knew he was calling, they would kill him. Katie tries to lighten the mood ( Meet Me in St. Louis" Reprise. A few months later, we are at Lon's going-away party, right before he leaves for Princeton. Warren tries to apologize to Rose, but she refuses to accept ( Raving Beauty. At the party, Esther is formally introduced to John Truitt, pretending not to know who he is. She takes his hat and hides it in the piano. The guests then participate in a square dance called by Lon and Warren ( Skip to My Lou. Agnes and Tootie have crept to the landing to see what was going on, and after being caught, perform a dance they do with Esther ( Under the Bamboo Tree. Afterwards the guests leave, but Esther asks John if he would like to come with them to the Fairgrounds on Friday. He agrees, and then she asks him if he will help her turn off the lights, because she's afraid of the dark ( Over the Bannister. He leaves, leaving Esther slightly disappointed. On Friday, they get on the trolley to the fairgrounds, where John Truitt just barely makes it on ( The Trolley Song. Act II opens on Halloween, where Tootie and Agnes are getting ready to go trick or treating. After they leave, Katie asks the older sisters why they won't go out to the Halloween Social. They both respond that men are too bothersome and they'd rather not. Katie gives them some advice ( Touch of the Irish. Immediately following the number, a scream is heard offstage. Tootie comes in with a bloody lip, saying John Truitt hit her. When he comes by to ask if she's alright, Esther beats him up for hurting her little sister. Agnes enters soon after, telling what happened. They stuffed one of Katie's dresses so it looked like a body, then put it on the trolley tracks so when the motorman had to put on the brakes, the trolley would come off the tracks. Tootie then reveals that it was not John who hurt her, but she fell. Esther is ashamed and goes to apologize to John. He forgives her ( The Boy Next Door" Reprise. Mr. Smith comes home and breaks the news to the family that they are moving to New York. He thought the family would be happy, but they all are shocked and upset. He tries to convince them that it will be fun, but it doesn't work ( A Day in New York. They all exit, leaving Mr. and Mrs. Smith alone. Mrs. Smith tries to comfort him, reminding him that as long as they are together, they can be happy ( You'll Hear a Bell" Reprise. Wasn't It Fun. Now it is winter and their last Christmas in St. Louis is fast approaching. Both Rose and Warren are left without dates. Rose didn't respond to Warren's proposal to the dance, so he decided to go with Lucille Ballard who is Lon's girlfriend. Esther and Katie persuade them to go with each other, and Rose and Esther make a plan to fill out Lucille's dance card with the worst people imaginable. Unfortunately, John Truitt comes by and tells Esther that he can't take her to the dance because his tuxedo is locked up in the tailor's. Grandpa comes to the rescue, inviting Esther to the dance with him. At the ball, Lucille suggests that Warren and Rose and she and Lon be partners for the evening. Esther doesn't realize that, and ends up taking Lucille's dances. Lon leads everyone in a dance he learned at college ( The Banjo. John comes, in his tuxedo, after calling every Jones in St. Louis until he found who ran the shop. After the dance, John proposes to Esther, but she feels bad about it because he would have to give up going to college to be with her in New York ( You Are for Loving. Esther enters the house to find Tootie sitting on the couch. She's upset about leaving St. Louis, and has been waiting for Santa to come so she can tell him that they're moving. Esther tries to convince Tootie that New York will be fun ( Have Yourself a Merry Little Christmas. Smith sees how upset Tootie is and decides that they can't move to New York. After hearing the good news, the family goes to the fair and everything works out well ( Trolley Song" Reprise. Meet Me in St. Louis" Reprise II. Finale. Characters and Original cast [ edit] Character Broadway production Esther Smith Donna Kane John Truitt Jason Workman Mr. Alonzo Smith George Hearn Mrs. Anna Smith Charlotte Moore Sarah Mahala Redway "Tootie" Smith Courtney Peldon Katie the Maid Betty Garrett Alonzo "Lon" Smith Jr. Michael O'Steen / David Gunderman Rose Smith Juliet Lambert Grandpa Prophater Milo O'Shea Agnes Smith Rachael Graham Warren Sheffield Peter Reardon The Broadway production also included Tony Award winner Rachel Bay Jones in the ensemble. It was her Broadway debut. Songs [ edit] Act I "Meet Me in St. Louis" Be Anything But a Girl" The Boy Next Door. "Skip to My Lou" "Under the Bamboo Tree" "Banjos" Ghosties and Ghoulies and Things That Go Bump in the Night" Halloween Ballet" Wasn't It Fun" The Trolley Song. Act II "Ice" Raving Beauty" A Touch of the Irish" You Are for Loving" A Day in New York" The Ball" Diamonds in the Starlight" Have Yourself a Merry Little Christmas. "Paging Mr. Sousa" Songs from the film also in the stage version As of the late 90's the order of songs was changed, some were removed and some added. The current version is as follows: Overture" – Instrumental "Meet Me in St. Louis" – Ensemble and Smith Family Octet "The Boy Next Door" – Esther "Meet Me in St. Louis" Reprise) – Tootie, Agnes, Esther, Rose and Grandpa "Whenever I'm with You" – Smith Family Octet "You'll Hear a Bell" – Mrs. Smith "Meet Me in St. Louis" Reprise) – Smith Family Octet and Ensemble "A Raving Beauty" – Warren and Rose "Skip to My Lou" – Lon, Warren, Rose and Ensemble "Drunk Song" – Tootie "Under the Bamboo Tree" – Esther, Tootie and Agnes "Over the Banister" – John "The Trolley Song" – Esther and Ensemble "Entr'acte" – Instrumental "Touch of the Irish" – Katie, Rose and Esther "Boy Next Door" Reprise) – John and Esther "A Day in New York" – Smith Family Octet "You'll Hear a Bell" Reprise) – Mrs. Smith "Wasn't It Fun. – Mr. Smith "Christmas Waltz" – Instrumental "The Banjo" – Ensemble "Auld Lang Syne" – Instrumental "You Are for Loving" – John and Esther "Have Yourself a Merry Little Christmas" – Esther "Trolley Song" Reprise) – Ensemble "Meet Me in St. Louis" Reprise) – All Note The Smith Family Octet – Tootie, Agnes, Rose, Esther, Lon, Mrs. Smith, Katie and Grandpa Awards and nominations [ edit] Original Broadway production [ edit] Year Award Category Nominee Result 1990 Tony Award Best Musical Nominated Best Book of a Musical Hugh Wheeler Best Original Score Hugh Martin and Ralph Blane Best Choreography Joan Brickhill Theatre World Award Won References [ edit] "IBDB Entry. Retrieved 16 March 2012. ^ Rich, Frank. "Review/Theater; Meet Me in St. Louis' Movie Brought to Stage" New York Times (abstract) November 3, 1989 ^ Suskin, Steven. "Legit Review: Meet Me In ST. Louis. Variety, December 25, 2006 - December 31, 2006, p. 26. Meet Me In St. Louis' listing" Archived 2011-07-23 at the Wayback Machine, accessed April 19, 2011 ^ Gans, Andrew. "Paper Mill's Meet 'Me in St. Louis' Begins Nov. 6; Theatre Names New Executive Director" Archived 2012-10-20 at the Wayback Machine, November 7, 2007 ^ Gans, Andrew. Meet Me in St. Louis' Plays St. Louis' Muny Beginning July 6" July 6, 2009 External links [ edit] Meet Me in St. Louis at the Internet Broadway Database Meet Me in St. Louis at the Internet Off-Broadway Database Tams-Witmark plot synopsis Meet Me in St. Louis Internet Theatre Database Synopsis, Songs and Scenes at Meet Me in St. Louis at.

Props to the lady dancing like that in a tight dress. Meet me in st louis. Meet Me in St Louis!   May 22-25, 2020 WOW!    What a Great Weekend we have coming up! Four days of Contra Dancing, plus Swing, Techno Contra, ECD and Waltz.   Come and enjoy great people, dancing, music, workshops. and  ice cream! 2020 Featured bands and callers: Bands: Roger Wilco (Roger Netherton and Bill Boyer) Audacious (Larry Unger, Audrey Knuth, Glen Loper) Callers: Gaye Fifer and Andrea Nettleton The park behind the Kirkwood Community Center We dance in the beautiful St. Louis suburb of Kirkwood,  at the Kirkwood Community Center at 111 South Geyer Road, Kirkwood, MO 63122.  The center has a great wood floor and is fully air conditioned. When not dancing, we can step outside and enjoy the adjacent park, or a stroll around the pond. Date Memorial Day Weekend 2020 Friday, May 22 to Monday, May 25, 2020 Registration Register for the weekend online, or at the door for the weekend or for individual dances. Full weekend - 90 Early Bird price until May 1 - 80 Student full price - 45 Children 9 & under - free Friday night Contra 25 Saturday afternoon Contra 25 Saturday evening Contra 25 Sunday evening Contra 25 Monday farewell contra 15 Swing Dance Late-night 5 Blues Dance Late-night 5 All other workshops/special sessions 7 Need a discount? Ask us about volunteer discounts! Send a request email to Mary at This email address is being protected from spambots. You need JavaScript enabled to view it. to let her know you're interested and she'll let you know! Register for "Meet Me In Saint Louis 2020" Fri May 22nd thru Mon May 25th) Use a credit card or checking account to register online securely via PayPal Enter one name per line. Name(s) will appear on your badge(s) Adult 80. 00 (90. 00 after Sun May 3) Students 40. 00 (45. 00 after Sun May 3) Hosts for visiting dancers wanted! If you can host a dancer or two (or ten. PLEASE let us know. Here's a Word doc ( MMISL Host Questionnaire) with the information we need to know about you (how many beds or how much floorspace you have, whether you have pets, that sort of thing. Once you have filled it out, select the "Share" option under the File tab, then select "Email" and then either "Send as attachment" or "Send as pdf. The email address is This email address is being protected from spambots. You need JavaScript enabled to view it... Have more questions? Housing: This email address is being protected from spambots. You need JavaScript enabled to view it... See Important Details page for housing options. Registration: This email address is being protected from spambots. You need JavaScript enabled to view it. General Info: This email address is being protected from spambots. You need JavaScript enabled to view it. Join us on Facebook for the most current info Childgrove Country Dancers - St Louis Contra St Louis Contra Dancers Financial assistance for this project has been provided by the Missouri Arts Council, a state agency.

Meet me in st. louis halloween. When I was a freshman (lol just so you know im like 20) i swear i went through a judy garland phase where I was obsessed with her. Found this song and the trolley song i wanted to look like her. Meet me in st louis imdb. Meet me in st louis house.

Meet me in st. louis children in cast. Meet me in st louis oak ridge playhouse. Meet Me In St. Louis August 4 – 12 First Muny production since 2009! Clang, clang, clang, we are off to The Muny! Based on the heartwarming 1944 MGM film, Meet Me In St. Louis paints a wholesome portrait of a turn of the century American family. Set in the summer of 1903, the Smiths eagerly await the grand opening of the 1904 Worlds Fair. With hits such as “The Trolley Song, ” “Have Yourself a Merry Little Christmas, ” “The Boy Next Door” and the title number, this is the perfect finale to our 100 th season, and will evoke nothing but love and pride…right here in St. Louis. Shows start at 8:15 p. m. CST. Run time: 2:30 including intermission (estimate) Show Guidelines Learn More About the Show Ticket Prices Season * Single Season Savings Center Boxes (C-6) 707 100 N/A Side Boxes (7-10) 616 12% Terrace A (A-M) 469 77 13% Terrace A (N-Y) 343 60 18% Terrace B (A-M) 238 46 26% Terrace B (N-Y) 112 31 48% Terrace C 15 * Season Ticket prices include 7 service fee. ERIN DILLY ( Mrs. Anna Smith) Broadway credits include: Chitty Chitty Bang Bang (Tony nomination, Outer Critics Circle Award) A Christmas Story (originated the role of Mother) Nice Work If You Can Get It, Into the Woods, The Boys from Syracuse and Follies. Other New York: Songbird, Fiorello! and Babes in Arms (both at NY City Center Encores. Muny: Into the Woods and Mary Poppins. Regional: Clue (Bucks County Playhouse) Mary Poppins (Pittsburgh Civic Light Opera) In the Mood (Berkshire Theatre Festival) Leading Ladies (Alley Theatre. National tours: South Pacific, Beauty and the Beast, Martin Guerre (Helen Hayes Award nomination. Television: Bull, Person of Interest, Boardwalk Empire, The Good Wife, Elementary, Gossip Girl, Nurse Jackie, 12 Men of Christmas, and all three Law & Order series. Films: Julie & Julia; Too Big to Fail and Everyday People. Erin founded The Living Studio, created the Summer Musical Theatre Intensive Six Days of Broadway at the Segerstrom Center for the Arts and is adjunct faculty at PACE University in the Musical Theatre Department. STEPHEN R. BUNTROCK ( Mr. Alonzo Smith) is incredibly excited to be back on the Muny stage after performing in Thoroughly Modern Millie as Trever Graydon and as Mr. Banks in Mary Poppins. Broadway: A Little Night Music (revival) starring as Fredrick Egerman, opposite Bernadette Peters. He played the same role in the shows earlier run with original leading ladies, Catherine Zeta Jones and Angela Lansbury. Curly in Oklahoma. Gaston in Beauty and the Beast, St. John in the original cast of Jane Eyre, Barrett in Titanic, Enjolras in the 10 th Anniversary cast of Les Misérables, The Phantom in The Phantom of the Opera, Josephus Gage in Gentlemen Prefer Blondes (NY City Center Encores. and Teen Angel for the latest revival of Grease. He has toured extensively across the United States and Canada as Rueben in Joseph and the Amazing Technicolor Dreamcoat, starring Donny Osmond, originated the role of Arnaud du Thil in Cameron Mackintoshs Martin Guerre and The Phantom of the Opera. Stephen has enjoyed many concert appearances as well, most recently performing alongside Dame Julie Andrews in London with the Royal Philharmonic Orchestra. KEN PAGE ( Grandpa Prophater) Muny: Aida (Amonasro) Into the Woods (Narrator) Jesus Christ Superstar (King Herod, Kevin Kline Award) Dreamgirls (Marty) and many others. New York, Paris and London audiences have enjoyed Ken in such shows as the original Broadway and film cast of Cats (Old Deuteronomy) Aint Misbehavin (Ken, Drama Desk Award) Guys and Dolls (Nicely Nicely Johnson, Theatre World Award) Children of Eden, The Wiz, It Aint Nothin But the Blues and The Wizard of Oz, among others. Film roles include Dreamgirls (Max Washington) and Torch Song Trilogy (Murray. His writing/directing work, Cafe Chanson, earned four St. Louis Theater Circle Award nominations and his production, Sublime Intimacy, earned three. Ken appeared in  Ariadne auf Naxos (Major-Domo) with Opera Theatre of Saint Louis and reprised his performance of Oogie Boogie from  The Nightmare Before Christmas,  live at New Yorks Barclay Center in 2017. KATHY FITZGERALD ( Katie) comes to The Muny directly from 10 months as Mrs. Gloop on Broadway in Charlie and the Chocolate Factory. Muny credits: Pirates! Ruth. Other Broadway credits: The Producers (Shirley Markowitz, original Broadway cast) starring Nathan Lane and Matthew Broderick, Swinging on a Star (Drama Desk nomination) 9 to 5 (Roz, Outer Critics nomination) with Allison Janney. Kathy has also appeared in over 2000 performances of Wicked on Broadway and the national tour as Madame Morrible (Broadway World Award. Off-Broadway: Damn Yankees (Doris, Encores. Disaster! Triad) Donnybrook (Irish Rep. Regionally, Kathy has worked at McCarter Theatre and the Goodspeed Opera House, to name a few. TV/Film: Smash, Mercy, One Life to Live, Curb Your Enthusiasm, The Next Three Days (with Russell Crowe) Our Idiot Brother and The Producers. EMILY WALTON ( Esther Smith) Muny debut! Broadway: Peter and the Starcatcher, August: Osage County. Off-Broadway: Ride the Cyclone (MCC) Women Without Men (Mint Theater Company) Eager to Lose: A Burlesque Farce in Rhyming Verse (Ars Nova) The Shaggs, Saved (both at Playwrights Horizons) Cactus Flower (West Side Theatre) The Deepest Play Ever (New Ohio Theatre. Favorite regional credits include Darling Grenadine (Goodspeed) The Wizard of Oz (Sacramento Music Circus) The Fairytale Lives of Russian Girls (Yale Rep) The Secret Garden (Denver Center) Sondheim on Sondheim (Great Lakes Theatre Festival) and Third (Two River Theater. Film/TV: Submission, 5 Doctors, Hack My Life (TruTV) Search Party (TBS. Emily is also a singer-songwriter and just released her debut album, Little Longings, this year! LIANA HUNT ( Rose Smith) Muny debut! Broadway: Newsies (Katherine) Mamma Mia! Sophie. National tours: Bright Star (Margo) Wicked (Nessarose) Mamma Mia! Sophie. Regional: Private Lives (Sibyl, Riverside Theatre) Jekyll & Hyde (Emma, Engeman Theater) Grease (Sandy, Engeman Theater) Les Misérables (Eponine, Merry-Go-Round. B. F. A. NYU. Proud AEA member. Instagram/Twitter: lianamariehunt DAN DeLUCA ( John Truitt) is so happy to be back on the Muny stage after marrying into  The Addams Family  during the 2014 season as Lucas Beineke. He originated the role of Jack Kelly on the tour of Disneys Newsies. Regional: Thoroughly Modern Millie (Jimmy, Goodspeed Opera House) Hair (Claude, Patchogue Theatre) Next to Normal (Gabe) Mamma Mia! Sky, Weston Playhouse) Legally Blonde (Emmett, Lexington Theatre Company) How the Grinch Stole Christmas (Young Max, The Old Globe) Children of Eden (Cain/Japheth, CAP21. Other credits include: 54 Below, Joes Pub, Barrington Stage, Macys Thanksgiving Day Parade and Radio City Music Hall. Dan serves as the Visual Director and Key Speaker for The Field Consulting specializing in Emotional Intelligence and Mindfulness. JONATHAN BURKE ( Lon Smith) Broadway:  Tuck Everlasting  (original Broadway cast.  Off-Broadway/NYC:  Joan of Arc: Into the Fire  (Priest/Judge, Public Theater)   Langston in Harlem  (Junior Addict, Urban Stages)   Jazz A La Carte  (Apollo Theater)   48 Hours in… Harlem (Emmett, National Black Theatre.  National tours: Mary Poppins  (u/s Valentine)   A Christmas Story: The Musical,  Joseph and the Amazing Technicolor Dreamcoat (u/s Joseph, u/s Judah)   Cats  (Mungojerrie.  Regional:  Head of Passes  (Crier, Berkeley Rep)   Choir Boy  (David Heard, Studio Theatre)   Mary Poppins  (Bert, Syracuse Stage)   Amazing Grace (Tyler, Goodspeed)   Rent  (Angel, Hangar Theatre) Hairspray  (Seaweed, Merry-Go-Round Playhouse)   Born For This  (Michael Winans/Howard, The Broad Stage)   I Sing the Rising Sea  (Granby, Virginia Stage Company. A., Ithaca College. Instagram/Twitter: jondbeee ELENA ADAMS ( Tootie Smith) Muny debut! Elena has performed in youth and community theatre since the age of five and was recently nominated by Arts for Life for Best Juvenile Performer in a Musical. ELLE WESLEY ( Agnes Smith) Muny debut! She was last seen in the role of Ngana in the Stages St. Louis production of South Pacific. Akilah Ayanna ENSEMBLE Michael Baxter ENSEMBLE Leah Berry ENSEMBLE Shawn Bowers ENSEMBLE Michael Burrell ENSEMBLE Emma Gassett ENSEMBLE Berklea Going ENSEMBLE Madison Johnson ENSEMBLE Jeff Jordan ENSEMBLE Halle Morse ENSEMBLE Ben Nordstrom ENSEMBLE Commodore C. Primous III ENSEMBLE Payton Pritchett ENSEMBLE Cooper Stanton ENSEMBLE Julia Paige Thorn ENSEMBLE Nathaniel Washington ENSEMBLE MARCIA MILGROM DODGE (Director) Muny: The Little Mermaid (2017)   Young Frankenstein (2016) Buddy:  The Buddy Holly Story (2015) and The Addams Family (2014. Broadway: Ragtime (2010 Tony nomination. National tours: Curious George, Seussical, Ragtime. NYC: Venus Flytrap, Radio Gals, Closer Than Ever and Romance in Hard Times. Between reimagining revivals and choreographing & directing world premieres regionally and abroad, Dodge is also a wife, a mother, a teacher, an SDC executive board member and a published and produced playwright. For more, visit JOSH WALDEN (Choreographer) returns to The Muny after choreographing The Little Mermaid in 2017 and Buddy:   The Buddy Holly Story  in 2015. Directed/choreographed  A Chorus Line  for Maltz Jupiter Theatre and Theatre Memphis,  The Rocky Horror Show  for the University of Buffalo,  Legally Blonde  for Merry-Go-Round Playhouse, and the rock opera  Fallen Angel  for the New York International Fringe Festival. He has also choreographed for Signature Theatre, Sacramento Music Circus, Doonce Productions, Actors Theatre of Louisville, Gateway Playhouse and Morag Productions for Seabourn Cruise Lines. On Broadway, Josh was the associate director/associate choreographer for the revival of  Ragtime. As a performer, he has been in Broadway revivals of  42nd Street,  La Cage aux Folles,  A Chorus Line  and  Ragtime. CHARLIE ALTERMAN (Music Director) is thrilled to be a part of Muny 100! At The Muny he served as music director for All Shook Up (2017) The Little Mermaid (2017) Young Frankenstein (2016) Hairspray (2015) Chicago (2012) and Legally Blonde (2011. Broadway: Pippin, Godspell, Next to Normal, Martin Short: Fame Becomes Me (music director/actor) and Legally Blonde (associate conductor. Tours: Next to Normal (music supervisor) and Grease (US/Asia. Off-Broadway favorites: Almost Heaven: Songs of John Denver and Silence! The Musical. Regional: The Old Globe, Theatre Under the Stars, La Jolla Playhouse, Arena Stage, Trinity Rep, Huntington Theatre and nine seasons with the Williamstown Theatre Festival. Concert appearances include shows with Brooke Shields, Frankie Avalon, Emily Skinner, Dana Reeve, Billy Porter, Carol Woods and Ken Page. Upcoming: Half Time (previously known as Gotta Dance. Michael Schweikardt (Scenic Design) Tristan Raines (Costume Design) Rob Denton (Lighting Design) John Shivers (Sound Design) David Patridge (Sound Design) Matthew Young (Video Design) Leah J. Loukas (Wig Design) J. Jason Daunter (Production Stage Manager.

Available Options: Walmart Protection Plan. About This Item We aim to show you accurate product information. Manufacturers, suppliers and others provide what you see here, and we have not verified it. A St. Louis lawyer's family stays in town for the 1904 World's Fair. Directed by Vincente Minnelli. Meet Me In St. Louis (DVD) Warning. This product can expose you to some chemicals, which is known to the State of California to cause For more information, go to.? Specifications Manufacturer Part Number D246253D Movie Genre Musical Actors Mary Astor, Tom Drake, Judy Garland, Henry H. Daniels Jr., Marjorie Main, Margaret O'Brien, Lucille Bremer Duration 113 min Director Vincente Minnelli Features COMEDY Run Time: 113 Release Date: 11/8/2011 NR Brand Warner Bros. Studio & Production Company Warner Home Video Assembled Product Dimensions (L x W x H) 0. 50 x 5. 50 x 7. 44 Inches This product worked fine and being a favorite classic movie we enjoyed watching it immensely. Customer Q&A Get specific details about this product from customers who own it. by Poolboy34 November 18, 2019 1 Answer 1. It is a full screen. by CommunityAnswer 1 Answer Policies & Plans Pricing policy About our prices We're committed to providing low prices every day, on everything. So if you find a current lower price from an online retailer on an identical, in-stock product, tell us and we'll match it. See more details at Online Price Match.

Nominated for 4 Oscars. Another 6 wins & 1 nomination. See more awards  » Videos Learn more More Like This Comedy, Drama Family 1 2 3 5 6 7 8 9 10 7. 9 / 10 X When a nice old man who claims to be Santa Claus is institutionalized as insane, a young lawyer decides to defend him by arguing in court that he is the real thing. Director: George Seaton Stars: Edmund Gwenn, Maureen O'Hara, John Payne Romance While trying to secure a 1 million donation for his museum, a befuddled paleontologist is pursued by a flighty and often irritating heiress and her pet leopard, Baby. Howard Hawks Katharine Hepburn, Cary Grant, Charles Ruggles Adventure Fantasy 8 / 10 Dorothy Gale is swept away from a farm in Kansas to a magical land of Oz in a tornado and embarks on a quest with her new friends to see the Wizard who can help her return home to Kansas and help her friends as well. Judy Garland, Frank Morgan, Ray Bolger 7. 3 / 10 A group of sisters experience life's difficulties and its pleasures while growing up in nineteenth-century America. Mervyn LeRoy June Allyson, Peter Lawford, Margaret O'Brien Certificate: Passed Sport A jaded former jockey helps a young girl prepare a wild but gifted horse for England's Grand National Sweepstakes. Clarence Brown Mickey Rooney, Elizabeth Taylor, Donald Crisp 7. 2 / 10 A chronicle of the lives of a group of sisters growing up in nineteenth-century America. George Cukor Joan Bennett, Paul Lukas 6. 5 / 10 A university professor leaves his job to become a theater critic, creating problems with his family and friends. Charles Walters Doris Day, David Niven, Janis Paige Musical 7. 8 / 10 Snobbish phonetics Professor Henry Higgins (Sir Rex Harrison) agrees to a wager that he can make flower girl Eliza Doolittle (Audrey Hepburn) presentable in high society. Audrey Hepburn, Rex Harrison, Stanley Holloway 6. 9 / 10 The daughter of a riverboat captain falls in love with a charming gambler, but their fairytale romance is threatened when his luck turns sour. George Sidney Kathryn Grayson, Ava Gardner, Howard Keel 7. 7 / 10 Harold Hill poses as a boys' band leader to con naive Iowa townsfolk. Morton DaCosta Robert Preston, Shirley Jones, Buddy Hackett 7 / 10 "Cheaper By the Dozen" based on the real-life story of the Gilbreth family, follows them from Providence, Rhode Island to Montclair, New Jersey, and details the amusing anecdotes found in. See full summary  » Walter Lang Clifton Webb, Myrna Loy, Jeanne Crain At the turn of the century in a Welsh mining village, the Morgans, he stern, she gentle, raise coal-mining sons and hope their youngest will find a better life. John Ford Walter Pidgeon, Anna Lee Edit Storyline St. Louis 1903. The well-off Smith family has four beautiful daughters, including Esther and little Tootie. 17-year old Esther has fallen in love with the boy next door who has just moved in, John. He however barely notices her at first. The family is shocked when Mr. Smith reveals that he has been transfered to a nice position in New York, which means that the family has to leave St. Louis and the St. Louis Fair. Written by Mattias Thuresson Plot Summary Plot Synopsis Taglines: A cast of favorites in the Charming. Romantic. Tuneful Love Story of the Early 1900s! See more  » Details Release Date: January 1945 (USA) Also Known As: Meet Me in St. Louis Box Office Budget: 1, 700, 000 (estimated) Opening Weekend USA: 225, 684, 8 December 2019 Cumulative Worldwide Gross: 485, 932 See more on IMDbPro  » Company Credits Technical Specs Sound Mix: Mono (Western Electric Sound System) See full technical specs  » Did You Know? Trivia Portions of the elaborate four-horse fountain in the final scene at the Louisiana Purchase Exposition were later recycled as the centerpiece of Gene Kelly's climactic ballet with Leslie Caron in An American in Paris (1951) also directed by Vincente Minnelli. See more » Goofs During the Trolley Song the location of the fair was mentioned as at Huntington Park. The actual location of the World's Fair was Forest Park. See more » Quotes [ first lines] Mrs. Anna Smith: Best ketchup we ever made, Katie. [ she tries to tasting ketchup, it is too sweet] Katie (Maid) Too sweet. Mr. Smith likes it all the sweet side. All men like it on the sweet side. Too sweet, Mrs. Smith. See more » Alternate Versions A rare version, dubbed in Spanish, exists, which was issued on VHS in Spain several years ago. This version features the entire soundtrack dubbed, including the songs, and several scenes deleted involving Margaret O'Brien deleted, dealing with Halloween, immediately after "The trolley song. TNT, in Latin America, after prologue dealing about how this film was restored presented it in its complete version but with the Spanish dubbed soundtrack lifted from that old version, which was not restored. For that reason, after "The trolley song" and during several minutes the films plays in English (after Judy Garland "sung" in Spanish) and then the audio reverts back to the dubbed version. Although that dubbed version was available in Spain, some people believe that it was actually produced in Mexico. See more » Soundtracks I Was Drunk Last Night (uncredited) Composer unknown Sung a cappella by Margaret O'Brien See more » Frequently Asked Questions See more ».

I love this song I wish I was born in these years. Meet me in st louis musical.

Meet me in st. louis movie with judy garland.

 

Meet me in st. louis fathom events. She died 50 years ago today. He died 32 years ago today. Both of them gone. You will not see talent like this again. Thank you both for all the films you left behind. Watching a Murder She Wrote so the the wonderful Margaret O'Brien and remember how adorable she was in this film. Look at the at the music. This was wonderful entertainment.

Meet Me in St. Louis  is one of my favorite “house movies. ” Its the Turn of the Century, and the Smith family lives in this grand Second Empire Victorian home on 5135 Kensington Avenue with their five children (and Grandpa. Lets take a look back at the house they used for this classic Judy Garland movie and the sets they designed for it! The House from “Meet Me in St. Louis” Kensington Avenue, lined with grand homes, was constructed by MGM for the movie. Known as “St. Louis Street, ” it can also be seen in films like Cheaper by the Dozen: Judy Garland was 21 years old when she played Esther Smith. She initially turned down the role because she was tired of playing the ingenue. She was finally talked into it by the screenwriter, Irving Brecher, who was a friend of hers. The movie changed her life because she met and married the director, Vincente Minnelli. Rose Smith was played by newcomer Lucille Bremer, who only spent four years in Hollywood before retiring from show business to start a family. A lot of the action takes place around this beautiful staircase in the entry: At the end of the movie, when they are packing up their belongings to move to New York, we get this view of the staircase looking kind of bleak and sad with the paintings removed: The Writer: Sally Benson The movie was based on Sally Bensons collection of short stories for The New Yorker. Benson, whose maiden name was Smith, wrote about her life on Kensington Avenue where her family lived from 1891-1910. She helped the filmmakers get all of the period details right, from the clothing to the sets. Bensons home in St. Louis was demolished in 1994 after standing empty for years, but heres a sketch of what it looked like when she lived there: Heres where it used to stand, on what is now an empty lot (sent to me by Holly) Here is a house thats still standing that just sold on the real Kensington Avenue, a few doors down from where Benson lived. It was built in 1903, and you can see similarities to the illustration above (asking price in 2009: only 24, 000) Back to the Movie Version of the House: In this scene, the family gathers to discuss the move to New York City. The dad, played by Leon Ames, has decided not to take the job in New York after all because he realizes how important home is to his family. In reality, Sally Bensons father had no such change of heart. Her family did move to New York, leaving their beloved Kensington Avenue house behind. They didnt return for the Worlds Fair. A sequel called Meet Me in Manhattan was talked about, but it never came about. The movies costume designer reportedly created many of the movies costumes right out of the Sears & Roebuck catalog from the time period. The movie took 5 months to shoot, from December 1943-April 1944. “Nowadays, ” Esther Smith says in the film, “you cant get a maid for less than 12 a month! ” Pots and pans were usually stored on open shelves because they were greasy. Closed cabinets would attract mice and other critters. The “Meet Me in St. Louis” House at Christmas They removed the striped awnings on the exterior of the house for the winter scenes. The bathroom wowed me with that window: Sally Benson, the author of the stories that the movie was based on, was called “Tootie” as a child. In real life, Tooties older sister Agnes pulled most of the pranks attributed to Tootie in the film. This scene between Esther and Rose in the vanity mirror was the first one Minnelli shot: Instead of trick-or-treating for candy, the kids in those days carried bags of flour to the homes of their “enemies. ” Back then, if you hit someone with flour on Halloween night, you could say that you “killed them. ” Grandpa advises Tootie to get the flour wet first so itll stick. The House in the Summer St Louis Street, the MGM back lot where the streets were lined with Victorian homes built for Meet Me in St. Louis, is now sadly gone. Derek sent me a photo of how the Meet Me in St. Louis house looked in 1970, just before it was demolished: In 1970, MGM auctioned off most of its property, including St. Louis Street. Lot 3 was 80 acres with a lake, where they filmed this and more MGM features. Now its reportedly lined with condos, but we can still revisit the glory days of Kensington Avenue in the movie! Visit my  Houses Onscreen page to see the others Ive featured, listed from A-Z. (Visited 11, 901 times, 1 visits today.

But now and then pack and sail away. Meet Me in St. Louis, Louis Lyrics When Louis came home to the flat He hung up his coat and his hat He gazed all around But no wifey he found So he said "Where can Flossy be at" A note on the table he spied He read it just once then he cried It read 'Louis dear it's toos low for me here So I think I will go for a ride Oh Meet me in St. Louis, Louis Meet me at the fair Don't tell me the lights are shining Any place but there We will dance the hoochie coochie I will be your tootsie wootsie If you will meet me in st. Louis, Louis (Company) Meet me in st. Louis, Louis If you will meet me in St. Louis, Louis Meet me at the fair.

Now the milkman's on his way. It's too late to say good night. SO SAY GOOD MORNING. Meet me in st. louis 75th anniversary event. Meet me in st. louis broadway musical. Meet Me in st. louis cardinals. Meet me in st. louis musical song list. Meet me in st. louis agnes.

Meet me in st louis online. Meet me in st. louis theme party. Wow, Martin Milner was only 16 when this was made. Fantastic. Supreme. A wonderful look at life at the beginning of America's Golden Age.
My one major issue with the continuity of this movie is that "Meet Me In, Louis" was not published until 1904 when the Worlds Fair opened in St. Louis. In the first duet scene with Esther(Judy Garland) and Rose(Lucille Bremer) they sing "Meet Me In, Louis. If you paid attention to the first photo intro to the season you remember seeing "SUMMER 1903. OOOOOPS!
Musically, the songs could not have gone any better. Perhaps a director such as Vincent Minelli and a producer such as Arthur Reed knew they had a true screenplay gem on their hands. I don't know, but I wish I did.
Margaret O'Brien gives a sterling performance, who needs lessons acting like 5 when you look act 6. Even her duet with Esther(Garland) is professional. Great qualities for a child actress. (See her in Little Women or The Canterville Ghost) Lucille Bremer, Joan Carrol, Marjorie Main, Tom Drake they all bring a special fortitude to this movie. Rose Smith(Lucille Bremer) receiving a telephone call from her on and off again boyfriend Warren Sheffield doesn't tarnish her one bit. Although she can act and put up a brave face, we know she is hurt.
So its not a musical by name but a warm family movie with good music, sewn seamlessly by a great director.
Enjoy.

Meet me in st. louis 1944 cast. Meet me in st. louis have yourself a merry christmas. I love Judy Garland. She is so pretty here and full of life dancing and singing with her amazingly talented voice. The dad seemed like a bit of a buzzkill wanting to break up the singing, but that was just something that went along with the story, since I've seen the film before. Background Meet Me In St. Louis (1944) is a delightful, classic, nostalgic, poignant, and romanticized musical film - and one of the greatest musicals ever made. It tells the story of a turn-of-the-century family in suburban, midwestern St. Louis of 1903, who live in a stylish Edwardian home at 5135 Kensington Avenue. The city, and the well-to-do Smith family (with four beautiful daughters) is on the verge of hosting (and celebrating) the arrival of the spectacular 1904 World's Fair. However, the family's head of the house is beckoned to New York due to a job promotion - an uprooting move that threatens to indelibly change the lives of the family members forever. Filmed during WWII, the decision to remain in St. Louis in the film's conclusion affirmed that nothing will be altered for the American family. This gem of cinematic, picture-postcard Americana and youthful romance, is richly filmed in Technicolor. It marked the beginning of the golden age of MGM musicals (and producer Arthur Freed's unit) and ultimately became the second most successful film for MGM (behind Gone With the Wind (1939. The story is based on the book of the same name from Sally Benson's memoirs of her life in St. Louis, Missouri from 1903-4 - they were recalled and written in multiple issues of The New Yorker Magazine from 1941-1942 (originally published under the title "5135 Kensington" and eventually gathered together as The Kensington Stories. The charming stories, a dozen in all to represent each of the twelve months of the year, are expressed in the film in its musical numbers. The film abandoned the 'put-on-a-show' mentality of so many other backstage song/dance films. Its songs and wonderful performances are carefully and naturally integrated into the story of the close-knit family's day-to-day life, and serve to advance the action and plot from one season to the next. This most popular and financially-successful film was produced by the legendary Arthur Freed and directed by its star's future husband, newcomer Vincente Minnelli (who married 23 year-old Judy Garland a year later on June 15, 1945 - it was Garland's second marriage. The slice-of-life musical was only Minnelli's third film (after the all-black musical Cabin in the Sky (1943) and the musi-comedy I Dood It (1943) with Red Skelton) and it was Minnelli's first full-length film in color. After their marriage, Garland and Minnelli also worked together on The Clock (1945) and The Pirate (1948. Meet Me in St. Louis was nominated for four Academy Awards (without any Oscar wins) Best Screenplay (Irving Brecher and Fred F. Finklehoffe) Best Color Cinematography (George Folsey) Best Song ( The Trolley Song" with music and lyrics by Ralph Blane and Hugh Martin) and Best Scoring of a Musical Picture (Georgie Stoll. The film's awards promotion was subverted by MGM's support of its suspense thriller and gothic melodrama Gaslight (1944. However, young star Margaret O'Brien was awarded a Special (miniature) Oscar as the most outstanding child actress of the year. And this film marked the first significant film role, and probably her career-best effort, for beautiful actress Judy Garland since The Wizard of Oz (1939. Structurally, the film is a series of coming-of-age vignettes (four in number) different acts representing the seasons from summer 1903 to spring 1904 that conclude in the year of the St. Louis World's Fair/Exposition. Each segment marks changes and rites of passage - and is introduced by a filigreed tintype from the Smith family album - each static, initially sepia-toned image turns into color and comes to life. Although the Winter segment is one of the shortest vignettes, the film is still considered a favorite Christmas movie. The Story Summer, 1903 The First Vignette opens with a static view of a greeting card (or family album snapshot) picturing a lovely, sepia-colored Victorian house in St. Louis, Missouri. When the camera zooms in, the picture springs into an animated, full-color enlargement, showing the mansard-roofed home with dormer windows and a veranda, surrounded by green lawn. The camera tracks down the unpaved street, following an open, horse-drawn wagon carrying Circle Star Beer. It then turns left to track up the lawn, following a young man (son Lon) riding his bicycle onto the Smith house's lawn. The summer scene dissolves into the kitchen. There over the stove, happy housewife Mrs. Anna Smith (Mary Astor) is making ketchup, testing and critiquing its taste with Katie (Marjorie Main) the household's maid. [The opening scene is centered around everyone in the family tasting the ketchup simmering on the kitchen stove, and humming the film's title song. Two of the five children enter, only son Alonzo "Lon" Jr. (Henry H. Daniels, Jr. casually humming a bit of the tune of the title song after setting down a load of groceries. (The title song is sung by the whole family in the house. Then, second-youngest daughter Agnes (child star Joan Carroll) comes in, her bloomers still wet from swimming. As she walks through the kitchen, through the hallway and up the stairs, she picks up the song: Meet Me In St. Louis. Inside the bathroom, her Grandpa Prophater (Harry Davenport) Mrs. Smith's father) continues the refrain. He crosses paths with Agnes in the upstairs landing, and then continues singing into his room, where he tries on samples from his exotic lodge-cap collection. He goes over to the window when he hears a foursome arriving, completing the chorus. Outside, he sees auburn-haired Smith daughter Esther (Judy Garland, a twenty-two year old playing a seventeen year old - and off-screen already showing signs of future neuroticism) and her friends pull up in front of the house in a pony cart. Alighting from the cart, Esther carries a tennis racket and enters the kitchen. Back in the kitchen, more taste-testing results in different opinions about the ketchup recipe. Esther whispers a secret request to Katie - exhorting her to arrange to have dinner served an hour earlier than usual, something that normally wouldn't be approved. Katie snaps at Esther's white lie after permission is granted: A lie's a lie, and dressed in white don't help it. Katie asks Esther why she was asked to lie. Esther explains that eldest sister - a second auburn-haired daughter Rose (Lucille Bremer in her film debut) unmarried at twenty, expects to receive a long-distance call at 6:30 pm from New York City from a far-off, admiring beau named Warren Sheffield (Robert Sully. Rose needs privacy to maneuver a proposal out of her boyfriend, because the phone is located in the dining room: She may be loathe to say the things a girl's compelled to say to get a proposal out of a man. Katie comments on Rose's use of the telephone - a new invention: Personally, I wouldn't marry a man who proposed to me over an invention. Katie announces the arrival of a coquettish Rose, sauntering up to the front steps of the house: There's the poor old maid now. " Standing on the neighboring lawn is a young, handsome Boy-Next-Door dressed in white with a pipe firmly in his teeth, a new neighbor named John Truett (Tom Drake. Rose gazes at him, trying to attract a glance while entering the house. Rose quickly persuades Esther to join her and stand on the front porch to look at the boy. Attempting to be non-chalant, both desperately want to be noticed and admired. Unsuccessful in attracting his attention, he is oblivious to them and imperviously wanders inside. Rose thinks: He's not very neighborly, I must say. " They also go inside their house, where they anticipate the evening's events. When Esther reminds Rose of her fateful phone call, stuck-up Rose disdainfully mentions her disinterest in boys before drifting upstairs to wash her hair: My dear, when you get to be my age, you'll find out there are more important things in life than boys. Unconvinced of that fact, a winsome Esther gazes toward the camera with a dreamy look, cued up to sing a soliloquy of longing with a lush, rich voice, The Boy Next Door. She muses about her beloved: The moment I saw him smile I knew he was just my style My only regret is we've never met Though I dream of him all the while Esther ambles over to the window seat, sitting and looking out over the neighbor's place in the direction of the Boy-Next-Door ( at 5133" as she continues singing about her crush on the teenager who lives closeby: How can I ignore the Boy Next Door? I love him more than I can say Doesn't try to please me, doesn't even tease me And he never sees me glance his way And though I'm heartsore, the Boy Next Door Affection for me won't display I just adore him, so I can't ignore him The Boy Next Door During the playing of the song's melody, Esther primps and prances in front of the hallway mirror, and then does a little dance with herself at the foot of the stairs. She returns to her window vantage point to repeat the final two lines, lovingly photographed with a rapturous closeup of her secret longing expressed in song: With a last lingering glance out the window, she slowly releases a translucent, white lace muslin curtain at the edge of the window - bewitchingly, it falls in front of her as the song ends. A closeup of the tureen of the batch of ketchup being stirred in the kitchen dissolves into view. Fussing continues over the ketchup's taste when Grandpa pronounces it "too thick. Agnes bursts into the kitchen looking for her cat named Little Babbie. No-nonsense Katie brags about having kicked it down the cellar stairs, joking: Katie: I could hear its spine hit on every step. Agnes: Oh, oh, if you killed her, I'll kill you! I'll stab you to death in your sleep and then I'll tie your body to two wild horses 'til you're pulled apart. To Agnes' relief, the cat is found closeby in the kitchen. While preparing cabbage at the sink, Mrs. Smith advises Rose about her anticipated phone call: If I were you, I wouldn't commit myself one way or all, we know very little about him. Why, we haven't even met his folks. She also suggests keeping it a secret from Mr. Smith, due home shortly from work: Not a word of this to Papa. You know how he plagues the girls about their beaus. " Esther enters the kitchen and asks where 'Tootie. the youngest Smith family member is. Nonchalantly, Mrs. Smith replies: Oh I suppose she's working on the ice wagon. " In the next scene on Kensington Avenue, precocious five year old 'Tootie' Margaret O'Brien) is shown blissfully happy, helping the ice man Mr. Neely (Chill Wills) on his horse-drawn ice-wagon rounds. She sits on the back of the wagon, sucking a piece of ice and singing a few bars of "Brighten the Corner. Tootie' joins Mr. Neely in the front seat, where they begin a marvelous discussion about the near-death state of her favorite doll, Margaretha. 'Tootie' is pleasurably interested in gruesome games and the macabre, but frets about her pale-looking doll. She is seriously discussing her mortally-sick doll's fate and preparing to bury it: Tootie' I expect she won't live through the night. She has four fatal diseases. Mr. Neely: And it only takes one. 'Tootie' But she's gonna have a beautiful funeral in a cigar box my Papa gave me, all wrapped in silver paper. Mr. Neely: That's the way to go if you have to go. 'Tootie' Oh, she has to go. The conversation shifts to a new subject - the town of "St. Louis. Mr. Neely mispronounces it. She corrects him and tells him the proper pronunciation. Then, when he calls it a "grand old town. she again corrects him, expressing her hometown pride and exulting in the coming fair: It isn't a town, Mr. Neely. It's a city. It's the only city that has a world's fair. My favorite. Wasn't I lucky to be born in my favorite city? Back in the Smith household, Esther (singing and waltzing in her bloomers) and Rose (on the family upright piano in the parlor) are performing a spirited, reprised rendition of "Meet Me in St. At the start of the second chorus, Esther rejoins Rose at the keyboard where they sing in close harmony together. In a low-angle shot tilting upwards, the two girls are to the right of the frame, with a ceramic miniature of twin Victorian damsels above the piano to the left of the frame. Breaking the spell, a very hot and grumpy Mr. Alonzo Smith (Leon Ames) the well-to-do lawyer and head of the household trudges up to the house after work at the office and squelches their performance in the parlor: For heaven's sakes, stop that screeching! Wiping his sweaty brow, he collapses into a chair and mutters: That song. The fair won't open for seven months. That's all everybody sings about or talks about. I wish everybody would meet at the fair and leave me alone. His day has been miserable - he's lost a case. Esther isn't very sympathetic and offers a practical solution: Well, Papa, if losing a case depresses you so, why don't you quit practicing law and go into another line of business? As master of the house, he blows up again when he learns that dinner will be served an hour early. He refuses to be coerced into an early dinner, asserts his authority and disrupts carefully-laid plans: Dinner will be at 6:30! He stomps off for a cool, soaking, restorative bath upstairs. At dinner time, the concerned family gathers around the dinner table trying to rush the meal while they glance up at the still-silent telephone. When the 'Lord and Master' of the house arrives, after slipping on one of 'Tootie's' carelessly-discarded skates, he wants a leisurely meal, but Katie the maid hurriedly speeds everyone through each course. He answers and then hangs up the phone the first time it rings, chided by Esther and then informed: You've just ruined Rose's chance to get married, that's was Warren Sheffield calling long-distance to propose. The only member of the family unaware of the expected phone call is Papa, and he feels like an outsider: Just when was I voted out of this family? When the phone rings a second time, Rose answers and hesitantly (but yelling throughout in order to be heard) speaks to Warren while the entire family hangs on her every word. During the phone conversation, Mrs. Smith closes the window to keep the neighbors from overhearing. Rose is unable to coax Warren to propose, though Esther looks on the bright side and breaks the ice: Well, I'll bet there isn't another girl in St. Louis who's had a Yale man call her long-distance just to inquire about her health. " In a letter, Rose invites next door neighbor John Truett (spelled Truitt in the letter) to her Princeton University-bound brother Lon's going-away party, to be held in the Smith's parlor. While dressing upstairs the evening of the party, Esther confides to Rose: Esther: I'm going to let John Truett kiss me tonight. Rose: Esther Smith! Esther: Well, if we're going to get married, I may as well start it. Rose: Nice girls don't let men kiss them until after they're engaged. Men don't want the bloom rubbed off. Esther: Personally, I think I have too much bloom. Maybe that's the trouble with me. (She squeezes her cheeks. ) Esther makes a grand entrance down the staircase, greets a few guests, and then deliberately backs into her brother who is talking to John Truett. Esther and John are finally introduced. The youthful dancing party begins in the cramped confines of the Smith parlor. Young Lon participates in the music making - he and Esther sing and the group dances to a lively hoe-down called "Skip to My Lou. a traditional production number. By the end of the dance, Esther has been gently pushed into John's arms. In their nightclothes at the foot of the stairs, John discovers 'Tootie' and Agnes watching the party hosted by their big sisters: There are mice in the house, two of them. Tootie is allowed to stay up and sing a song for her elders. She chooses "I Was Drunk Last Night, Dear Mother" and shows off, to everyone's delight: I was drunk last night, dear Mother I was drunk the night before But if you forgive me Mother I'll never get drunk anymore Esther joins a night-gowned 'Tootie' in a spontaneous, delightful little song and cakewalk to "Under the Bamboo Tree. complete with straw hats and canes in a home-style minstrel shuffle. Later, as the guests depart, Esther has hidden Truett's hat as a way to detain him and make him the last one to leave. As they say goodbye and shake hands many times together, she makes an "untoward request. She asks him to accompany her throughout the house to turn off the gas lights - a beautifully-executed scene in which the camera moves non-stop from light to light. As the lights are extinguished in the parlor, the dining room and the landing, she shyly courts the boy next door in the darkness - hoping (in vain) to be offered a goodnight kiss. As she gazes at him with undisguised love, he compliments her: You don't need any beauty sleep. She renders a sweet old song to him: Over the Bannister. At its conclusion, he shakes her hand goodbye one more time, awkwardly complimenting her a second time: You've got a mighty strong grip for a girl. In the final scene of the summer vignette, Esther joins an expectant crowd of young people (the ladies are sporting colorful flowery hats and shirt-waist dresses. they are friends that have gathered for a picnic to ride a trolley bound for the under-construction fairgrounds (the fair is still six months away. She is wearing a black outfit trimmed with white without a hat, nervously noticing and despairing that John, her love, hasn't arrived yet. As they begin to ride off - to the "clang, clang" of the trolley bells, they all belt out "The Trolley Song. It's an extravagant five-minute production number: Clang, clang, clang went the trolley Ding, ding, ding went the bell Zing, zing, zing went my heartstrings As we started for Huntingdon dell... Without singing, an anxious and tense Esther moves around the train amidst the swirl of pastel colors and song, continuing to look for John. He is late as usual from basketball practice and must run after the trolley to catch it. She is relieved when he runs after the trolley, catches it and boards - she happily finishes the song on a high note, leading all of her friends in her musical tale of flirtation with a handsome man: I went to lose a jolly, hour on the trolley, and lost my heart instead With his light brown derby and his bright green tie He was quite the handsomest of men I started to yen, then I counted to ten, then I counted to ten again [In a scene filmed but later excised from the final release of the film, Esther and John stroll through and explore the unfinished fairgrounds - John carries her in his arms through one of the muddier sections of the grounds. During the walk, Esther sings Rodgers and Hammerstein's "Boys and Girls Like You and Me.

Meet me in st. louis 1966.

Meet me in st louis sheet music. One of the finest American musicals, this 1944 film by Vincente Minnelli is an intentionally self-contained story set in 1903, in which a happy St. Louis family is shaken to their roots by the prospect of moving to New York, where the father has a better job pending. Judy Garland heads the cast in what amounts to a splendid, end-of-an-era story that nicely rhymes with the onset of the 20th century. The film is extraordinarily alive, the characters strong, and the musical numbers are so splendidly part of the storytelling that you don't feel the film has stopped for an interlude. Tom Keogh Production: MGM   Nominated for 4 Oscars. Another 6 wins & 1 nomination. IMDB: 7. 7 Rotten Tomatoes: 100% Unrated Year: 1944 113 1, 745 Views.

Meet me in st louis musical cast list

Following Margaret O'Brien 's rapid ascent to stardom, her mother believed they were entitled to a significant raise, and she used this film as leverage, realizing how integral the role of Tootie was to the story. MGM raised the ante by announcing the casting of Sharon McManus in O'Brien's place. McManus was the daughter of a studio electrician and the brass went so far as to fit her with costumes, assuming this would pressure O'Brien's mother into accepting their terms. But she held fast, and MGM was ultimately forced to concede to her demands for the salary increase. Once production was underway, O'Brien was filming a scene when McManus' father, who was employed on the film, intentionally dropped a heavy lighting instrument from the catwalk to the sound stage floor, narrowly missing the pint-sized star. He was taken away and briefly admitted to a mental institution for his deed. The book on which the film is based originally ran as a weekly feature in the New Yorker Magazine in 1942. For the film many of the actions attributed to Tootie were actually done in real life by Sally Benson 's sister Agnes. Also in reality, Benson's father moved the family to NYC and they never did come back for the World's Fair. In "Have Yourself a Merry Little Christmas. Judy Garland refused to sing the grim original lyric, Have yourself a merry little Christmas, it may be your last" to little Margaret O'Brien. The star's creative opposition inspired songwriters Hugh Martin and Ralph Blane to form the more optimistic lyric, let your heart be light. " The success of the film had encouraged MGM to create further movies involving the Smith family and was to be based on further tales of Sally Benson 's family. MGM wanted to make sort of a deluxe color group of serials in the spirit of the popular "Andy Hardy" series. A proposed sequel titled "Meet Me in Manhattan" was in the works in which the Smith family actually moved to New York. (This happened in real life to Sally Benson 's family. However, the project never got out of planning stages and the film was never made. According to Mary Astor, Margaret O'Brien liked to have fun with the prop master. For instance, when shooting a scene at the Smith family dinner table, all of the dishes and utensils had been laid out meticulously. "It was Maggie's favorite form of mischief, when his back was turned. said Astor, to put things in disorder again, to reverse knives and forks, to put two napkin rings beside a plate. It would drive him nuts. And remember the strong caste system on the sets: she was a star and he was just a lowly property man, so all he could do was to smile and say, Please, Maggie dear. when he'd have liked to have shaken her. " The movie was based on the real-life experiences of novelist Sally Benson. The character of Agnes was based on her own vantage point, though her nickname was Tootie as a little girl. The entire cast and crew were immediately impressed with Vincente Minnelli 's attention to detail in every shot. He had consulted author Sally Benson on how the interiors of the Smith home should look, and she had provided a wealth of first-hand information. As a result, the look of each set was near perfection according to the time period. According to Mary Astor, The only anachronisms were the girls' long-swinging hairdos. Girls 'put their hair up' as soon as they got out of pigtails, the first instant they were allowed to by reluctant parents. It was a symbol, like the first long pants for boys. " Also going on at the time of the 1904 Louisiana Purchase Exposition were the Third Summer Olympic Games. They were the first Olympic Games to be held in the United States. Originally awarded to Chicago, President Theodore Roosevelt had the Games switched to St. Louis so that they would run at the same time as the World's Fair. This turned out to be a huge mistake. The Games merely became a side attraction to the fair's other events and turned out to be a first class disaster. They took nearly six months to complete and were very poorly run. Many competitors went to their graves without the world knowing that they had competed in the Olympics. As a result of these Games, the Olympic movement almost came to an end. Judy Garland missed 13 days of work causing the production taking 70 days to complete from the original budgeted 58 days. Director Vincente Minnelli worked diligently to make the movie as accurate to the times as possible. Not only did its novelist, Sally Benson, give explicit directions as to the decor of her family's home down to the last detail, but the movie's costume designer took inspiration for many of the movies costumes right out of the Sears & Roebuck, Montgomery Ward, and Marshall Fields catalogs from the time period. Judy Garland scoffed at the idea of portraying yet another teenager (she was 21 when filming began) and wanted nothing to do with the film. Her mother even went to MGM chief Louis B. Mayer on her behalf. However, Vincente Minnelli convinced her to play the part of Esther Smith, and Judy later fell in love with the story. In her later years she considered it one of her favorite roles. The Halloween sequence on the street outside of the Smith home was primarily filmed from low angles, so that the movie audience would experience the Halloween night as though they were seeing it through the eyes of a child. When Tootie ( Margaret O'Brien) embarks on her adventure to the Braukoff home, the houses appear to be large and looming. Judy Garland was at first reluctant to accept the role of Esther Smith for fear of being typecast as a "girl next door" type, as she had played such a role in many of her previous films. By this point in her career, she had not only been married briefly, she was also a lover of Hollywood nightlife and had briefly dated many of the famous Hollywood playboys of the time, including Artie Shaw, Tyrone Power and Joe Mankiewicz. In real life, she was a far cry from the girl-next-door types she had played onscreen and wanted to be given the glamor treatment received by the other actresses at MGM. With encouragement from director Vincente Minnelli, who did see Garland as she had wanted to be seen for years (beautiful and womanly) make-up artist Dorothy Ponedel worked on Garland and brought out her natural beauty. Garland's eyebrows were modified to a more defined arch, her cheeks highlighted with a subtle blush, her nose discs and dental caps removed. Garland had worn the nose discs and dental caps in all of her previous films; the caps were worn to disguise her crooked teeth, the nose discs to turn up her nose and create a more pronounced profile. "Dottie" Ponedel threw away the discs and caps, telling Garland she was pretty enough not to need them. To create a glamorous effect, while at the same time drawing attention to Garland's full lips and large brown eyes, Ponedel applied a bright red lip color and false lashes, both of which became staples of Garland's signature look from that point onward. During filming, Minnelli used special lighting to display the results of Ponedel's handiwork effectively. Garland was very pleased with the results and even more impressed when she attended a screening of the film and saw herself onscreen, and later stated that working on this film was the first time she had ever felt beautiful. She would continue to work with Ponedel for the rest of her years at MGM. Judy Garland hated rehearsing for her scenes, and Vincente Minnelli liked to have a lot of rehearsals. She took to sneaking off the set early in order to avoid them. "She'd get in her car and zoom off before I had a chance to call a run-through; said Minnelli. "I'd phone to the studio gate to intercept her. " Vincente Minnelli and Judy Garland met on this movie, and married soon afterwards. Minnelli was the director for the film. Garland claimed she married him because she felt extremely beautiful during the film. According to Mary Astor, I walked into Judy's portable dressing room one tense morning and she greeted me with her usual cheery, Hi, Mom. I sat down on the couch while she went on primping, and said, Judy, what the hell's happened to you? You were a trouper - once. She stared at me. I went on, You have kept the entire company out there waiting for two hours. Waiting for you to favor us with your presence. You know we're stuck - there's nothing we can do without you at the moment. She giggled and said, Yeah, that's what everybody's been telling me. That bugged me and I said, Well, then, either get the hell on the set or I'm going home. She grabbed me by the hand, and her face had crumpled up, I don't sleep, Mom. And I said, Well, go to bed earlier then - like we all have to do. You're not so damn special, baby. and stalked out in my own unthinking high dudgeon. It was some years later before I really knew what she'd been going through. " In "The Boy Next Door" Judy Garland sings that the Smith family lives at 5135 Kensington Avenue, which was also the title of Sally Benson's original stories. Kensington Avenue is still a residential street, though the lot at 5135 is now vacant. The street on which the Smith home stood was built specifically for "Meet Me in St. Louis. Located on MGM's vast Backlot #3 that was at Jefferson and Overland Boulevards in Culver City, it was known at the studio as "St. Louis Street" and all of the houses that were on it were used in various film and television shows throughout the next 27 years, until Lot 3 was demolished to make way for an apartment and condominium project. Even in 1970, the last year of Lot 3's existence, the Smith home still looked like it did in 1944, minus the set dressings, of course. At the end of the film, John Truett, referring to the fairgrounds, says "I liked it better when it was a swamp, and it was just the two of us. This refers to a deleted scene, that took place after the trolley scene, when John and Esther visit the fairgrounds then under construction. This scene was setting for the Rodgers and Hammerstein song "Boys And Girls Like You And Me. which was dropped from the final print. After Tootie crashes Lon's going-away party, Esther asks her if she would like to recite "Did You Ever See a Rabbit Climb a Tree" for the company. This is a nonsense poem from "Father Goose: His Book" 1899) by L. Frank Baum, author of Judy Garland 's most famous film, The Wizard of Oz (1939. Mary Astor, who had previously played Judy Garland 's mother in Listen, Darling (1938) recalled, Judy was no longer a rotund little giggler, but her growing up was not maturing. The fun was still there and she seemed to have great energy. But it was intense, driven, tremulous. Anxious. She was working way over the capacities of any human being. She was recording at night and playing in the picture in the day, and people got annoyed when she was late on the set, and when she got jittery and weepy with fatigue. Including myself. I often felt that her behavior during this period was due to bigshotitis and very unprofessional. Making a movie was a communal effort: Everyone depended on everyone else, and for one person to keep 150 other workers sitting around on a sound stage while she fiddled with her lipstick in her dressing room was just plain bad manners. " The Trolley Song" was ranked #26 and "Have Yourself a Merry Little Christmas" was ranked #72 by the American Film Institute in 2004 on the 100 Greatest Songs in American Films list. Composer Hugh Martin did not enjoy his experience writing the film's score. Although Martin greatly admired Judy Garland and the talent of those he was working with, he did not appreciate Producer Arthur Freed 's volatile temperament, or the one-upsmanship and self important attitudes shared by the MGM hierarchy. He has said that he found all that showing off and competing for attention "depressing. A devout Christian, in later years he adapted "Have Yourself a Merry Little Christmas" into "Have Yourself a 'Blessed' Little Christmas" for several popular gospel singers, including Mahalia Jackson. According to Mary Astor, Margaret O'Brien was quite mischievous on set. "Margaret O'Brien was at her most appealing (I might say 'appalling' age. And she could cry at the drop of a cue. Real tears, an endless flow, with apparently no emotional drain whatsoever. She was a quiet, almost too-well-behaved child, when her mother was on the set. When Mother was absent, it was another story and she was a pain in the neck. " Producer Arthur Freed dubbed the singing voice for Leon Ames in the song "You and I. which was written by Nacio Herb Brown and Freed, who had begun his career as a lyricist. Mary Astor's voice was dubbed by Denny Markas. A flustered Alonzo Smith ( Leon Ames) makes a sarcastic remark about embarking on a new career as a baseball player for the Baltimore Orioles. The major league team known as the Baltimore Orioles from 1901-1902 moved to New York City in 1903 and would eventually become known as the New York Yankees. (The scene in this film takes place in 1903, when the Baltimore Orioles was the name of a minor league team. Oddly, the St. Louis Browns, a major league club from St. Louis at both the time the movie is set and the time it was made, would relocate in 1954 and become the modern-day Baltimore Orioles. Vincente Minnelli was impressed with Margaret O'Brien 's exceptional acting at such a young age, though he found some of her methods "enervating. Minnelli explained, Her mother and aunt would whisper to her just before we shot the dramatic sequences and, like the salivating of Pavlov's dog, Margaret would get highly emotional and cry. I often wondered what they said to her to get that reaction. I was soon to learn. Minnelli, according to his autobiography, discovered one of O'Brien's techniques during the scene in which Tootie, upset over the thought of leaving St. Louis, tearfully takes a stick to the snow people in the backyard and violently knocks them down. "Her mother came to me. said Minnelli. Margaret's angry at me tonight. She doesn't want me to work her up for the scene. You'll have to do it. But how. I asked. 'She has a little dog. her mother replied. 'You'll have to say someone is going to kill that dog. Minnelli was reluctant to do something that seemed so harsh, but O'Brien's mother convinced him that it would elicit the emotional response that was needed for her to do the important scene. Minnelli eventually told O'Brien what her mother suggested about her dog, and on cue, the tears began to flow on camera. "She did the scene in one rcifully for went skipping happily off the set. said Minnelli. "I went home feeling like a monster. I marvel that Margaret didn't turn out to be one too. That sort of preparation struck me as most unhealthy. In her mother's defense, years later Margaret O'Brien claimed that the story was false. "My mother would never have allowed that. said O'Brien in 2004. "June Allyson was also a big crier at the studio and so we had a little contest going: who was the best crier? So all my mother would have to say if I had a hard time crying was that maybe she'd better have the makeup man come over and spray the false tears instead of my crying the real tears, and that would upset me terribly, and then I would cry. " The Trolley Song" had a long and painful gestation period. Producer Arthur Freed was a notoriously inarticulate man, and all he could describe to composers Hugh Martin and Ralph Blane was his desire for "a song for Judy to sing on the trolley. The two songwriters came up with three such numbers, wildly different in tone and rhythm, and Freed summarily turned each one down, reporting that he would "find a place for it" in his upcoming Ziegfeld Follies (1946. What he wanted for this spot, they came to realize, was a number about the trolley itself. Exasperated, Martin and Blane retreated to their local public library to research the history of transportation in St. One book showed a picture of a turn-of-the-century trolley car, captioned "Clang! Clang! Clang! went the jolly little trolley. The men went to work and, upon hearing the finished product, Freed exclaimed, That's the song for Judy! By the time Vincente Minnelli started editing the film in post-production, according to his autobiography, he and Judy Garland were living together. A former child star herself, Judy Garland couldn't help but be concerned about young Margaret O'Brien. Garland was worried that O'Brien was being overworked and was missing out on her childhood. However, O'Brien herself said in a 2004 interview that while she appreciated Garland's concern, this was not the case. O'Brien loved her time acting, and the child labor laws had been strengthened in the time since Garland had been an underage star. "Tootie was fun because I could do a lot of the things I maybe wouldn't normally do myself. said O'Brien, and she was really kind of bratty and mischievous, so I loved playing Tootie. " According to Vincente Minnelli, Judy Garland initially didn't care for the film. When they first started shooting, she was reading her lines in a way that poked fun at the script. At that point Minnelli believed that Garland's co-star Lucille Bremer, despite never having acted before, was doing a better job than she because Bremer was committed to her role and delivered every line with utter sincerity. Minnelli took Garland aside and asked her to do the same. "I want you to read your lines as if you mean every word. he advised her. Throughout the shoot, Judy Garland continued to have problems. Arthur Freed had a talk with her one day in her dressing room and then told Vincente Minnelli what was on Garland's mind. "She said she doesn't know what you doesn't feel she can act anymore. said Freed. Minnelli was worried, but Freed reassured him. "Don't worry. Freed said. "It'll work out. I told Judy you know what you're doing and to trust you. Minnelli remained determined to coax a good performance out of her. "I didn't give up trying to reach her. said Minnelli. "I eventually could tell Judy what I wanted her to do with just a look, but at first I had to find the key words to get her to react. What seemed obvious to me was perplexing to her. Though the lines seemed silly to her, she had to believe in them. Each of Esther's crises, no matter how minor, had to be treated like the 1929 crash. Finally the message got to her. I still don't know how. Once she grasped the motivation, she was as brilliant in the dramatic scenes as she's been in the musical numbers. She was alternately wistful and exuberant, but always endearing. " First intended as a duet for Alfred Drake and Joan Roberts in the Broadway production of "Oklahoma. the Rodgers & Hammerstein song "Boys and Girls Like You and Me" had been discarded from that 1943 Broadway triumph and replaced with "People Will Say We're in Love. MGM producer Arthur Freed then purchased screen rights to the song, planning to interpolate it into the film score as a Judy Garland solo, but her rendition was cut from the picture. Miss Garland's Decca album of songs from the film included the song in an arrangement similar to her MGM prerecording. Later, the ballad was chosen to be crooned by Frank Sinatra to Betty Garrett in another Arthur Freed production, Take Me Out to the Ball Game (1949) but again the tune was deleted. The footage of Judy singing the song to Tom Drake no longer exists, but on the Warner Home Video special-edition DVD, the original audio recording is played over Garland-Drake production stills. Only about two or three seconds of footage from this sequence may be seen on the trailer in which Tom Drake 's name is screened. It shows a medium shot of Tom Drake, and in the background, you can see some buildings supposedly under construction as they would appear in the surviving production stills. The 1904 Louisiana Purchase Exposition has been claimed by some to be the birthplace of the ice cream cone. 1940's interior sound stage and exterior set movie lighting equipment used Klegl Brothers lamp fixtures equipped with carbon-arc lamps. These lamps became famous for being so bright that it hurt the eyes of the actors, causing them to wear sun glasses during camera rehearsals. In the "Meet Me in St. Louis" after party sequence between Esther Smith and neighbour John Truett, Esther asks John to stay while she turns off the rooms lighting, gas-sourced chandeliers, in the living room, dining room, entrance hallway, and main staircase. Klegl carbon-arc lamps can not be dimmed. In the 1940's, movie studios did not have dimmer boards for the movie Klegl lighting fixtures. For this sequence, to create the illusion of the set's gas light fixtures being turned off, large Venetian blinds were hung in front of the carbon-arc set lighting fixtures. As Esther and John turn off each chandelier, the electrician-grip would close the Venetian blind hung in front of the set lighting lamp, hanging in the stage-set's overhead scaffolding cat-walk surrounding the set wall perimeter. Closing the Venetian blind closed off the light source creating the illusion of the chandelier being turned off. After John leaves the house, Esther's action is to ascend the staircase, where she turns the two staircase wall gas lamps back on! The electrician-grip, stationed at his assigned carbon-arc lamp, opened the Venetian blind in front of the carbon-arc lamp, creating the illusion that the staircase wall gas lamp fixture was re-lighted, lighting the staircase as Esther heads to her upstairs bedroom. Van Johnson was initially the front-runner for the role of John Truett. The Broadway stage version of "Meet Me In St. Louis" opened at the George Gershwin Theater on November 2, 1989, ran for 252 performances and for nominated for the 1990 Tony Awards for Best Musical, Book and Score. The living room set featured prominently in the movie is the same living room set used in MGM's The Time Machine (1960) which also took place at the turn of the nineteenth century. While most audiences remember Judy Garland singing "Have Yourself a Merry Little Christmas" to Margaret O'Brien, there are in effect three characters in the scene. Director Vincente Minnelli subtly casts a shadow of John's outer window grill across Esther (Judy Garland) and, indeed, as she approaches the song's bridge, Esther begins to sing upward toward John's window, intimating that she would not likely leave her family to remain in St. Louis with him. While the film chronicles one year in the life of the Smith family, in actuality only six days are represented in the telling of the story: three in summer, Halloween, Christmas Eve, and one morning in spring. Introducing Tootie riding in the horse drawn cart with Mr. Neely, this single camera sequence was filmed on the MGM sound stage in film process. The "moving background projected screen action" had been previously filmed by a second unit filming company, coordinated with extras, horse drawn and motorized vehicles moving as background action. The exterior MGM-Culver City back-lot set's background reveal the existing Culver City foothill terrain, located behind the exterior Victorian street set. Ignoring the fact that St. Louis is flat land country, the back-lot newly constructed Victorian Saint Louis street had "foothills. The "Trolley" sequence was also filmed on the same MGM sound stage in film process. The "process plates" are projected by a motion picture projector onto a "rear screen" set directly in center line with the film camera's lens. The distance between the projector and the rear screen requires approximately 200' of separation. The film process requires a huge stage for the process projector/screen set-up, which also must include the vehicle and actor's film action occurring in front of the screen projection screen. When John proposes to Esther he asserts that they don't need their parents' permission to marry, because they are of legal age. almost. In fact, the legal age to marry in Missouri without parental consent in 1904 was 15. This film has a 100% rating on Rotten Tomatoes based on 33 critic reviews. For many, Meet Me in St. Louis (1944) is considered essential Christmas Eve viewing. If the film is begun at precisely 10:22:30 pm, the church bell that tolls midnight during John's Christmas Eve proposal to Esther coincides perfectly with the real-time stroke of midnight, thus allowing die-hard fans to ring in Christmas morning with the characters in the film. Judy Garland indulged in some bad habits during production. She would complain of illnesses and headaches, often arriving late to the set and keeping the cast and crew waiting for hours. Included among the "1001 Movies You Must See Before You Die" edited by Steven Schneider. Portions of the elaborate four-horse fountain in the final scene at the Louisiana Purchase Exposition were later recycled as the centerpiece of Gene Kelly's climactic ballet with Leslie Caron in An American in Paris (1951) also directed by Vincente Minnelli. Had its world premiere on Nov. 22, 1944, at the Loew's State Theatre in downtown St. Judy Garland, Margaret O'Brien and the other stars of the film did not attend the premiere. (Garland completed work on her film "The Clock" in Hollywood just one day earlier. The star attraction at the sold-out event was author and native St. Louisan Sally Benson. Two days later, Garland did attend the opening at the Loew's State Theater in New York. While there, the actress announced her engagement to the director of the film, Vincente Minnelli. Referred to only as Grandpa by everyone in the Smith family, we learn late in the film, during the winter ball sequence, that his surname is Prophater, which intimates that he is the father of Mrs. Smith. Included among the American Film Institute's 1998 list of the 400 movies nominated for the Top 100 Greatest American Movies. The film served as an unofficial screen test for Lucille Bremer, a personal and professional protege of producer Arthur Freed. With no prior experience as a singer or actor. she had been a Rockette at Radio City Music Hall and a chorus girl on Broadway in Cole Porter's "Panama Hattie. Bremer did not receive the customary star build-up so prevalent at the time, which would have consisted of lessons, bit parts, supporting roles and a likely name change. Like Mario Lanza after her, Bremer was introduced as a star minus any of the tools needed to maintain her position. She gave credible performances in three other high-profile assignments at MGM, co-starring opposite Fred Astaire in Ziegfeld Follies (1944, though not released until 1946) and Yolanda and the Thief (1945) and as the female lead in the Jerome Kern biopic Till the Clouds Roll By (1946) after which Freed apparently soured on her. She would make only one more film at MGM, a non-dancing role in a B-level Dr. Kildare film called Dark Delusion (1947) before gradually retiring from show business in favor of marriage. After principal photography was completed, Vincente Minnelli and Judy Garland visited New York, where they attended a performance of S. N. Behrman's Broadway comedy, The Pirate. which Lemuel Ayers, Minnelli's art director on Meet Me in St. Louis (1944) has recommended as a future project. Produced by The Theatre Guild, and featuring Alfred Lunt and Lynn Fontanne, the production ran 177 performances at the Martin Beck Theatre. Enamored with the comedy, Minnelli urged producer Arthur Freed to purchase the film rights as a future collaboration for himself and Garland, only to find that MGM already owned it. Minnelli and Garland attended several performances of the play during their stay, with Minnelli inscribing sketches and notes of the sets, costumes, and production details. This would result in a splendiferous 1948 film version starring Garland and Gene Kelly. Buddy Gorman is in studio records/casting call lists for this movie for the role of "Clinton Badger" but that role was played by someone else. Though spelled 'Truett' in the film's credits, John's surname is misspelled as 'Truitt' in Rose's handwritten invitation to Lon's farewell party. MGM reteamed Mary Astor and Leon Ames as husband and wife five years later in Little Women (1949. French censorship visa # 4877. Thus far, it has not come to light who provided the singing vocals for Lucille Bremer in this film. Clearly more than one voice is at play between "Skip to My Lou" and "Meet Me in St. This, coupled with the fact that her vocals were dubbed in both Yolanda and the Thief (1945) and Till the Clouds Roll By (1946) leads one to assume that Bremer did not sing for herself in this film. despite the fact that the liner notes for MGM's compact disc reports that she did. Leon Ames would play a replica of his role as the Smith patriarch in On Moonlight Bay (1951) and By the Light of the Silvery Moon (1953) two Warner Bros. musicals cut from the same Americana cloth as Meet Me in St. Louis (1944.

Meet me in st. louis cast.

Meet me in st. louis musical synopsis

Meet me in st. louis movie. Meet me in st. louis gymnastics meet. Critics Consensus A disarmingly sweet musical led by outstanding performances from Judy Garland and Margaret O'Brien, Meet Me in St. Louis offers a holiday treat for all ages. 100% TOMATOMETER Total Count: 33 87% Audience Score User Ratings: 37, 015 Meet Me In St. Louis Ratings & Reviews Explanation Meet Me In St. Louis Photos Movie Info Sally Benson's short stories about the turn-of-the-century Smith family of St. Louis were tackled by a battalion of MGM screenwriters, who hoped to find a throughline to connect the anecdotal tales. After several false starts (one of which proposed that the eldest Smith daughter be kidnapped and held for ransom) the result was the charming valentine-card musical Meet Me in St. Louis. The plot hinges on the possibility that Alonzo Smith (Leon Ames) the family's banker father, might uproot the Smiths to New York, scuttling his daughter Esther (Judy Garland) s romance with boy-next-door John Truett (Tom Drake) and causing similar emotional trauma for the rest of the household. In a cast that includes Mary Astor as Ames' wife, Lucille Bremer as another Ames daughter, and Marjorie Main as the housekeeper, the most fascinating character is played by 6-year-old Margaret O'Brien. As kid sister Tootie, O'Brien seems morbidly obsessed with death and murder, burying her dolls, killing" a neighbor at Halloween (she throws flour in the flustered man's face on a dare) and maniacally bludgeoning her snowmen when Papa announces his plans to move to New York. Margaret O'Brien won a special Oscar for her remarkable performance, prompting Lionel Barrymore to grumble "Two hundred years ago, she would have been burned at the stake. The songs are a heady combination of period tunes and newly minted numbers by Ralph Blane and Hugh Martin, the best of which are The Boy Next Door, The Trolley Song, and Have Yourself a Merry Little Christmas. As a bonus, Meet Me in St. Louis is lensed in rich Technicolor, shown to best advantage in the climactic scenes at the St. Louis World's Fair of 1904. Hal Erickson, Rovi Rating: G Genre: Directed By: Written By: In Theaters: Nov 28, 1944 limited On Disc/Streaming: Apr 6, 2004 Runtime: 113 minutes Studio: MGM Cast News & Interviews for Meet Me In St. Louis Critic Reviews for Meet Me In St. Louis Audience Reviews for Meet Me In St. Louis Meet Me In St. Louis Quotes News & Features.

Meet me in st. louis 2020. Meet Me in St. Louis, American musical film, released in 1944, that provided Judy Garland with one of the best roles of her career, as well as several of her signature songs. Judy Garland (right) and Margaret O'Brien in Meet Me in St. Louis (1944. 1944 Metro-Goldwyn-Mayer Inc. photograph from a private collection Read More on This Topic Vincente Minnelli: Films of the later 1940s: Meet Me in St. Louis, The Clock, and The Pirate Minnelli then directed Meet Me in St. Louis (1944) regarded by many as one of the greatest film musicals and as… The film, set in St. Louis, Mo., follows the Smith family in the days leading up to the 1904 Worlds Fair. The two eldest daughters grapple with life, love, and their dread of the familys impending move to New York City. Louis contains a number of hit songs, from the upbeat “ Trolley Song” to the beautiful but sombre “ Have Yourself a Merry Little Christmas. ” Garland, under contract at MGM, was initially opposed to starring in this sentimental family tale. The part required her to portray a teenager, and, at age 21, she longed to be rid of the juvenile roles in which she had traditionally been cast. She finally relented when director Vincente Minnelli convinced her the film would be a highlight in her career. Not only was Garland pleased with the finished production, but she also fell in love with and married Minnelli. Largely for her impressive performance as the youngest Smith child, Margaret OBrien received a special Academy Award for outstanding child actress of 1944. Production notes and credits Studio: MGM Director: Vincente Minnelli Writers: Irving Brecher and Fred F. Finklehoffe Music: George Stoll Running time: 113 minutes Cast Judy Garland (Esther Smith) Margaret OBrien (“Tootie” Smith) Lucille Bremer (Rose Smith) Leon Ames (Alonzo Smith) Academy Award nominations Screenplay Song Cinematography (colour) Score Lee Pfeiffer History at your fingertips Thank you for subscribing! Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox.

Meet me in st. louis. A great family film that's always a pleasure to watch especially during the holidays.
From the cast to the costumes and sets, director Vincente Minnelli took great pains to make this film as true to life as possible.
There are just some films you don't tire of seeing. Released in 1944, it stands the test of time and brings home a sense of nostalgia when viewed more than 60 years later.
I'm a classics fan and most films today don't even begin to compare with the sincerity, the warmth, and class this film delivers. It was filmed when the Hollywood musical was king of the box office. I recommend it to anyone who wants a diversion from the extreme in-your-face forms of entertainment like Family Guy and Beavis and Butthead reruns.

Meet me in st. louis dvd. Her hair reminds me of aurora's from sleeping beauty. Meet me in st. louis trolley song.

 

 

Meet Me in St. Louis Rated 4.4 / 5 based on 452 reviews.