My discussion on The History of the Production Code

A few months ago, I was honoured to be asked to present a talk on an Old Hollywood topic of my choice at an Ignite! Conference. The rules of the talk was that it had to be 5 minutes long, 20 slides, and no cheat notes allowed! I decided to present on the History of the Production Code (1934-1967), including a history of Pre-Code Hollywood from 1929-1934.

Video of my talk has just been made available, so I thought I would share it with y'all! Hope you enjoy and I welcome any comments!

Enjoy!

Reflections on the TCM Classic Film Festival

Billboard on display in Hollywood for the festival

I was absolutely thrilled to attend the TCM Classic Film Festival a couple of weeks ago for the first time. It has been my dream to attend ever since the first year, and my boyfriend and I were able to make it work financially for the first time this year. Travelling from an hour west of Toronto, Ontario to Hollywood, California is no small (or inexpensive) journey. But, oh, how worth it the journey was!! I can say with complete honesty that the festival was 4 of the best days of my life. I knew that I would love seeing the films in their full glory on the big screen, and that I would be in awe of being in Hollywood for the first time! But, what I didn't expect was the fact that I got to meet such amazing, passionate, and above all, kind classic film fans who I now consider my friends! In this blogpost, I'll do my best to condense my festival experience day-by-day, and highlight favourite moments!

DAY ONE

TCL (Grauman's) Chinese Theatre, getting ready for festival screenings

We arrived in Hollywood on Wednesday, April 24th, the day before the festival officially kicked off. We decided to eat in a restaurant attached to the Roosevelt Hotel, which was the home base of the festival (many passholders chose to stay in this beautiful, historic hotel). The Roosevelt holds the honour of being the venue that hosted the very first Academy Awards Ceremony, in the Blossom Room. The Blossom Room was transformed into Club TCM during the festival, a room where passholders could gather and chat, and where various special festival events were held over the 4 days.

Blossom Room transformed into Club TCM for the festival

When we ate at 25 Degrees, the restaurant attached to The Roosevelt, we discovered (thanks to 2 darling passholders that we befriended over the course of the festival) that Robert Osborne was eating dinner in the corner booth! When he was done eating, he came over and welcomed all of us to the festival. He was so kind and courteous! I was shocked that the festival hadn't even started, and we had already encountered Robert! With that first evening, I knew we were in for a treat!

DAY TWO 

In our red carpet attire the night of the Funny Girl restoration at TCL (Grauman's) Chinese Theatre

Day Two was the first official day of the festival, the big event being the Funny Girl (1968) premiere opening night restoration. We spent the day getting our TCM Classic Film Festival gift bags, looking at the hand and footprints at Grauman's, exploring the Hollywood Museum (encountering several fellow passholders while we were there), and getting a chance to be on TV while Robert Osborne interviewed Susan Ray, wife of director Nicholas Ray, for a piece that would later air on TCM! Such fun! 

We then returned to our hotel to get "red-carpet ready" for the big opening night festivities! Club TCM hosted a small opening night party with appetizers and drinks before we walked the red carpet. I never thought in my life I would ever get the chance to walk a red carpet, and the experience was amazing! As I was walking, I looked to my left and saw that I was steps away from Marge Champion! What a thrill. She is 93 and still going strong. What an inspiration.

Once we got into Grauman's, I was overwhelmed that I was actually inside this legendary theatre. It was more beautiful than I ever imagined. You could feel the vibe of Old Hollywood the minute you stepped into this gorgeous building. And the screen was simply stunning! Pictures can't do it justice!

While I know that secretly, a lot of us were hoping Barbra Streisand would surprise us all and be in attendance, we were all satisified when William Wyler's daughter read us a letter from the legend, stating that she hoped we'd have as much fun watching the film as much as she did making it. Well, to say we enjoyed it would be an understatement. The newly restored print was simply stunning, and the depth and breadth of Streisand's Oscar-winning performance can really only be completely understood and appreciated when seen on the big screen. She is luminous, hilarious, heartbreaking, and to quote her first line in the film, "gorgeous!"

Robert Osborne was of course on hand to introduce the film, and then paused to introduce his "Friday night girlfriend." We all looked at each other wondering, "Could it be?" and then Cher came up to the front to greet Robert. Cher really knows her films, and her appearance was a thrilling surprise!

After the screening, we went to Musso and Frank's Grill, the oldest restaurant in Hollywood. They've taped a couple of episodes of Mad Men there! We treated ourselves to a couple of drinks and dessert before retiring for the night to prepare for our first full day at the festival!

DAY THREE

Eva Marie Saint being her perfectly charming self, with Robert Osborne smiling in the background

On Friday morning, we decided to see The Swimmer (1968), mostly because we knew that Marge Champion would be there to talk about the film. I had never seen this movie before, and I have to confess that I have never been a huge fan of Burt Lancaster. But, this movie was a huge surprise for me. I loved the film, and Burt Lancaster gives the best performance I've ever seen him give in this film. Given that the film was made in the same year that the current season of Mad Men is currently exploring provided a very interesting viewing experience for me. For one, Lancaster plays an ad men in denial of his current reality, and his character is essentially in decay. Parallels to Don Draper, anyone? Watching a film from 1968 also demonstrates how right Mad Men gets everything. But, The Swimmer is a great film unto itself, and I need not compare it to anything. With great performances by everyone in the cast (including a young Joan Rivers, Janice Rule, and a small appearance by Marge Champion), this screening did not disappoint. Champion, who was in attendance for the screening and had never seen it again since its 1968 premiere, discussed the film after it screened. She provided some interesting insight into how she got the part, and working with director Frank Perry before he was replaced after a disagreement with Lancaster. Champion, being her adorable self, stated after about 15 minutes that she thought we had better things to do than listen to her (I could have listened to her talk for hours), and that she wanted lunch. Thus, we moved onto our next event of the day. 

After seeing The Swimmer at the Chinese Theatre Multiplex, we raced down to the Avalon Theatre at Hollywood and Vine (where the television series Hollywood Palace was filmed), to line up for the live taping of a very special interview with the lovely Eva Marie Saint. We were the first ones to arrive in line (3 hours early!), but I didn't mind waiting to be guaranteed a seat. Plus, we were lucky enough to see Eva Marie Saint and her husband arrive in her car! (I didn't have the courage to ask for an autograph). We also met some lovely people in line. You make friends fast when you have a couple of hours to kill, and the people you are talking to understand everything you're saying about old movies!!

Seeing Eva Marie Saint being interviewed by Robert Osborne was an undeniable highlight of the festival. We were sitting right in front of Eva Marie's husband, who made some lovely remarks about his still-stunning (88 year old!) wife during the interview. I don't want to spoil much of what she said, since the interview will be airing on TCM next year, but I will say that her mind is as sharp as a tack, she has a wicked sense of humour, has a special preference for leading man Yves Montand, and seems to have beautifully balanced her career with her very stable and happy family life. Be sure to watch the interview next year!

Beautiful Mitzi Gaynor at Club TCM for Hollywood Home Movies

From the Avalon Theatre, we headed back to Club TCM where we watched the special Hollywood Home Movies event. In attendance was the beautiful and talented Mitzi Gaynor (one of my favourites), who joyfully and comedically narrated some of home movies from behind-the-scenes of her film My Blue Heaven (1950). It was adorable to see Mitzi clearly crushing on Dan Dailey in these behind-the-scenes shots. Mitzi also has very fond memories of the film's director, Henry Koster. Also in attendance was Fay McKenzie, famous for her cameo as the laugher and cryer in the party scene of Breakfast at Tiffany's (1961). She did some USO Performance Tours with Desi Arnaz during WWII, and narrated some footage of their fun outings together. What was striking to me during the showing of these movies was how stunning the Old Hollywood stars were, even on a day off. Lauren Bacall, Lucille Ball, Marlene Dietrich, and more all looked beautifully put-together even when filming at the studio was the last thing on their minds, and even without the meticulous lighting Old Hollywood was known for. Perhaps it's true that people were just more beautiful back then!

Friday night was a highlight for me, one, because I stepped into the Egyptian Theatre for the first time, and two, because I got to see On the Town on the big screen from the Egyptian balcony! It is one of my all-time favourite musicals (it was Gene Kelly's personal favourite of his films, as well)! A highlight of ALL the festival screenings was the fact that the audience was so engaged and "in-the-know" about the movies they were watching. What I mean by that is, they would applaud the entrance of each star of the film (even character actors) when they appeared on screen. During the screening of On the Town, the audience applauded each star's name that appeared before them on the credits, and eagerly clapped after each musical number. They seemed to have a special appreciation for Ann Miller's tour-de-force Prehistoric Man tap number, and for Betty Garrett's great one-liners.

Writing all this down, I can't believe how much we did on Friday, and how much we saw! What a day!!

 DAY FOUR

Robert Osborne and Jane Fonda discuss On Golden Pond (1981)

Saturday morning began with a screening of the original Cape Fear (1962), with an amazing performance by the underrated Robert Mitchum. While I had seen this film before, I felt as though I was seeing it for the first time on the big screen. The TCM staff member who introduced the film described Gregory Peck's performance as his warm-up for Atticus Finch, and I couldn't agree more. Peck to me always represents the upstanding moral gentleman, and this is certainly his character here (even though he is dying to bend the rules). But the real star of the film is Mitchum, whose portrayal of Max Cady is almost too real, chilling, and terrifying. Mitchum is another star, like Lancaster, who I've never really "gotten." But I "got" Mitchum after seeing him in this role on the big screen. What an underrated and powerful actor. The fact that he never seemed to realize the depth of his own talent is truly sad. Barrie Chase, who plays Cady's victim Diane Taylor in the film (also famous for being Fred Astaire's TV dance partner in the late 1950s and early 1960s), was on hand for a discussion after the screening. I was so glad that she brought a personal letter addressed to her from Peck, in which he stated that he was sorry her great performance was in a "not-so-great" film. Interesting that the mixed reviews of the film initially impacted his own opinion of the film. Now, of course, the film is seen for what it really is, and not for the horror film it was marketed as in 1962. 

From Cape Fear, we headed to the Conversation with Tippi Hedren event at Club TCM. The interview provided an opportunity for Hedren to be completely candid about her troubled (not romantic) relationship with director Alfred Hitchcock. Hedren proudly stated that while Hitchcock might have ruined her career, he did not ruin her life. It seems that Hedren has persevered through those difficult years with Hitchcock, and become a very strong woman and humanitarian. It seems that stardom was never truly important to Hedren, and that she's always had a head on her shoulders. Hats off to you, Tippi!

We headed back to The Egyptian Friday afternoon for a screening of On Golden Pond (1981) with Jane Fonda (fresh from putting her hands and feet in cement at Grauman's Chinese Theatre) on hand to introduce her father's last film. Witnessing Jane Fonda emotionally discussing the making of this film brought tears to my eyes. Jane saw the play version of On Golden Pond and thought it would make a great vehicle for a film she could make with her dying father (he died just a few months after the film wrapped). What a perfect film for Jane and her legendary father to make together. As Fonda said during the introduction, she was able to act out the difficult relationship she had with her father, and come to terms with their relationship. How healing that must have been for her. She stated that in the scene where she tells her father that she wants to be his friend, she desperately wanted to get some real emotion from her father. She said that she left it for his close-up to touch his hand after that line, and she said that she saw her father shed a tear that he wiped away before the camera could get at it, because he didn't want to appear that vulnerable. But, the important thing is that she saw it, and I'm so grateful she shared this story with the audience in attendance. 

Of course, Katharine Hepburn is also a key star of the film, and Fonda described her as "prickly." This attitude was no doubt based on the fact that she was jealous of Fonda's youth and talent, and the fact that if Fonda won an Oscar with this performance, she would be tied with Hepburn with the amount of Oscars won. Fonda said that when Hepburn won that year, and Fonda lost, she called Hepburn to congratulate her. Hepburn's response? "You can't catch me now!" According to Fonda, however, Hepburn wasn't always prickly. During the pivotal "I want to be your friend" scene, Hepburn was on set (even though she didn't have to be), and when Hepburn sensed that Fonda was having trouble in the scene, she cheered her on from the bushes off-camera, whispering, "You can do it! You can do it!" Clearly, Hepburn had empathy as an actress to a fellow actress, and as a mother to a daughter figure. She wasn't always prickly.

Fonda couldn't stay to watch the screening (she says it's too emotional for her to watch it, even after all these years), but I'm sure she would be moved to know that at the close of the film, when Fonda and Fonda embrace, the audience burst into applause. I know my eyes certainly weren't dry, and I know I wasn't the only one crying when witnessing that beautiful scene on the big screen. 

Ann Blyth with Robert Osborne, introducing Mildred Pierce (1945).

Saturday night was yet another highlight, with Ann Blyth (Veda herself!) appearing to introduce Mildred Pierce (1945). Beautiful, kind, charming, and serene, it's hard to imagine the woman we were seeing interviewed by Robert Osborne could be so brilliantly menacing and evil onscreen! The audience jokingly hissed Blyth when she stepped on stage, and she hilariously retorted, "I don't care!" Mildred Pierce is a film that was totally enhanced by watching it with fellow fans. The audience totally rooted for Joan Crawford throughout, and applauded her in the famous scene when she slaps Veda. The audience was also totally in love with the wonderful, wisecracking Eve Arden, and applauded many of her signature one-liners. Jack Carson was an audience favourite as well. I have never enjoyed Mildred Pierce so much as I did watching it with such a great, supportive audience! It was a perfect end to an amazing day.

DAY FIVE 

Club TCM as it looked for the Closing Night Party 

The final day of the festival got off to a scorching start as we saw Rita Hayworth in her iconic performance as Gilda (1946). I have always adored Rita Hayworth (she is one of my favourites), and I seem to have this in common with actress Debra Winger, who was on hand to provide a short, but sweet, introduction to the film. Hayworth is a star BORN for the big screen, and she literally sets the screen on fire with her legendary role. There are many subtleties of her performance that can only be fully realized and taken in when watching her on the big screen. She is such an underrated actress. Glenn Ford (a fellow Canadian!) is also excellent in this film, and his performance in this film really came alive to me for the first time as I watched him on the Egyptian screen. I must give a shout-out to costume designer Jean Louis, because his gowns for Hayworth burst into life on the huge screen. Audiences applauded Hayworth's iconic screen entrance to the film, and also started clapping even before she started performing her clothed striptease to Put the Blame on Mame. If a star was ever perfect for the big screen, and for Old Hollywood, it was Rita Hayworth. 

After Gilda finished, we walked down to the Cinerama Dome where there was already a huge line to see the 50th anniversary screening of It's a Mad, Mad, Mad, Mad World (1963). Karen Kramer, wife of director Stanley Kramer, was present to introduce the film, as well as stars Barrie Chase, Marvin Kaplan, and living legend Mickey Rooney. It was very emotional for me to see Mickey Rooney in a wheelchair (though he walked up the stairs to get to his seat onstage). He is still a very lively presence! Rooney has great memories of the film, especially being reunited with his Boys Town costar Spencer Tracy. Karen Kramer stated that the Cinerama Dome was built for the premiere of this film, and that JFK and Jackie planned to attend the premiere, but were re-routed to Dallas, where, of course, tragedy struck. Kramer made the very apt judgment that she thinks the film screened non-stop in the Cinerama Dome for two years straight because the country desperately needed to heal, and this comedy healed a nation. Watching this comedy in a gorgeous 70 mm print provided the perfect finale to four days of movie-watching heaven, and we were so sad to see it end. 

Meeting Ben Mankiewicz at the Closing Night Party!

After a few hours of sightseeing, we returned to Club TCM for the Closing Night Party, where we were reunited with all of our new friends. Such fun! And we got to formally meet Robert Osborne and Ben Mankiewicz! They were both extremely kind and generous with their time. I said to Osborne, who had been going non-stop for 4 days, that he must be exhausted! Ever the gentleman, he replied by saying that it's wonderful to meet all the passholders and see how passionate they are for classic film.

Robert Osborne asked me at the Closing Night Party if I had a good time at the festival. I responded, "They were the best days of my life!" That wasn't a lie. I feel so blessed and honoured that I was able to attend this year (and hopefully every year from now on!) and I can't wait to start communicating by email with my new classic film friends! TCM has given the classic film audience a great gift: an opportunity to experience classic film with fans who truly understand the importance of what they are watching. What could be better than that? Nothing, I say! Nothing! Thank you so much, TCM!!

With Robert Osborne at the Closing Night Party!!

Movie Memories: Building a New Audience for Classic Film

Recently on Twitter, I happened upon an amazing initiative. Movie Memories is a non-profit organization dedicated to introducing new audiences to classic film, through film retrospectives, and an amazing school program, dedicated to getting youth involved in the discovery of classic film.

Headed by Maria Ciaccia, a film historian responsible for hosting programs in partnership with American Cinematheque (2008) in Los Angeles at the Egyptian Theatre and the Dryden Theatre (2006) in Rochester, New York, this is sure to be an organization that is well-researched and full of passion and drive. Ciaccia is also the author of many books on film. I have had the pleasure of communicating to her via email and she is very passionate about making this program succeed!

The Film Retrospectives branch of the organization is committed to getting movie theatres agree to host a compilation of films about a specific film figure: right now, the focus is on actor Tyrone Power's centenary.

The School Programs facet will strive to expose youth to the art and beauty that was The Golden Age of Hollywood. I work part-time for the Toronto-based Reel Canada Film Festival, an organization dedicated to exposing high school students to Canadian-made film. I have seen first-hand the benefit this program has on eager high school students, in expanding their film vocabulary and getting them to appreciate film they may not have otherwise seen. To me, Movie Memories serves the same purpose, in getting students' minds opened up to a whole other world of film that came before them, but is still so relevant as it is the foundation on which current films are based.

Since Movie Memories is a new initiative, the organization is launching an online fundraising campaign through Indiegogo. The link to Movie Memories' fundraising page can be found here. I urge you, as classic film fans and appreciators of Old Hollywood, to support Movie Memories' amazing endeavour to garner a new audience for classic movies. I believe that we, as the eternal fans of great cinema, have a responsibility to preserve this film legacy in any way possible!

Donate today, and help an amazing organization get off the ground for all of us to enjoy! You may also contact Maria on the contact page of the Movie Memories website to get more information about her goals and what she is striving for!

Thanks for reading, and let's work together to make Movie Memories happen!!

Tyrone Power and Kim Novak in The Eddy Duchin Story (1956)

Ginger Rogers: Divinely Modern in an Old Hollywood World

Rogers in the 1940s

Ginger Rogers may have started out as a chorus girl and as Fred Astaire's legendary dancing partner, but this Old Hollywood icon certainly had her own onscreen identity.

Whenever I watch Ginger onscreen, I am struck by her strength and independence. She doesn't always seem like a STAR. Instead, she seems like the intelligent and strong-willed every woman of the 1930s and 1940s. No wonder she was a hit with female audiences. 

Rogers and Colman in Lucky Partners (1940)

As I was watching her under-seen Lucky Partners (a cute little flick with dashing leading man Ronald Colman) a few days ago, I was floored that, among this escapist little comedy, there were very modern undertones of independence and feminism in Rogers' character. In a scene with Colman, she discusses a strong desire to remain independent, to make her own living (by running a small bookstore), and that, despite plans to be married, she takes great pride in paying her own way all by herself. Strong words coming from an all-male screenwriting team, and made very poignant and true by Rogers' acting. I found myself identifying personally with her speech, 73 years later. Whoever says classic film is outdated isn't watching or listening close enough. 

Rogers in her Oscar-winning role of Kitty Foyle (1940)

1940 seems to be a defining year for the maturing of Rogers' onscreen persona. A quick IMDb search reveals that the following trio of films of hers were released during this year: Primrose Path, Lucky Partners, and Kitty Foyle. All 3 films feature a very different Ginger than her glamorous 1930s version: she dyes her hair brunette instead of her trademark blonde locks, and she plays (in order of the films listed above) a daughter of a prostitute, a bookstore owner wanting to maintain independence despite a planned marital union, and a middle class woman from Pennsylvania trying to make her own way alone in the world (her performance as Kitty Foyle won her the Academy Award). These roles are a far cry away from the escapist world of the Fred-Ginger movies (though Ginger asserts her strength in those films as well in different ways), or the chorus girl belting out "We're in the Money" in Gold Diggers of 1933.

Ginger was desperate to become recognized as a dramatic actress, and she certainly proved herself in 1940. In the 1940s, she became a representative of the struggling American woman, the woman who made a life for herself and didn't apologize for it. Or, the woman who desperately wanted love but didn't always get it. Or, the woman who got love but still retained an identity and female strength. She reflected both the joys and tragedies of being a woman of the time.The fact that she had no problems changing her appearance to accurately reflect the role proves that she was committed to making her roles realistic, and faithful to her female audience. And it turns out audiences loved Rogers no matter what her hair colour was!

David Niven and Rogers in Bachelor Mother (1939)

While Rogers was a gifted dramatic actress, she was an equally gifted comedienne. In fact, Rogers was able to be subversive and scandalous as a character in the comedies and get way with it! No better example than the closing of the classic 1939 comedy Bachelor Mother. Department store employee Rogers is forced to look after a baby that has literally arrived at her doorstep, and upon falling in love with Niven's department store owner character (who believes that the child is Rogers' own out of wedlock), he believes they should raise the child together, and he will call himself the father. When Niven agrees he will take care of the child even though he is not the father, Rogers' "Haha" at the close of the film speaks volumes. The audience knows that Rogers isn't the mother of the child, but she reveals to the audience that Polly Parrish (her character) is no stranger to the act that creates children. Polly is able to marry a rich man despite being a "marked" woman, and we're able to be in on the truth with Rogers, by virtue of the screwball comedy genre of the film.

Cary Grant and Ginger Rogers in Once Upon a Honeymoon (1942)

Rogers was also a symbol of strength for women during the tumultuous WWII years. In the tragically underrated Once Upon a Honeymoon (1942), Ginger single-handedly helps a Jewish woman and her children escape from the Nazis, and (accidentally, but still satisfying) kills the Nazi villain in the film played by Walter Slezak. She also lands Cary Grant in the process, and the strength of her character is certainly an aspect Grant is attracted to.

Rogers in Tender Comrade (1943)

In Tender Comrade, Rogers plays a defence plant worker and mother, living in a house with other women in the same situation while her husband is at war. Despite the sad circumstances surrounding her character, one can't help but enjoy the camaraderie of these independent women. They are making a living on their own, raising their children, and putting on a brave face on for their families. There is almost a romance (not sexual) to the circumstance, and a feeling that their independence may be taken away when/if their husbands return. When Rogers' husband dies in action and she makes a speech to her son about the bravery of his father, one can't help but admire the strength of Rogers' character. She will have to raise her son alone, but she will also have the friendship of the women that surround her. 

Rogers with Joseph Cotten in I'll Be Seeing You (1944)

Finally, in I'll Be Seeing You (1944), Ginger plays a very unique role: a convict. Responsible for the accidental murder of a rich man who has sexually harassed her, Mary Marshall (Rogers) is shown to us in the movie while on leave from prison. While it's amazing to me that this screenplay ever got the green light to be filmed, it's also amazing that Rogers is able to present a woman resigned to her temporary fate, but also optimistic about the future, and committed to not giving up on herself. It is one of my favourite Rogers performances, and the fact that Mary is instrumental in helping soldier Joseph Cotten find his strength again after fighting PTSD makes her character even more of a heroine to me. 

Ginger is a beautiful example of the modern woman of the 1940s. Feminine but strong-willed, beautiful but certainly not delicate, and outspoken but not unlikeable. While we may be all-too-quick to only remember her as the partner of Fred Astaire who danced backwards and in heels, she was a much deeper and more complicated screen personality than that. Her messages in her films are still relevant for women today, and I, for one, am at times in awe of her. Women in 2013 are still desiring to achieve that independence she projected on screen. We can all still get treasures of advice from a Ginger Rogers film, despite her being gone from this world for almost 15 years. How wonderful is that? Pretty damn wonderful.

Divine Ginger, 1940s

So Long, Major Nelson

Larry Hagman in a promo pic for I Dream of Jeannie

 

On Saturday morning, I learned the news that we lost one of America's most underrated actors. I can't quite process the fact that Larry Hagman, one of my first teenage crushes, Major Nelson himself, is gone. Yeah, sure, he was J.R. Ewing on Dallas, and he himself would probably want to be remembered more as the love-to-hate Ewing than slapstick Major Tony Nelson of I Dream of Jeannie fame. (He once said in an interview that Dallas was undoubtedly the highlight of his career). But, as a woman who, as a teenager, watched I Dream of Jeannie religiously in the early 2000s, and became enchanted by the show and Larry Hagman's special brand of humour, he will always be Tony Nelson to me.

I had the privilege of meeting Larry at a fan event in August 2011. It's hard for me to believe that the healthy, easygoing, fist-bumping man I met that day would be dead just over a year later. I will now treasure even more the personalized autograph I have of Larry, and am thankful I had the chance to tell him how huge a fan of I Dream of Jeannie I am.

You may be wondering: why such a big fan of Larry Hagman? Why the love for an antiquated 1960s sitcom, and why do you love Tony Nelson so much? After all, he was in many ways the straight man, the man who had to deal with Jeannie (Barbara Eden), Roger (Bill Daily) and Dr. Bellows' (Hayden Rorke) hijinks, and keep the existence of his beloved Jeannie a secret. Why such intense love for Larry? I'll tell you why. The show never would have gelled without the chemistry Eden and Hagman shared. Think about it... Jeannie without Tony? It wouldn't have worked! Frustrated with director Gene Nelson during Season 1 of the series, Hagman was almost dismissed from his role. Eden, the only cast/crew member with foresight, said the show would go off the air without Larry. How right she was. The effortless, playful, natural rhythm of the two lead actors is what kept the show on the air for 5 years, amidst frequent and repetitive under par scripts and budget cuts. But audiences kept tuning in-- yes, of course to see Eden's beautiful bod. But, also, because they knew that at its heart, I Dream of Jeannie is a love story of Jeannie and Tony.

Tony may not have been able to admit his feelings fully until the fifth season, but we always knew... Tony adores Jeannie! She adores him! She makes him happy! She prevents him from becoming a workaholic astronaut, and shows him how to have fun! The moments where Hagman as Tony would melt and tell Jeannie how he really feels about her are the ones avid fans tune in for and watch over and over again! This is all thanks to Hagman's skill as an actor... he made moments in one of the cheesiest, most fantastical TV shows ever made believable!

In addition to his skills as an actor, Hagman also constantly fought to make I Dream of Jeannie better. The great slapstick moments of the show were usually the improvised brainchild of Hagman to enhance a mediocre script. We can't help but laugh at when Tony trips as he walks through a door, or falls over when Jeannie unexpectedly blinks herself out of a room. But, a lot of the time, those weren't in the script. Hagman and Bill Daily would work on their feet in between shots to add slapstick to a humourless moment in the script. I love watching those moments. Hagman was a fearless physical comedian! How many times is he praised for that? Not enough.

Sure, Hagman got to show his dramatic chops on Dallas, but, in my opinion, Dallas has dated worse than I Dream of Jeannie. The air force uniforms in Jeannie are still worn today, and Eden rarely veered from her Jeannie outfit. Therefore, I Dream of Jeannie's comedy is still fresh and enjoyable today, whereas reruns of Dallas are sometimes painful for the dated 1980s fashion and the outrageous plot points.

We also forget that Hagman had roles in legendary director Sidney Lumet's Fail Safe (1964) and The Group (1966). Hagman was a serious, legitimate actor. It's all to easy to forget that when audiences only know him from his TV roles. The son of legendary stage actress Mary Martin, Hagman had acting in his bones, and was also at home on the stage, including a special tour of the play Love Letters with Barbara Eden. Also, take a look at him in the 1971 TV movie A Howling in the Woods, again, costarring Eden. His character is a far cry from Major Nelson. Hagman's performance is captivating and chilling.

As a teen reading about the real lives of the I Dream of Jeannie cast, it sometimes broke my heart to know that Hagman, once he landed Dallas, turned his back on I Dream of Jeannie for many years. It seemed like he wanted to erase those 5 years as our beloved astronaut from his memory, and enjoy his new-found wealth and happiness playing TV's most famous yet loveable villain. He refused to reprise his role of Major Nelson for 2 I Dream of Jeannie TV movies in 1985 and 1991, and almost completely lost contact with his Jeannie costars.

However, when Barbara Eden did a guest-starring arc on Dallas in the early 1990s, I feel like nostalgia finally started to kick in for Hagman, and he started to talk publicly about his experience and contribution to one of the most beloved sitcoms of all time. He also started to do TV interviews frequently with Eden and Bill Daily, and spoke quite fondly about his experience. I think becoming a grandfather also proved to soften Hagman's view of the show, when his grandkids started watching the show. He would play a game with them on the phone where he would pretend he was talking to Jeannie. He also did many fan events with Eden and Daily over the last 8 years or so, and spoke with much humour and enthusiasm about memorable moments on the set and his favourite episodes. How glad I am that he seemed to finally understand how beloved the show (and his role) was.

My heart goes out to Hagman's family (including his wife of almost 60 years, Maj) and his actor colleagues for the grief they are no doubt experiencing. But, I am also thankful that, with every episode of I Dream of Jeannie now available on DVD, new generations will discover the joy of the series. Teenagers will undoubtedly continue developing crushes on the young, funny, and handsome Larry Hagman.  I can say for a fact that in the stressful years of university, watching I Dream of Jeannie was always a bright spot. For 30 minutes I could escape into a completely unrealistic world, and be enchanted by the onscreen magic of Barbara and Larry. I didn't care if I was watching a show that was almost 40 years old. I loved these characters and I laughed, and nothing else mattered.

Thank you, Larry, for your perfect portrayal of Tony Nelson, for the years of laughter you have provided in my life, and will doubtlessly continue to provide to me and to countless future generations. So long, Major Nelson.

Vincente Minnelli: MGM's Most Versatile Director

He was the unique directorial force behind the following classic movies, to name a few: An American in Paris, The Band Wagon, Meet Me in St. Louis, The Bad and the Beautiful, and Gigi. 

He also directed the lesser-known but equally worthy of attention The Pirate, The Clock, Cabin in the Sky, The Long, Long Trailer, Lust for Life, Brigadoon, Bells are Ringing, Madame Bovary, and The Cobweb. 

Since my childhood, I've always been drawn to the work of Vincente Minnelli. Growing up on the MGM musicals, I saw many of his films before really even knowing who Minnelli was. As a teen, I started to delve in more detail into his films, and even did a directorial study on him for a high school media studies class. Never mind Spielberg and Tarantino like the other students were studying... I wanted Minnelli! I won't mention here that I had to tell my teacher who Minnelli was and what he directed....

Looking at Minnelli's filmography, now with the lens of an adult, I can't help but notice the versatile breadth of genres in his creative output: musicals (of course), dramas, melodramas, and straight comedy. Liza Minnelli once said of her famous father that he was the only director at MGM to be assigned such varied types of films, and to direct each style equally well. While Liza is rightfully proud, she is also very accurate. While we tend to think of Minnelli as the most creative MGM musicals director of all time, to not consider his forays into straight dramatic pictures would be criminal. Minnelli's trademark visual eye translated beautifully into every style of movie he made. My goal here is to draw attention to Minnelli's immense versatility and unparallelled unique talent.

EARLY MINNELLI

Lena Horne in Cabin in the Sky (1943)

Born Lester Anthony Minnelli in Chicago, Minnelli's first jobs included being a window dresser for a department store, and a photographer of actors. I think this is important to note, given that it demonstrates Minnelli's flair for the visual, which he would later translate brilliantly on film. He then moved to New York and moved up from set designer to stage director at Radio City Music Hall and on Broadway before he was discovered by MGM musicals producer Arthur Freed. Freed, a man with a knack for noticing talent, gave Minnelli his first chance at directing on film, with the all-black musical Cabin in the Sky (1943). Viewed today, it is obvious that no one had, up to that point, had ever created a "look" on film quite like Minnelli. While it is not one of his best films, it is significant to his output in the sense that it reveals a uniqueness, a new sophistication and touch of visual class that Minnelli brought to the MGM musical. 

Judy and Vincente in joyful times, their wedding day, June 1945

It is impossible to discuss the early Minnelli films without talking about Judy Garland. Besides the obvious events of Vincente falling for Judy, courting her, marrying her, and then creating their famous daughter Liza, he also directed his best early films with her as the star. Perhaps even more importantly, he transformed Garland into an adult screen beauty and legitimate screen star.

Garland, as seen through Minnelli's loving and sensitive eyes in Meet Me in St. Louis (1944)

When Arthur Freed approached Garland about taking the starring role of Esther Smith in Meet Me in St. Louis (1944), she viewed the role as a step back in her career. Having finally been given the chance to play adults on screen (Jo Hayden in 1942's For Me and My Gal with Gene Kelly and the glamorous Lily one year later in Presenting Lily Mars), Judy didn't want to play the teenage Esther. Agreeing reluctantly, she also didn't respond initially to Minnelli's directorial style of "take-after-take for perfection." She wasn't used to being corrected or coached so frequently on her performance, especially for what seemed like the simplest of scenes. However, she was soon falling for her new director, and he for her. Liza Minnelli says in the introduction to the initial DVD release of this film that Minnelli's love for Garland fills every frame of film that she is in. How right she is. Garland has rarely looked so radiant than in this film (wacky hairdo aside!). Who can forget her final few bars of "The Boy Next Door" as she closes the sheer lace curtain, and Minnelli pans into her gorgeous, longing face, or the delicate lighting as she sings 'Over the Bannister" from the top of the staircase to her sweet and young John Truitt. These images have remained so detailed in my mind ever since my childhood, probably more so than any other film I watched frequently during my early years. Not only is Meet Me in St. Louis one of Garland's best performances, it is also an effortless directorial turning point for Minnelli. Visually and atmospherically, he captures early 20th-century small-town America, and paints a sentimental and vivid portrait of the Smith family. It is no surprise it has remained such a musical classic. 

Garland, Robert Walker, and Minnelli discuss a scene on the set of The Clock (1945)

Minnelli's first foray into dramatic pictures also came to fruition because of Garland. Judy was working on her first straight drama called The Clock (1945) with director Fred Zinnemann, and was less-than-satisfied with the way in which he was directing the film. She suggested to producer Arthur Freed to bring Minnelli onto the project, convinced he would bring a sensitivity and subtlety to the film that Zinnemann wasn't grasping. Garland, with her star power, won, and for the betterment of everyone (including movie audiences), Minnelli took the helm. An under-seen film with wonderful performances by Garland and her leading man Robert Walker, the wartime story of Alice Mayberry falling for Corporal Joe Allen and marrying him after knowing him 48 hours is a plot that could have only been written during WWII. However, Minnelli's direction, and decision to make the setting of New York City a third main character, gives it a modern flavour that audiences can still relate to today. The overwhelming metropolis of NYC gets in the way of our lovers as the city seems to conspire against them in every possible way... they lose each other on the subway, they can't get a marriage license soon enough, and the judge's office is minutes away from closing when they finally do arrive to tie the knot. NYC is almost the villain of the piece, and this idea was purely Minnelli's. It is clear that despite Garland's romantic feelings for Minnelli (they were engaged by the end of the shoot), she knew that Minnelli had what it takes to make the film more than a corny love story. The scene at the beginning of the film when Walker's Joe Allen first arrives in NYC and is overcome by the tall skyscrapers and unkind atmosphere is easily Minnelli's best camera work to date, as Walker is made to look like a very small and insignificant part of this grand, impersonal city. While Garland fans love the film as it's her first movie without singing a note and her first chance to truly demonstrate her acting chops, Minnelli fans will appreciate his delicate and sensitive handling of the material. 

Beautiful Lucille Bremer in Yolanda and the Thief (1945)

Producer Arthur Freed was one who let his creative talent take artistic risks, even if it meant losing money at the box office. Minnelli's Yolanda and the Thief (1945) is certainly one of these examples. One of Fred Astaire's rare box office failures, it's still worth viewing. Sure, the dialogue scenes are sometimes painfully slow, the plot leaves much to be desired, but Minnelli's visual touches reach a new maturity and risk-taking creativity that makes this film worth watching at least once. We get a special sense of Minnelli's past experience as a set designer in this film, from the seemingly uneven black and white floor in the "Coffee Time" dance duet with Astaire and his partner (lovely Lucille Bremer), to the otherworldly "Dream Ballet" full of fanciful imagery that could only be a product of Minnelli. While Minnelli may have made this film too "out there" for the mass audiences, it shows his maturing signature directorial style.

MID-CAREER MINNELLI

Gene Kelly and Garland at their comedic best in The Pirate (1948)

The Pirate (1948) may be Minnelli's most misunderstood film. It certainly was at its initial release. Who would have thought a movie starring movie giants Judy Garland and Gene Kelly would be a box office flop? Well, Judy Garland herself had an inkling. Despite the film being directed by her (estranged) husband, she believed that the tongue-in-cheek script would elude the public, and that audiences wouldn't understand the swashbuckler satire of 1920s Hollywood actors with purposeful over-acting. But, Garland, with her ever-increasing personal troubles, let Kelly and Minnelli (an eager-to-revolutionize-the-movie-musical team) take the creative reins on the film. (No, Kelly and Minnelli were not sleeping together as certain under-researched sources state). While 1948 audiences were shocked at the casting choice of Garland as Manuela (a woman fascinated with a murderous pirate) and didn't understand Kelly's brilliant comedic take-off of Douglas Fairbanks as strolling player Serafin, it is now a cult film with a loyal following. To me, The Pirate is a movie that gets better with each viewing. Garland and Kelly are always the perfect match for each other on film, but here their comedic timing is especially delightful. The famous crockery-throwing fight, with Manuela throwing everything (with perfect aim!) she can find at Serafin when she learns his true identity, is comedic gold. Furthermore, Kelly's choreography, in partnership with Robert Alton, reaches new creative heights, particularly in the visually stunning and ever-modern "Pirate Ballet." Plus, Garland gets to truly display her amazing comedic gifts for the first time in this film, and while Kelly has more screen time and the more grandiose role, Garland steals every scene she is in. It's a film way ahead of its time, and Minnelli's inventive and artistic direction is one of the main reasons it has such a strong cult following today. 

Jennifer Jones as the much-desired Emma Bovary in Madame Bovary (1949)

Aside from 1946's Undercurrent, Madame Bovary is Minnelli's first foray into straight dramatic films. It seems odd, somehow, to view a black-and-white Minnelli film, since colour is such an integral part of Minnelli's visual style. Think of that amazing Minnelli red in the "Pirate Ballet." It's hard to imagine Kelly's choreography without the stunning red background, or the beautiful Technicolor framing in every shot of Meet Me in St. Louis. Minnelli still brings his signature style to the "Madame Bovary Waltz," as Emma (Jennifer Jones) dances with Louis Jourdan's sophisticated Rodolphe Boulanger, and, as the music becomes more frantic, so too do Emma's reactions (resulting in her fainting) and the increasing speed of Minnelli's camera. Emma's psychological and sexual thoughts are exposed through Minnelli's smart direction. Sadly, it is the one truly effective scene in a film that is otherwise a misfire.

THE MINNELLI MASTERPIECES

Leslie Caron and Gene Kelly in the brilliant An American in Paris (1951) ballet, with a typical Minnelli yellow in the background

A conversation about Minnelli would be grossly incomplete without a discussion of the 1951 Best Picture winner, An American in Paris. Beating out such classics as A Place in the Sun and A Streetcar Named Desire, Minnelli's visual stamp has never been stronger than in this film. From the black and white costume party (pure Minnelli), to the most realistic looking Paris ever created on a Hollywood sound stage, to the beautifully designed sets that make existing paintings come to life in the ballet sequence, this film screams "Directed by Vincente Minnelli" like no other, with the exception, perhaps, of Gigi. It is interesting, then, to note that according to Gene Kelly's widow Patricia Ward Kelly, Gene himself directed the ballet sequence. Minnelli, called upon to direct Father's Little Dividend, had to abandon the project and leave the ballet for Kelly to helm. However, there is no question, from sources that link Minnelli back to this project as early as 1949, that his creative and visual ideas infiltrate every frame of the ballet. While Kelly too had a fascination with France and with visual art, the colours and overall atmosphere in the ballet (including that unforgettable "Minnelli Red" rose) are unmistakably Minnelli. Minnelli and Kelly prove themselves to be an amazingly matched creative team, and yet each possessing very different skill sets and approaches. Minnelli's creative ideas may have been too "artsy" without Kelly's stunning and trademark "everyman" choreography. Yes, it's a ballet, but it's a Gene Kelly ballet, and therefore, designed for audiences to enjoy. Together, Minnelli and Kelly create something far more than mere entertainment. It's art, but art that almost everyone can appreciate. The Academy certainly did, by bestowing upon Gene a statuette for his achievement in choreography. While An American in Paris is not Minnelli's best musical (in my humble opinion, anyway), it marks a landmark achievement for the American movie musical. Who would have thought that a 16 minute ballet tacked onto the end of a film, with no plot-advancement device, would then earn the Best Picture Oscar of that year? Minnelli and Kelly's risk-taking paid off. 

Kirk Douglas and Lana Turner heating up the screen in The Bad and the Beautiful (1952)

Soap opera has rarely been classier than in The Bad and the Beautiful (1952), Minnelli's melodramatic (yet relevant) comment on Hollywood and the film industry. It seems that Kirk Douglas gave some of his finest performances in Minnelli's films, and his portrayal of filmmaker Jonathan is one of his best. Lana Turner, too, creates one of her most effective characterizations as actress Georgia who is essentially used by Douglas' Johnathan to make money at the box office. Minnelli somehow transcends melodrama here to create an intriguing look at Hollywood of his own era. You can research what real-life figure of Hollywood each character is based on, or you can just read into it yourself, with the clues Minnelli (and the script) gives us. While some maintain that this film is a second-rate version of Sunset Boulevard (1950) or that it's pure soap opera, for me, it's Minnelli turning soap opera into art. You can't help but be drawn into this fictionalized Hollywood world, and the famous scene when Lana Turner drives away from Douglas' house and has a breakdown could be construed as over-the-top, but Minnelli knows that it is. That's what makes the scene so effective. It's a larger-than-life comment about a larger-than-life industry. For me, it's one of Minnelli's most captivating dramas. It's also full of nuanced, subtle moments, like Turner's scenes with Douglas where she reveals her troubled past, or the inventive way in which Minnelli chooses to introduce the character of Georgia. You can dismiss this movie as melodrama, but if you do, you haven't watched it with enough depth or attention to Minnelli's enormous detail.

Fred Astaire and Cyd Charisse in the musical masterpiece The Band Wagon (1953)

 For my money, The Band Wagon is Minnelli's musical masterpiece. Why? It combines everything that makes a Minnelli musical great. First off, there's a wonderful cast, with Fred Astaire at the helm, and a gaggle of scene-stealing and very humorous supporting actors like ever-depressed Oscar Levant and "The British Astaire," Jack Buchanan. Secondly, there is so much attention to detail that you always notice something new each time you watch it. Minnelli said in an interview once that there should be a "hundred or more hidden things" in each film. This movie, to me, is the movie that typifies Minnelli's statement. Just watch the "Shine on Your Shoes" scene, and how each extra is a defined character, reacting in many different ways to Astaire's song and dance. It's a brilliant little moment in movie musicals. Third, the classic Minnelli elegance is present in almost every scene, with the elegance made even more obvious given that the most elegant man of cinema, Fred Astaire, is his leading man. Fourth, Minnelli finally makes Cyd Charisse a leading lady on this film, and she, of course, is Astaire's most elegantly matched dancing partner. Think of their duet to "Dancing in the Dark"... to me, it's essentially the most perfect dance ever put on film. Finally, I think the reason that makes The Band Wagon so wonderful is the fact that it takes place on the New York stage, where Minnelli got his start. You can just sense that he was drawing from his own first-hand experiences for this film, which adds a charmingly realistic humour to the doomed musical that Buchanan's company is trying to get on Broadway. There is also realism in Fred Astaire's Tony Hunter, a song-and-dance man past his prime. The Band Wagon presents Astaire with one of his best and most sympathetic characters. Minnelli brings out in Astaire a beautiful, vulnerable quality that tugs at your heart, when, combined with Michael Kidd's modern choreography, gives us a new and relevant Astaire for the 1950s. Each time I watch this film, I can't believe I didn't enjoy it the first time. It's the most charming Minnelli film out there. It's no surprise to me, therefore, that it's Liza Minnelli's favourite work of her father's. How can you not love it? It's infectious and joyful. 

An overdue sight: Minnelli with an Oscar, for Gigi (1958)

Critics call Gigi (1958) the last great musical of MGM's Golden Age. I would call it one of Minnelli's most signature pieces: glorious set design, vivid characters, a great Lerner and Loewe score, a Parisian setting, and that unmistakable "Minnelli touch." The cast is uniformly excellent: Leslie Caron is the only woman who ever could have played Gigi, Maurice Chevalier brings his always-charming self  as Honoré, Louis Jourdan is the appropriately handsome male sophisticate who eventually falls for Gigi, and Hermione Gingold and Isabel Jeans are pitch-perfect as comedic relief and Gigi's female family influences. While it is the film that brought Minnelli his well-deserved Oscar, I always feel when watching this film that while Minnelli's visual and atmospheric flair is no doubt at its peak, that we are perhaps already past the Golden Age of MGM musicals. In some scenes, the movie seems to be trying too hard to be sophisticated... I can't quite pinpoint what it is, but Minnelli's direction doesn't appear as effortless as in The Band Wagon, for example. It could be too that the plot of Gigi training to be a courtesan hasn't dated well, and neither have the lyrics for "Thank Heaven for Little Girls," though we all know that Chevalier's character means no harm. Flaws aside, the film is still a treat, and improves with each viewing. 

THE UNDERRATED MINNELLI

The following is a quick analysis of Minnelli's films that I feel deserve more attention.

Lucille Ball and Desi Arnaz as Tacy and Nicky in The Long, Long Trailer (1953)

Those who know The Long, Long Trailer (1953) will probably first think of it as the movie Lucille Ball and Desi Arnaz made while on hiatus from their hugely successful sitcom, I Love Lucy. And it is, but it's also a film that shows us Minnelli's flair for comedy. Minnelli quietly and subtly reins in the Lucy-Ricky TV archetypes for this film, and creates a milder but still funny Tacy and Nicky who are more suited for the sophisticated big screen. The result is a comedy with many charming moments, and a fine supporting cast including the always-hilarious Marjorie Main. The tension Minnelli builds in the scene where Tacy and Nicky ascend up the mountain, and Nicky is clueless about all the rocks Tacy has secretly left in the trailer, is comedic gold, yet also truly suspenseful. Minnelli is also unafraid of slapstick, in the scene where Tacy is victim to Nicky's clueless, song-filled driving as she attempts to make dinner in a moving trailer. The movie is an insight into a very different Minnelli, yet still very effective. 

Kelly and Charisse in the dream world of Brigadoon (1954)

For my money, Brigadoon (1954) is the most underrated of the Minnelli musicals. I grew up loving this film and being completely captivated by the fantasy of it all. It was only when I reached my late teens that I discovered I was in the minority of people loving this film (at least among critics and academic sources). I'm sure many people know that by 1954, the budget for musicals wasn't what it used to be, and they weren't bringing in the box office returns that they used to. Therefore, while Gene Kelly envisioned this musical to be a Scottish answer to Oklahoma!, with MGM cast and crew going on location to Scotland for the film adaptation of the hit Broadway play, the MGM powers-that-be (and Minnelli) had a different idea): shoot the film entirely on a sound stage. The result? The first real disagreement among the creative team of Minnelli and Kelly. I must say though, staunch Gene Kelly fan that I am, that I believe the film benefited from being shot only on the MGM lot. Why? Because the fantastical story lends itself to being on a set, and not in a real location. Plus, I believe Vincente Minnelli was a true dreamer. He conceived many films with truth or fears being realized in dreams. Think of Spencer Tracy's dream in Father of the Bride, or Fred Astaire's fantastical dream in Yolanda and the Thief, or the dreamlike state Joe and Alice fall into as they listen to the sounds of New York City in The Clock. Kelly's character of Tommy Albright finds his preferred reality, or his truth, in this dream-like world of Brigadoon, and with Charisse's Fiona Campbell. To me, this realization in Kelly's character wouldn't be nearly as effective on authentic heather hills. Instead, Minnelli makes us believe that Brigadoon is real, but doesn't look it... it's too beautiful and wonderful to even appear real. Sure, the movie is sometimes cheesy, and the sets aren't up to the usual MGM standard, but Kelly and Charisse's duets are among their best work, especially with "The Heather and the Hill" dance. Minnelli's direction is also brilliant in the moment where Kelly leaves Brigadoon and then suddenly we are rushed back into the hustle-bustle of a crowded New York City bar, complete with businessmen, drunkards, and overly made-up women. The fact that Minnelli knew New York City so well gives this scene an extra dose of authenticity. I find the film to be a repeatable treat, and a gem among movie musicals, even if it's far from perfect. 

Lauren Bacall and Richard Widmark in The Cobweb (1955)

OK, The Cobweb (1955) is melodrama, and there's no other way to categorize it. But it has impressive performances from an all-star cast including Lauren Bacall, Gloria Grahame, Richard Widmark, Charles Boyer, Lillian Gish, Susan Strasberg, and Oscar Levant in a straight dramatic role. Yes, there is an all-too prominent subplot about draperies, and the plot is sometimes confusing, but it is very interesting to see Minnelli explore a world and a directorial style that almost resembles the work of Douglas Sirk. Plus, Minnelli's fine direction of the actors allows the material to transcend the melodrama, and become an absorbing character study of these troubled characters: the patients and doctors of a psychiatric clinic. 

Dean Martin and the one and only Judy Holliday in Bells are Ringing (1960)

 Minnelli's swan song for the Freed Unit, Bells are Ringing (1960) is a charming-as-can-be film. I must confess, I think I prefer it to Gigi-- not for its visual style, but for its overall enjoyment factor. Judy Holliday is darling as Ella Peterson, a woman who works for an answering service and is in love with a man she only knows over the phone. Dean Martin is his usual natural charming self as Jeffrey Moss, the man who falls for Ella, while not knowing her true identity. Adapted from the stage musical in which Holliday starred, Minnelli retains a lot of the "stagy" feel of the film, and this is what most critics find distracting about the film. I personally find it to be an interesting approach to this particular story, and, since Holliday was such a brilliant stage actress, she excels in this format. Sadly, the Minnelli sophistication is absent from the film except in the party scene, where Ella attempts to name-drop celebrities with a bunch of theatre folk. There is no mistaking the lack of energy in this film, since it is usually abundant in a Minnelli musical. However, it's still a charming film with a strong score that deserves at least one viewing. 

FINAL WORDS

Fans of Minnelli's filmography are highly encouraged to read A Hundred or More Hidden Things: The Life and Films of Vincente Minnelli by Mark Griffin. A wonderful mix of biography and film analysis, the book is guaranteed to be a treat for any Minnelli fan. 

Thanks for reading, and please let me know your thoughts on your favourite Minnelli films! Let's keep discussion about this great director alive!

Vincente and Gene Kelly on the set of An American in Paris (1951)