Meet me in st louis quotes tootie kelly real estate

DREAMS ARE WHAT LE CINEMA IS FOR MEET ME IN ST. LOUIS

Meet Me in St. Louis is a American musical film made by Metro-Goldwyn- Mayer. Divided into a series of seasonal vignettes, starting with Summer Meet me in St. Louis Garland The Boy Next Door 3 As Tootie delivers ice, Rose and Esther sing in the parlor in their underthings and. Margaret O'Brien: We were good friends, but we were not real close. . Margaret O'Brien: Well, Meet Me In St. Louis was one of my favorites because I got to But as Tooty I was able to say and do all the things that maybe I would not have done myself. .. “The King,” Clark Gable compared her to the beautiful Grace Kelly.

It was such an experience together because there were all types of magic going on between us. Then I started twirling, and those hoops got their own momentum, they went like holy blazes. And there is Tony — poor Tony, barelegged — and through the layers of my thin petticoats, the steel hoops cut grooves into his shinbones — its not very upholstered at your shin bones, and he was bleeding by the end of our dance so they had to cover the widest link with padding so he got bumped but not cut.

What surprised me was hearing from Tony out of the blue well after the show had closed. He would call me maybe once a year in the s and 70s.

Meet Me in St. Louis - Wikipedia

And he just wanted to chat. It was so sweet. He knew I was married, so he was making no pitch. But I was so complemented that he remembered an experience we briefly had of intense work together, and wanted to renew our acquaintance. He was living alone and he must have been very lonely. He called just to chat. I remember my beloved friend John Anderson, a wonderful character actor, who lived just a few blocks away.

The Andersons and Presnells used to do things together. And we did things as a threesome and then Pat Anderson died of emphysema and that left John and me. Every time it ran he had to call me and say so. He would just carry on about my Mary. He treasured that performance. I had a sense that he was lonely, and I just thought he might enjoy it. Well, he went to pieces over it and he said he was now the big man on his block — that all his neighbors and friends was dropping by to ripple through some more pages and catch up.

They loved the book and he was so grateful. We watch the Smiths through the seasons and into Spring as they fall in love, dress up for Hallowe'en, bottle their home-made ketchup and This is a world of tranquillity where nothing can threaten the homely complacency of Middle America.

The evening meal is always a wholesome family gathering, the month of July is always sunny, big brothers are always handsome Princeton freshmen and the iceman's mare knows the neighbourhood so well that she stops at each home on her round without needing to be told. The only shadow which falls across the Smiths' domestic bliss comes when Alonzo, the paterfamilias, proposes to move the household to New York. However, Alonzo soon realises what a terrible mistake it would be to tear his wife and daughters away from their beloved MidWest: This heartwarming, exuberant musical is one of the very best ever made, and MGM knew exactly what it was doing in terms of box office success.

The film was calculated to cash in on the zeitgeist ofthe year in which vast American armies were sent across to Europe and the war in the Pacific turned decisively in America's favour. Millions of young American men found themselves far from home in what was certain to be the last Christmas of the War, and millions of families back home missed them terribly: Until then, we'll have to muddle through somehow There are strong American folk-resonances in the homespun wisdom of the family elders, the strong, straight young adults and the 'down home' hearthside gatherings and dances.

On the contrary, I saw the film in its entirety for the first time in My avoidance of Meet Me in St. Louis for so years stemmed from an assumption on my part that it was just another one of those aggressively quaint, synthetically folksy period musicals that tend to cause me to break out in hives think The Music Man or Hello, Dolly!

Nothing wears me down faster than hardened show biz pros barnstorming their way through cloying depictions of homespun simplicity. In convincing the actors not to play down to the material, to treat the characters, dialogue, and situations seriously, he infuses this gossamer-light fairy tale with genuine warmth of emotion. The result is a sincerely sweet and touching family movie devoid of the usual mawkishness and sentimentality.

The entire "Long-Distance Phone Call" sequence is hilarious. Every time a scene threatens to become too sentimental or hackneyed, some bit of business or dialogue is introduced to wrest the proceedings back to something amusing or emotionally honest. This is especially true of the two youngest Smith girls, Agnes and Tootie; angelic of face but mischievous and possessed of extravagantly gruesome imaginations Agnes, after being told [in jest] that her pet cat has been harmed: What I think appeals to me most is Meet Me in St.

This beautifully composed shot is a testament to Minnelli's painterly eye. The detailed production design and eye-popping Technicolor cinematography only add to Meet Me in St.

Multiple viewings of this scene reveal a plethora of little intimacies and routines of family togetherness enacted in the background. Louis is such a marvel. Ensemble acting at its finest, with the standout performances only serving to add luster to the already glowing efforts of the rest of the troupe. Everybody's favorite dad, Leon Ames, the master of confounded exasperation, is solid as always.

The result is that we not only like the Smith family and care what happens to them, we appreciate why they feel so strongly for their town and friends.

Marsha Hunt talks about her friendship with Anthony Dexter

The Smith Family Depending on the source, any number of people have claimed responsibility for casting the reluctant Judy Garland in this, my favorite of her non-Oz roles, but the who doesn't matter so much as trying to imagine what this film would be like without her.

Judy Garland is the element that makes this film magic, and it's amazing to me that she was overlooked come Oscar time. People don't tend to think of vocal performances as acting, but just check out the variance in Garland's singing of "The Boy Next Door" contrasted with the performance she gives during "The Trolley Song" and ultimately, "Have Yourself a Merry Little Christmas.

Under The Bamboo Tree - Judy Garland (Meet Me In St. Louis)

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