youtube Meet Me in St. Louis Movie Online

//

✦ ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆

✦ WATCH %DOWNLOAD

✦ ψψψψψψψψψψψψψψψψ

 

Genres Family Runtime 1 H 53 m score 19302 Votes Release Date 1944 country USA director Vincente Minnelli.

I just love this movie! It's one of the very best💖😁

Sensiz olamam movie online for free. Sensiz olamam movie online latino. Sensiz olamam movie online watch. "Just when St. Louis was going to be the center of attention of the entire universe... " Clang, clang, clang went the trolley Ding, ding, ding went the bell Zing, zing, zing went my heartstrings As we started for Huntington Dell. — "The Trolley Song" A classic 1944 musical adapted from the stories of Sally Benson, Meet Me in St. Louis was directed by Vincente Minnelli and starred his future wife, Judy Garland. It follows the lives of the Smith family, who live in St. Louis during the turn of the century. In particular, it follows the second-eldest daughter, Esther, her youngest sister Tootie, and Esther's crush, John. Everyone is excited with the coming of the 1904 World's fair; however, that all changes when Mr. Smith announces that the family might be uprooted to New York. A Screen-to-Stage Adaptation went to Broadway in 1989. This film features examples of: Adorably Precocious Child: Tootie is only five and has a strange obsession with play-acting that her dolls die of fatal diseases and holding funerals for them. She also apparently buries them in the cemetery. Adorkable: Esther's crush, John Truitt. He's an exceptionally nice and well-mannered young man, but he tends to be a bit awkward, or accidentally put his foot in his mouth. His first time alone with Esther, he compliments her perfume, and when she tells him what it is, he remarks "Exactly the kind my grandmother uses! " When they shake hands as he's leaving, his awkward parting words are, "You've got a mighty strong grip, for a girl! " All There in the Manual: According to the script (and a line at the Winter Ball), Grandpa's last name is Prophater, making him Anna's father and not Alonso's. Aluminum Christmas Trees: Alonso makes reference to a baseball team called the Baltimore Orioles. They weren't Major League in 1903, but they were a AAA team. They'd become Major League in 1954. Ambiguous Innocence: Tootie and Agnes, the youngest of the Smith family, certainly qualify. When Katie, the family's cook, tells Agnes that she kicked her cat down the cellar stairs, Agnes cries, "If you've killed her, I'll kill you! I'll stab you to death in your sleep and tie you to two wild horses 'til you're pulled apart! " It's obvious that she would never actually attempt this, but while she is a sweet and mostly ordinary girl, she seems to have a keen interest in gore and graphic violence, and it's rather troubling at times. She even hopes aloud that Rose got her a hunting knife for Christmas. Tootie, meanwhile, loves to play with her dolls like any normal child, but she also likes to say that they have "four fatal diseases" so that they can "die" and she can give them "beautiful funerals" and bury them in the graveyard. When Mr. Smith announces that they'll be moving, she comments, "It'll take a week to dig up all my dolls from the cemetery! " She also apparently has a plan to dig a tunnel into a neighbour's yard just so that she can grab her legs when she's walking past. Their mischievousness crosses into the territory of Enfant Terrible when they stuff a dress to make it look like a body and put it on the streetcar tracks to see what will happen. Tootie gets injured when Esther's crush, John, tries to hide her and Agnes from the police. Then Tootie even tries a Wounded Gazelle Gambit to get out of trouble, claiming that John tried to kill her. Even when the family discovers what really happened from Agnes, both the girls get off scot-free. Tootie doesn't even get punished for lying about John. Anguished Declaration of Love: Having finally made up his mind about his feelings for Rose, Warren decides to make them known by bursting into her house after midnight on Christmas morning and loudly declaring in front of her entire family that "We are to be married at the earliest opportunity and I don't want to hear any argument about it! " Rose is overjoyed, but doesn't get to say a single word in reply before Warren storms back out. Artistic Licence - Geography: Mountains can occasionally be seen in some shots. St Louis is on the prairie and does not have any mountains. "The Trolley Song" gives the World's Fair location as Huntington Park. It was actually Forest Park. Artistic Licence – History: The film takes place in 1903 and opens with several characters singing the song "Meet Me in St Louis", which wasn't written until 1904. Tootie likewise sings a bit of the hymn "Brighten the Corner Where You Are", which wasn't written until 1913. John says that he and Esther are "almost" the legal age to marry without their parents' consent. They are seventeen, but in Missouri at the time, the marrying age was fifteen. Betty and Veronica: Subverted. While she certainly is "alluring and exotic", Lucille turns out to be a nice and mature person — arguably the most mature of the group — and lets Rose have Warren because she knows it's her he's interested in. It really doesn't hurt that Lucille herself is much more interested in Rose's brother Lon. Broken Tears: At Christmas, while Esther is singing "Have Yourself a Merry Little Christmas", Tootie realizes how much she's going to miss St. Louis, and has a full-blown meltdown where she runs out of the house in tears and starts destroying all the snow people they had made, because she can't take them with her to New York. Christmas Songs: Introduced that standard, "Have Yourself a Merry Little Christmas. " Cool Old Guy: Grandpa. He sings (and dances! ) along to "Meet Me In St. Louis", he's more cheerful and optimistic than his son, he knows how to comfort Esther when she doesn't have a date to the dance, he's fun-loving, gives the younger girls advice on how to make the flour stick to their trick-or-treat victims, and he is more tolerant and willing to humor his grandchildren than their father is. Costume Porn: A lot of lavish dresses, particularly on Esther and Rose. In the scene of the World's Fair, Agnes and Tootie get to be dressed up in plenty of frills and bows as well. Crappy Holidays: The Smiths' Christmas is under a pall due to the family's imminent move to New York. Ultimately subverted when Mr. Smith announces they're staying in St. Louis after all, followed by Warren proposing to Rose. Deadpan Snarker: Almost everybody gets some snark in at least once. Grandpa uses it very effectively to comment on the entire family keeping a secret from Mr. Smith alone: "Your papa's not supposed to know. It's enough we're letting him work hard every day to support the whole flock of us. He can't have everything. " Katie gets in on the Deadpan Snarker game frequently. (See Servile Snarker. ) Double Standard: Abuse, Female on Male: Subverted. Esther attacks John when she thinks he attacked Tootie. When she discovers Tootie lied, she's incredibly guilty and apologises, and John shows her all the injuries she caused. It's glossed over after that scene though. Fiery Redhead: Esther, with her reddish-blonde hair, is a bit tomboyish, very protective of her sisters (to the point of beating up her crush because she thought he hurt one of them) and very spirited. Fix Fic: In real life Sally Benson's family did move to New York, instead of the last minute change of heart depicted in the film. Girl Next Door: Inverted, as the girl is the main character and sings about "The Boy Next Door. " Halloween Episode: There's a whole Halloween scene for the "Autumn 1903" bit. Happily Married: Lon and Anna Smith, played by Leon Ames and Mary Astor. They share an incredibly lovely duet called "You and I" just to drive the point home. Have a Gay Old Time: The line Make the Yuletide gay, from "Have Yourself a Merry Little Christmas". Hollywood Costuming: Although the costumes themselves are fairly accurate to the time period, Rose and Esther wear their hair down at a lot of social gatherings when girls of their age would surely have worn it up, as pretty much every other woman in the film does. Hypocritical Humor: Rose is not pleased with Esther drawing attention to her relationship with Warren by trying to make sure everybody's out of the room when he calls, and haughtily declares, "When you get to be my age, you'll realize that there are more important things in life than boys! " This becomes amusing in hindsight, as it becomes clear that Rose is by far the more boy-crazy one. She also claims she doesn't care about Warren's phone call, but then starts crying when it seems that she's missed it. Jerk with a Heart of Gold: Mr. Smith. He can be, as he puts it, "a little bombastic" when things aren't going his way. But it's also shown very clearly that he genuinely loves every member of his family, and this scene reveals what a softie he can be: Mr. Smith: Anna, I'm curious — just when was I voted out of this family? Mrs. Smith: Oh, Lon, really now. Mr. Smith: What else am I to think? My eldest daughter is practically on her honeymoon and everybody knows about it but me! In view of this family's refusal to let me in on their little intrigues, I'll handle the telephone in my own way! From now on, I'll take all incoming calls! [telephone rings] [beat] Mr. Smith: …Rose, you answer that. Informed Poverty: Mr. Smith's income alone is apparently enough to support a family of seven (plus a cat), and pay for a live-in maid, in a house that's large by almost any standard, with enormous, luxurious rooms, good furniture, lots of decor, a large yard, etc. The family doesn't seem to want for anything, and doesn't appear to be struggling; they host parties, attend parties, wear good clothes, send the oldest to college, go to the St. Louis World's Fair, etc., without any implication that these expenses will cause financial difficulty. Yet, when Agnes asks why they wouldn't be living in a house in New York, Rose replies, " Rich people live in houses. People like us live in flats", implying that they're considered middle class at best. It's not clear if this discrepancy is because the creators just couldn't be bothered making them appear less well-off, or if it's a justified artifact of the setting (St. Louis in 1903-1904), where the middle class might have had a much higher standard of living than they have on average nowadays. (Not to mention that New York may have had a much higher cost of living than St. Louis, just like it does today; Rose may have only meant that they're not rich compared to people who can afford houses in New York. ) Karma Houdini: Neither Tootie nor Agnes receive any punishment whatsoever for almost causing a streetcar accident on purpose, and anyone with the least bit of sense would've severely punished Tootie for falsely claiming that John Truitt tried to kill her — especially when he in fact had tried to help her; but she doesn't get so much as a spanking because everyone decides it's funny. Because reckless endangerment and defamation are hilarious. What's worse is that Rose even defends Tootie when Esther gets mad at her for lying. "After all, she was good about her lip and didn't cry! " Not to mention that earlier in the scene, when Rose says to Agnes, " You might have killed dozens of people! ", Agnes replies, "Oh, Rose! You're so stuck-up! " Apparently the film agrees, since Rose ends up just laughing about it with them, leading to some Values Dissonance. Love at First Sight: "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... " Love Triangle: Between Rose, Warren, and Lucille (as well as between Warren, Lucille, and Alonzo Jr). It doesn't last long, though. Lyrical Dissonance: Subverted for "Have Yourself A Merry Little Christmas;" the original lyrics were quite depressing as per the slow song it is. (Not that the version in the film is exactly a barrel of laughs. ) The song-writer later said it was written with a eye to the soldiers fighting in WW2. The opening lines were: Have yourself a Merry Little Christmas / It might be your last. ' My God, What Have I Done? : Esther has a mild case after she beats up John for hurting Tootie, only to realize that John was innocent, and in fact did what he could to protect Tootie. Smith also has his moment when he witnesses Tootie's startling meltdown over the prospect of moving out of St. Louis. This inspires him to change his mind and call off the move. Nice Guy: John Truitt. He is friendly, polite, and kind. He also turns out to be quite selfless; later in the film he drags Tootie away from an accident she caused so that she wouldn't get in trouble, despite the risk of getting in trouble himself. Then, when Esther thinks he hurt Tootie and beats him up over it, he forgives her almost immediately when she returns to apologize, and even initiates their First Kiss moments later. Of Corset Hurts: One scene features Rose lacing a reluctant and complaining Esther into a corset in preparation for a party. Of Corsets Sexy: The same sequence above continues for a while with Esther and Rose in the corsets to provide mild Fanservice. Old Maid: Esther acts as if Rose is this, when she appears to be eighteen or nineteen. The girls squeal as Rose arrives home. Pair the Spares: Unusually, two separate love triangles are resolved in one stroke: Rose/Warren/Lucille and Warren/Lucille/Lon Jr are both neatly dealt with by making Rose/Warren and Lucille/Lon the Official Couples. Post-Kiss Catatonia: Esther is hit hard with this after her First Kiss with John. All she can say in reply is "You've got a mighty strong grip for a boy. " She then saunters away in a dreamlike state, and is still out of it when she makes her way into her house and sits at the dining room table. Mrs. Smith: Esther, your ice cream is melting. Esther: [dreamily] Isn't it? Public Secret Message: Rose to Esther: "The plans have changed. " Redhead In Green: Rose has redder hair than Esther and wears a green evening dress to the Christmas party. Romantic Wingman: Grandpa for Esther at the ball, especially when he whisks her away from one of the guys on her dance card, and then hands her off to John when he unexpectedly arrives. Grandpa: Pardon me, young man, but in the great country of China, when a stranger admires one of your possessions, it's common courtesy to offer it to him. Kid at the ball: That's very interesting… Grandpa: Yes. Well I spent many years in China, and if you want to make me feel thoroughly at home, you might offer me your partner. Kid at the ball: Huh? Grandpa: Spoken like a gentleman. Servile Snarker: Katie is wonderful. Agnes: Katie, where's my cat? Where is she? Katie: I don't know... a little while ago she got in my way so I kicked her down the cellar steps. I could hear her spine hit on every step! Agnes: [horrified] Oh! If you've killed her, I'll kill you! I'll stab you to death in your sleep and tie you to two wild horses 'til you're pulled apart! Katie: Oh, wouldn't that be terrible now? [pointing at a chair where the cat sits unharmed] There's your cat. Smith: Katie, I'm sorry I couldn't eat an hour earlier. Katie: Don't blame me if the corned beef's an hour tougher! Single Woman Seeks Good Man: Esther falls for John Truitt, who is friendly, kind, soft-spoken, and caring. Tears of Joy: Esther is crying these after John proposes to her. Time to Move: This is the primary conflict of the film. At Halloween, Mr. Smith announces that they're moving to New York, because he's being transferred there for his work. Of course, as per the definition of the trope, he calls it off in the end. Titled After the Song: The title tune was written well before the film. Unspoken Plan Guarantee: This happens to two plans, one at the film's opening, and one near the end: Esther asks Katie to tell "a little white lie" to get Mrs. Smith to agree to having dinner an hour early, so that the family won't be listening in when Warren calls Rose long-distance from New York. Smith either overhears or figures out for herself what the real reason for eating early is. In fact, everyone except Mr. Smith ends up knowing before dinner what's going on *. Then Mr. Smith comes home stressed from work, and refuses to eat an hour early since he was planning on soaking in the cool bath for an hour. Then when they do have dinner, they try to get it over with quickly, but Mr. Smith, whose mood has much improved, suggests they enjoy "a nice, leisurely meal", and resists all attempts to steamroll through dinner. When the phone rings, he answers it, and when asked about a call from New York, says he's "not calling New York", and the operator hangs up. Despite the Plan saves the day and Rose gets her call (though Warren doesn't propose as everyone expected). Esther and Rose's plan to ruin Lucille Ballard's evening would have worked beautifully if not for the fact that Lucille turned out to be arguably the most mature of the group, insisting Warren spend the night with Rose because he spends all his time talking about her anyway, leaving them no choice but to cancel the plan. Seeing as Grandpa seemed to have figured out what was going on even before the plan was botched, he might have ended up intervening if they hadn't called it off on their own, so it may have been doomed either way. What Happened to the Mouse? : There's never any answer given for how John got a tuxedo for the Christmas dance. Maybe he found that tailor? Wounded Gazelle Gambit: Tootie tries this to avoid admitting how she hurt herself and getting in trouble.

Only Judy Garland can sing about the after life and make it sound awesome

Sensiz olamam Movie online poker. Sensiz olamam movie online dailymotion. Love Love Love this movie! Love this song! Have yourself a merry little Christmas makes me cry every time. Sensiz olamam movie online 2017. Sensiz olamam movie online play. Just awrsome! There will Never b another Judy.

Sensiz olamam movie online 2015. Sensiz olamam movie online 2016. Sensiz olamam movie online. Sensiz olamam movie online full. Ha ha ha (we just filmed the most famous movie in Hollywood.

I remember watching this as a child

Sensiz olamam movie online tamil

Sensiz olamam movie online hd. Sensiz olamam movie online streaming. Sensiz olamam movie online hindi. Sensiz olamam movies online. Sensiz olamam movie online gratis.

Sensiz olamam Movie online store

Meet Me in St. Louis Theatrical poster Directed by Vincente Minnelli Produced by Arthur Freed Screenplay by Irving Brecher Fred F. Finklehoffe Story by Sally Benson Starring Judy Garland Margaret O'Brien Mary Astor Lucille Bremer Tom Drake Marjorie Main Cinematography George J. Folsey Editing by Albert Akst Distributed by Metro-Goldwyn-Mayer Release date(s) November 28, 1944 Running time 113 minutes Country United States Language English Meet Me in St. Louis is a 1944 musical film from Metro-Goldwyn-Mayer which tells the story of an American family living in St. Louis at the time of the Louisiana Purchase Exposition World's Fair in 1904. [ 1] [ 2] It stars Judy Garland, Margaret O'Brien, Mary Astor, Lucille Bremer, Tom Drake, Leon Ames, Marjorie Main, June Lockhart, and Joan Carroll. The movie was adapted by Irving Brecher and Fred F. Finklehoffe from a series of short stories by Sally Benson, originally published in The New Yorker magazine, and later in the novel 5135 Kensington. The film was directed by Vincente Minnelli, who met Garland, on the set, and later married her. It was the second-highest grossing picture of the year, only behind Going My Way. [ citation needed] Garland debuted the standards " The Trolley Song " and " Have Yourself a Merry Little Christmas ", which both became hits after the film was released. Arthur Freed, the producer of the film, also wrote and performed one of the songs. Plot The backdrop for Meet Me in St. Louis is St. Louis, Missouri on the brink of the 1904 World's Fair. The Smith family lead a comfortable middle-class life. Mr. Alonzo Smith (Leon Ames) and Mrs. Anna Smith (Mary Astor) have four daughters: Rose (Lucille Bremer), Esther, Agnes, and Tootie; and a son, Lon Jr. (Henry H. Daniels, Jr. ) Esther, the second eldest daughter (Judy Garland), is in love with the boy next door, John Truitt (Tom Drake), although he does not notice her at first. Rose is expecting a phone call in which she hopes to be proposed to by Warren Sheffield (Robert Sully). Esther finally gets to meet John properly when he is a guest at the Smiths' house party, although her chances of romancing him don't go to plan when, after all the guests are gone and he is helping her turn off the gas lamps throughout the house, he tells her she uses the same perfume as his grandmother and that she has "a mighty strong grip for a girl". On Halloween, Tootie (Margaret O'Brien) returns home injured, claiming that John Truitt attacked her. Without bothering to investigate, Esther confronts John, physically attacking him and scolding him for being a "bully". When Esther returns home, Tootie confesses that what really happened was that John was trying to protect Tootie and Agnes (Joan Carroll) from the police after a dangerous prank they pulled went wrong. Upon learning the truth, Esther immediately dashes to John's house next door to apologize, and they share their first kiss. Mr. Smith announces to the family that he is to be sent to New York on business and eventually they will all move. The family is devastated and upset at the news of the move, especially Rose and Esther whose romances, friendships, and educational plans are threatened. Esther is also aghast because they will miss the World's Fair. An elegant ball takes place on Christmas Eve. Esther is devastated when John cannot take her as his date, due to his leaving his tuxedo at the tailor's and being unable to get it back. But she is relieved when her grandfather (Harry Davenport) offers to take her instead. At the ball, Esther fills up a visiting girl's (Lucille Ballard, played by June Lockhart) dance card with losers because she thinks Lucille is a rival of Rose's. But when Lucille turns out to be interested in Lon, Esther switches her dance card with Lucille's and instead dances herself with the clumsy and awkward partners. After being rescued by Grandpa, she is overwhelmed when John unexpectedly turns up after somehow managing to obtain a tuxedo, and the pair dance together for the rest of the evening. Later on, John proposes to Esther and she accepts. Esther returns home to an upset Tootie. She sings her "Have Yourself a Merry Little Christmas. " Tootie, however, does become more upset at the prospect of the family's move and runs downstairs, out into the cold to destroy the snowmen they have made. Smith sees his daughter's upsetting outburst from an upstairs window. Mr. Smith later announces that the family will not leave St. Louis after all when he realises how much the move will affect his family. Warren declares his love for Rose, stating that they will marry at the first possible opportunity. And all of the family finally are able to attend the World's Fair. The film ends at night with the entire family (including boyfriends-to-turn-into-presumed-husbands and Lon's new love interest) overlooking the fresh new lake at the center of the World's Fair just as the lights come up on the entire fair. Cast Music The musical score for the film was adapted by Roger Edens, who also served as an uncredited associate producer. Georgie Stoll conducted the orchestrations of Conrad Salinger. Some of the songs in the film are from around the time of the St Louis Exposition. Others were written for the movie. " Meet Me in St. Louis, Louis " Kerry Mills and Andrew B. Sterling, 1904 " The Boy Next Door ", Hugh Martin and Ralph Blane, 1944, performed by Judy Garland. " Skip to My Lou ", Traditional, with section sung to the tunes of " Yankee Doodle " arranged by Hugh Martin and Ralph Blane, 1944 "I Was Drunk Last Night, " performed by Margaret O'Brien. "Under the Bamboo Tree, " Words and music by Robert Cole and The Johnson Bros., 1902, performed by Judy Garland and Margaret O'Brien. "Over the Banister, " 19th-century melody adapted by Conrad Salinger, lyrics from the 1888 poem "Over the Banisters" by Ella Wheeler Wilcox adapted by Roger Edens (1944), performed by Judy Garland. " The Trolley Song ", Hugh Martin and Ralph Blane, 1944, performed by Chorus and Judy Garland. "You and I, " Nacio Herb Brown and Arthur Freed, sung by Arthur Freed and D. Markas, mimed by the actors. "Goodbye, My Lady Love, " (Instrumental), Joseph E. Howard, 1904. " Little Brown Jug ", (Instrumental), Joseph Winner, 1869. "Down at the Old Bull and Bush, " (Instrumental), Harry von Tilzer, 1903. " Home! Sweet Home! ", (Instrumental), Henry Bishop, 1823/1852. " Auld Lang Syne ", (Instrumental) "The First Noel", (Instrumental) " Have Yourself a Merry Little Christmas ", Hugh Martin and Ralph Blane, 1944, performed by Judy Garland. Reception Upon its 1944 release, Time called it "one of the year's prettiest pictures"; " 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 & 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 Minelli & Co. to get the best out of her. " [ 3] The film is a New York Times Critics' Pick: after seeing it at the Astor Theatre, Bosley Crowther called it a "a warm and beguiling picturization based on Sally Benson's memoirs of her folks. " [ 4] Crowther concludes: "As a comparable screen companion to Life With Father, we would confidently predict that Meet Me in St. Louis has a future that is equally bright. In the words of one of the gentlemen, it is a ginger-peachy show. " In 2005, Richard Schickel included the film on 's ALL-TIME 100 best films, saying "It had wonderful songs [and] a sweetly unneurotic performance by Judy spite its nostalgic charm, Minnelli infused the piece with a dreamy, occasionally surreal, darkness and it remains, for some of us, the greatest of American movie musicals. " [ 5] Accolades The film was nominated for Academy Awards for Best Cinematography, Color, Best Music, Scoring of a Musical Picture, Best Music, Song (Ralph Blane and Hugh Martin for "The Trolley Song") and Best Writing, Screenplay. Margaret O'Brien received an Academy Juvenile Award for her work that year, in which she appeared in several movies along with Meet Me in St. Louis. In 1994, the film has been deemed "culturally significant" by the Library of Congress and selected for preservation in the United States National Film Registry. The American Film Institute ranked the film 10th on AFI's Greatest Movie Musicals; two songs from the film made AFI's 100 Years... 100 Songs ("The Trolley Song" at #26 and "Have Yourself a Merry Little Christmas" at #76). Trivia Judy Garland at first refused to appear in the film because she felt she had played too many childish roles and wanted to play an adult. [ citation needed] She was also afraid that Margaret O'Brien would steal the film. After a talk with Vincente Minnelli, Garland finally agreed to play the role of Esther Smith. Later, she considered the role her favorite among her films. The lyrics for "Have Yourself A Merry Little Christmas" were originally different. The lyricist, Hugh Martin, wrote lyrics which referred to the soldiers fighting during World War Two. Judy Garland thought the song as written was too mean to sing to Margaret O'Brien, so he changed the lyrics. Further revisions were made when Frank Sinatra objected to the generally downbeat tone of the piece. The revised version is the one most commonly performed. Producer Arthur Freed, fearing the movie was running too long, originally wanted to delete the Halloween sequence during the second act of the film. [ citation needed] His reasoning for cutting the scene was based on the fact that it was an entity in itself and could be excised from the film without much difficulty. However, after showing the film to test audience reaction in previews, it was found that audiences loved the scene. So Freed was forced to look elsewhere for a scene to cut, ultimately deciding to cut one of Judy Garland's musical numbers. The musical number deleted from the film was a song called Boys and Girls Like You and Me, which was sung by Judy Garland's character (Esther Smith) to Tom Drake's character (John Truitt), just after the trolley number, as Esther and John tour the grounds of the World's Fair, still under construction. The cut scene has supposedly been lost, except for a glimpse of it during the film's theatrical trailer. In the final act of the film, as the Smith family attends the opening of the World's Fair, John makes a joking and seemingly out-of-place comment to Esther about preferring the fair ground "when it was still a swamp". This line is a reference to their earlier encounter in the cut scene. The song was originally planned to appear in the stage musical Oklahoma before being cut from this. It was then planned for Meet Me in St. Louis before being cut. Next, the song was planned for Take me out to the Ball Game, however it was once more cut. The song was eventually used in the musical Cinderella, although it was not included in any of the broadcast versions. [ 6] [ 7] Garland's daughter, Liza Minelli, performed the song on the Tonight Show. [ 8] Hugh Marlowe's character of Colonel Darby was originally given a larger role in early drafts of the script. [ citation needed] More scenes involving Esther and Rose Smith's pursuit of the older Darby were written, including one scene involving the sisters breaking into his hotel suite only to discover that he is married. Nevertheless, Arthur Freed felt the character was not necessary to the plot and his role was reduced to a small casual scene in which he innocently flirts with Rose Smith. The success of the film encouraged MGM to begin a sequel and make tentative plans for a series of technicolor films about the Smith family, much like the popular Andy Hardy series. The sequel, called Meet Me in Manhattan, [ citation needed] was apparently written chronicling the Smith family's eventual move to New York, which happened to Sally Benson's family in real life. The film was abandoned in its early stages. Adaptations Meet Me in St. Louis was remade in 1959 for television, starring Jane Powell, Jeanne Crain, Patty Duke, Walter Pidgeon, Ed Wynn, Tab Hunter and Myrna Loy. It was directed by George Schaefer from the original Brecher and Finklehoffe screenplay. Meet Me in St. Louis was remade again for television in 1966. This was a non-musical version starring Shelley Fabares, Celeste Holm, Larry Merrill, Judy Land, Rita Shaw and Morgan Brittany. It was directed by Alan D. Courtney from a script written by Sally Benson herself. This was to be a pilot for a TV series, but no network picked it up. A Broadway musical based on the film was produced in 1989, with additional songs. The late-19th century vintage carousel in this movie could be found at Bob-Lo Amusement Park in Amherstburg, Ontario until the park closed in September 1993. It was dismantled and sold to private collectors. References ^ Variety film review; November 1, 1944, page 10. ^ Harrison's Reports film review; November 4, 1944, page 178. ^ "The New Pictures". TIME. November 27, 1944.. Retrieved 2011-08-02. ^ Crowther, Bosley (November 29, 1944). " Meet Me in St. Louis, a Period Film That Has Charm, With Judy Garland and Margaret O'Brien, Opens at the Astor". The New York Times.. Retrieved 2011-08-02. ^ Schickel, Richard (February 12, 2005). "Meet Me in St. Louis (1944)". TIME.. Retrieved 2011-08-02. ^ Review of Cinderella at the Papermill Playhouse describing these additional songs ^ Listing of cast albums that include the song ^ External links Meet Me in St. Louis at the Internet Movie Database Meet Me in St. Louis at the TCM Movie Database Meet Me in St. Louis at AllRovi Meet Me in St. Louis at Rotten Tomatoes Meet Me in St. Louis from Meet Me in St. Louis at. Meet Me in St. Louis at the Museum of Modern Art. v · d · e Films directed by Vincente Minnelli 1940s Cabin in the Sky (1943) · I Dood It (1943) · Meet Me in St. Louis (1944) · The Clock (1945) · Ziegfeld Follies (1945) · Yolanda and the Thief (1945) · Undercurrent (1946) · The Pirate (1948) · Madame Bovary (1949) 1950s Father of the Bride (1950) · Father's Little Dividend (1951) · An American in Paris (1951) · The Bad and the Beautiful (1952) · The Story of Three Loves (1953) · The Band Wagon (1953) · The Long, Long Trailer (1953) · Brigadoon (1954) · The Cobweb (1955) · Kismet (1955) · Lust for Life (1956) · Tea and Sympathy (1956) · Designing Woman (1957) · Gigi (1958) · The Reluctant Debutante (1958) · Some Came Running (1958) 1960s Home from the Hill (1960) · Bells Are Ringing (1960) · Four Horsemen of the Apocalypse (1962) · Two Weeks in Another Town (1962) · The Courtship of Eddie's Father (1963) · Goodbye Charlie (1964) · The Sandpiper (1965) 1970s On a Clear Day You Can See Forever (1970) · A Matter of Time (1976) v · Arthur Freed musical productions 1930s Babes In Arms (1939) Strike Up The Band (1940) • Little Nellie Kelly (1940) • Lady Be Good (1941) • Babes On Broadway (1941) • Panama Hattie (1942) • For Me & My Gal (1942) • Cabin In The Sky (1943) • Du Barry Was A Lady (1943) • Best Foot Forward (1943) • Girl Crazy (1943) • Meet Me In St. Louis (1944) • Yolanda & The Thief (1945) • The Harvey Girls (1946) • Ziegfeld Follies (1946) • Till The Clouds Roll By (1946) • Good News (1947) • Summer Holiday (1948) • The Pirate (1948) • Easter Parade (1948) • Words & Music (1948) • Take Me Out To The Ball Game (1949) • The Barkleys Of Broadway (1949) • On The Town (1949) Annie Get Your Gun (1950) • Pagan Love Song (1950) • Royal Wedding (1951) • Show Boat (1951) • An American In Paris (1951) • The Belle Of New York (1952) • Singin' In The Rain (1952) • The Band Wagon (1953) • Brigadoon (1954) • It's Always Fair Weather (1955) • Kismet (1955) • Invitation To The Dance (1956) • Silk Stockings (1957) • Gigi (1958) Bells Are Ringing (1960) Uncredited as producer The Wizard Of Oz (1939) • Meet The People (1944) Non-musicals The Clock (1945) • Any Number Can Play (1949) • Crisis (1950) • The Subterraneans (1960) • The Light In The Piazza (1962).

Shes a queen. shes always been a hollywood star. then and even into her later years. rest in peace debby. Click here to read about author Sally Benson and the origins of the story. MGM purchased the screen rights to Sally Benson's "Kensington Stories" for $25, 000. 00 on March 1, 1942. Right away, the story went through the screen writing process at MGM. Several screen writers and authors took a stab at it. Sally Benson herself worked on what became a 198 page treatment written with Doris Gilbert between March 30 and May 9, 1942. Between April and October 1942, other writers worked on the project, including the husband-and-wife team of Victor Heerman & Sarah Y. Mason (Oscar winners for their 1933 adaptation of Little Women) and William Ludwig, who had written for the Andy Hardy series and also Margaret O'Brien's Journey For Margaret (1943). None of these treatments seemed to work, and finally Irving Brecher & Fred Finklehoffe were given the assignment. Finklehoffe had written for several Judy Garland musicals, and Brecher had written for the Marx Brothers, which seemed at first an odd choice to write a delicate family story. Finklehoffe and Brecher wisely decided that the bulk of the story should take place in the Smith family home and it's surrounding area of St. Louis. It was Finklehoffe and Brecher who expanded the "Warren Sheffield telephone call from New York" scene by making Mr. Smith ignorant to the goings on and having him hang up the phone when it first rings. They also took out scenes at Princeton University and a Smith family visit to their grandparents in Manitowoc, Wisconsin. Some other changes made were: Moving Mr. Smith's decision NOT to move the family to New York from immediately after the family's objections to the night before the planned move(Christmas Eve) heightening the tension; Removing a romance between Rose and Colonel Andrews (renamed Darly in the final film) -only a small scene remains that hints of Rose's attraction to him;Removing an announcement by Tootie that she did not want to go to the fair; Changing the hair color of Rose and Esther from blonde and black to both being auburn; Removing a blackmail subplot involving Esther and finally, they divided the film into four segments representing the four seasons of the year (Sally Benson's book had been 12 chapters, one for each month of the year). Name changes were made too, sometimes for legal reasons. Sally Benson wanted Lucille Ballard's name to be either Picard or Dorsey. John Truett began life as John "Bluett, " then for legal reasons became Collins, then Truett (Ms. Benson objected to "Truett"). "Bluett" stayed as the reference name of the house on MGM's "St. Louis Street" even after the backlot was torn down. Warren Sheffield originally was named Warren Sheppard, and for legal reasons the Waughops became the Braukoffs. The real life name of the maid was indeed Katie, and the real-life Katie was alive and well and provided a signed release to the MGM legal department, giving the "ok" to use her name. Finally, here are some interesting additions, changes, and/or deletions from the original book: The ketchup tasting scene that opens the film is an very expanded version of a simple paragraph in the book; In the book Rose gets mixed up with a middle-aged man; Mrs. Smith loses her temper; Tootie's ride on the ice wagon was originally a ride on a water-sprinkler; The cakewalk scene is danced in the book by Agnes, in a man's hat (Sally Benson based the Agnes character on herself); The Halloween sequence is in the book although it's Agnes who takes on the Braukoffs (or Waughops); A slight reference in the March segment of the book to a trolley gave birth to the entire "Trolley Song" sequence; The scene of Tootie and Agnes coming down the stairs during Lon's farewell party and Tootie singing "I Was Drunk Last Night" also comes from the book; Mr. Smith's decision to move the family to New York, and the subsequent tension it creates for the final half of the film, is from a small three-page episode in the book; and finally, it's Agnes who ends the book by saying "I can't believe it. right here where we live. Right here in St. Louis". With the script in place, producer Arthur Freed turned to Hugh Martin and Ralph Blane to compose the original songs for the film. At the time, Martin and Blane had enjoyed moderate success with their successful Broadway show "Best Foot Forward" property was bought by MGM, so Martin and Blane, along with stars Nancy Walker, Tommy Dix and Gil Stratton, were brought out to MGM to adapt the show for the screen. Martin and Blane also contributed to other films including "Three Cheers For The Yanks" to For Me And My Gal (1942) starring Judy Garland. Still, they hadn't obtained the success they wanted so Meet Me In St. Louis was their big chance. Freed felt strongly enough about their abilities to ask them to write new songs for Meet Me In St. Louis, to help complement the use standards of the day. They would end up providing four songs for the film, three of which would be the best of their careers and have since become classic standards ("The Boy Next Door", "The Trolley Song", and "Have Yourself A Merry Little Christmas"). Freed also took a chance on hiring Vincente Minnelli to direct. At first Minnelli seemed like an odd choice to helm such a costly and risky project. Although to Freed, it probably seemed like the logical choice. Known for his use of composition and his unusual flair for design, Minnelli was an inspired choice. Minnelli had directed I Dood It (1942) starring Red Skelton, and most notably Cabin In The Sky (1943) starring Ethel Waters and Lena Horne. Click here for a biography of Vincente Minnelli. Many at the studio felt the story had not plot and that the film would be a flop. It was even referred to by some as "Freed's Folly". But Freed stood by his choices and went about the tasks of pre-production on the film, including the casting of the major roles. When Judy Garland first discovered that MGM was going to cast her in their new musical film entitled Meet Me In St. Louis she was not happy. She feared, and with good reason, that the film would set her career back. She had finally been allowed to grow up on the screen. In For Me And My Gal (1942) she was given a real romantic lead in newcomer Gene Kelly, and she was the undisputed star of the film, with her name alone above the title for the first time. After that she appeared in Presenting Lily Mars which was the first time the studio made a real effort to make her look glamorous, even if it was mainly for the finale at the end of the picture. She was seen for the first time with her hair up and looking quite beautiful. True, she had also just completed Girl Crazy (1943) as well, but even in that, her final complete film with Mickey Rooney, she was a completely different character than in all of the other Garland/Rooney pictures. In this film, Mickey chased Judy rather than the other way around, and she was portrayed not as a teenager deep in puppy love, but as a lovely young woman. Now, after reading the St. Louis script, it appeared as though the studio wanted her to revert back to playing a high school girl with a crush on the boy next door. Judy was dating Joe Mankiewicz at the time, and he was also instrumental in allowing her to see herself as not just a little girl with a big voice, but a desirable woman. At 22 years of age, Mankiewicz reasoned, Judy Garland had the talent and ability to graduate to more adult roles. And Judy not only agreed with it, but with Mankiewicz in her corner, for the first time she summoned up the strength to actually resist the studio for her own benefit. Judy went to L. B. Mayer and complained, and for once he sided with her. He went to producer Arthur Freed to discuss the matter, but was effectively swayed in the other direction by Freed, director Vincent Minnelli, and most importantly the reigning studio storyteller Lillie Messinger. Once Lillie got a hold of a story, no one was immune. She was able to effectively point out the charms and magic of the story. Mr. Mayer loved a good sentimental "all-American" story and this had everything he loved. Next Judy went to see Minnelli on her own, thinking that she might be able to persuade him, since she was one of MGM's biggest stars, and he was a novice director. Minnelli had directed only two films before, neither was a big financial success. The best of the two, Cabin In The Sky, although a beautiful film that critics liked, was an all-black film and in 1943 that meant a limited audience. Judy was sure that not only would St. Louis be a mistake but that she could persuade Minnelli that it really wasn't very good! In his memoirs, Minnelli reports what happened when Judy came to see him about the film: "She looked at me as if we were planning an armed robbery against the American public. She later told me that she'd come to see me thinking I would see it her way. " Per Minnelli, Garland says "It's not very good, is it? " to which Minnelli responded with "I think it's fine. I see a lot of great things in it. In fact, it's magical. "Whether years later the exact words of the conversation are remember by Minnelli is immaterial. Judy may have been going on an early draft of the screenplay which was, according to most accounts, not very good. But it was shaped up by the time rehearsals began. And since Mayer switched and sided with Freed, and Freed stood behind Minnelli, Judy had no choice but to acquiesce. Rehearsals began on November 11, 1943 and Judy did not exactly throw herself into the role. She was used to the more contemporary, "wise cracking" dialog. When filming began almost a month later on December 7, 1943 things weren't much better. In fact, it's reported that when Minnelli was away from the set, Judy would sometimes entertain the cast and crew with a devilishly satire of Minnelli centered around his "perfectionism. " This skit would entail her acting out the part of an MGM bit actor who is paid his set fee to say one line in every film in production: "I think it may rain today. " The bit actor comes to the Minnelli set fully expecting to say his line, collect his pay, and leave. But Minnelli (again acted by Judy) has other things in mind and suggests the actor try saying his lines with a different inflection. Taken aback, the actor tries it that way. The Minnelli suggests a different way, then another and yet another until finally the bit actor is reduced to tears of frustration and confusion. This story illustrates how funny Judy could be when she wanted to be (her wit is legendary in Hollywood and she was known as the perfect mimic). This could also be seen as her way of dealing with a situation of which she had no control and was not happy about. Judy had a practically photographic memory when it came to lyrics and script, and she resented Minnelli's constant rehearsals and multiple usually got her lines and hit her marks perfect the first time. But with Minnelli, not only was he insisting that she rehearse and endure long, multiple takes (he didn't like the idea of using the stand-in for much of this), but he was breaking down her confidence. He was exacting but in a quiet way. Her frustration grew as she began to question her merits as an actress, feeling like she wasn't doing anything right. She went to Freed to complain, who told her to bide her time and give him a chance. She also reportedly complained to Mary Astor, who flatly said to Judy: "Just go along with it, he knows what he's doing. " Things got a little better, but didn't really get on track until Judy began to see herself on film. Suddenly, under his direction, Judy not only looked more beautiful and vibrant than ever before, but Minnelli was getting a beautifully realized understated performance from her. And whatever qualms she had about being a "teenager" or lost in the ensemble were put to rest as well. Soon Judy was entrusting Minnelli with her trust. But that trust came with a price. Judy would be absent from the set of St. Louis for close to 3 weeks. Initially this was due to a lack of interest in the project. But aside from that, Judy was beginning to show signs of the strain that the previous years of overwork, malnutrition, and medications had caused. She was going through the ups and downs that addicts begin to experience when the drugs begin to take over. Judy was never a morning person, having been raised in a Vaudeville atmosphere of late nights and late mornings. But at MGM, she was expected to be at the studio usually at 5 or 6am. And she had other commitments as well: Radio appearances; Personal appearances for the war effort; and making records for Decca Records. All of this, added to her fragile psyche and her low self esteem, created a time bomb ticking away just waiting for the time to explode. Mankiewicz saw this and suggested she go to therapy to help solve her deep emotional issues and restore her self worth. She agreed and went. But when the studio found out, they put a stop to it - not believing that one of their stars was "crazy" (the world of psychoanalysis in the 1940's was still considered suspect and charlatan by nature). In a few short years the studio would find themselves paying for Judy to continue treatment. Beginning in 1943 and ending in 1947, Judy Garland changed from a nervous insecure young lady to a glowing, confidant woman in command of her talent and happily exploring and learning all avenues of that talent, then back again to an insecure young lady. The rise in happiness can be partly attributed to Minnelli, Meet Me In St. Louis, Kay Thompson and the rest of the legendary "Freed Unit. " Everything that made the "Freed Unit" so special first burgeoned with Meet Me In St. Louis. Arthur Freed had been assembling a platoon of personnel, mostly from Broadway, to populate his little kingdom. These people were bright, young and talented individuals who would change the look and style of the movie musical forever. For Judy Garland, being in this atmosphere was exciting and exhilarating. She was allowed to flourish and experiment with all aspects of her performing. Minnelli was perfect at this time to help guide her into his world of savvy, articulate and witty people. She loved it. And she would do some of her best work during this time and was, for the most part, quite happy. Judy and Minnelli began dating towards the end of production of Meet Me In St. Louis, and although many people thought the union was all wrong, for Judy it was the right man at the right time. At least as far as her career goes. Kay Thompson was a new addition to the Freed Unit, one of the many transplants from Broadway. Kay would take Judy under her wing and develop her singing style even further than her mentor, Roger Edens had. This would be Judy's closest friendship to any woman in her entire life. Kay had a sophistication and style that was classy, brassy, and highly stylized. Judy thrived. The affair with Joe Mankiewicz over (he had evidently gone to the studio to argue that Judy needed professional psychiatric help and ended up walking out on his contract because Mayer and Judy's Mom wouldn't listen), Judy put all of her energies into St. Louis and her relationship with Minnelli. The end result is several wonderful performances given by Judy, most of them under Minnelli's direction. Judy Garland wasn't the only performer on the set causing problems. If you look at the timeline to this site, you'll see in great detail the constant barrage the company was under due to one illness or accident after another. As with so many films, accidents happen. St. Louis was no March 31, 1944 one of the extras suffered a hit on the head by one of the light standards ( Click here to read about it). A cameraman was hit on the head with a piece of carbon. Joan Carroll had to be sent back to wardrobe (which on a lot the size of MGM could amount to a long trek) because she was given two right shoes to wear. Harry Davenport was 77 and was doing double duty on the set of Kismet so was ill and/or away from the set frequently. One memo states: "Wait for Margaret's hair to be dressed - wrong hair-do because script clerk did not give right hair change to hairdresser. " Both Margaret and Joan Carroll (Agnes) were underage so had to be schooled for 3 hours with 1 hour of "recreation. " This was California law, MGM would get around it as best they could. Their teacher, who was on the set at all times, was reportedly a formidable woman who had no qualms stopping the production because either Margaret should go home or in on instance, that it was simply too late for Joan Carroll to continue working. Mary Jo Ellis, one of the cast members, had to be taken home due to veral cast members would be sick at one point or another. It should be pointed out that on a sound stage such as they had at MGM in the 40's, and before good air conditioning, a balmy set would be a breeding place for cold/flu germs to hop from one person to the next. Especially since half their time was sitting around waiting for the director to set everything up for a few takes. They would entertain themselves as best they could. But those were the least of the problems that seemed to plague the set of Meet Me In St. This film seemed to be the "sickest" film on the lot - with practically everyone coming down with some sort of illness - real or imagined. Real: Joan Carroll's appendectomy. On February 2, 1944 shooting is halted as Joan is rushed to the hospital. The "ever so caring" studio places Joan on suspension - even though Arthur Freed sends her flowers and she sends him a "thank you" note. seemingly callous treatment may have been caused by recent events with the OTHER child actress on the set - Margaret O'Brien. Margaret's mother is convinced that the studio is working her daughter way too hard. So on January 31, 1944 a two week period began without Margaret. Her mother feigned illness as the cause, originally. But as you will see in this letter from Margaret's mother, her absence was really a mother protecting her child, not illness: Click here to read the "apology" from Margaret's mother which arrived some time after their departure. Margaret's mother had decided (with justification) that the studio had been working her daughter too hard - so she took it upon herself to take the child away from the studio for a few weeks. Naturally this caused quite a stir at the studio - upset the production schedule, and added thousands of dollars to the budget ( click here to read memo by Dave Friedman dated this day which begins the "layoff" of the company due to Margaret O'Brien's unscheduled absence which last through early February and click here to read related memo). The children weren't the only ones causing delays due to illness, Mary Astor and Harry Davenport were both ill as well - and as noted on the previous page, many delays were caused by accidents (which was normal for any film). And there you have it - Minnelli's first chance to show what he can do as a director - which he does to meticulous detail! Minnelli's use of color and movement in the film is nothing short of genius. In an interview, he stated "You have to have great discipline in what you do. I spent a great deal of time in research, and finding the right things for it. I feel that a picture that stays with you is made up of a hundred or more hidden things. " This is apparent upon repeated viewings of the film. There are so many little things filling out the backgrounds - yet they blend in naturally so as not to look to over done. Take Grandpa's room. Now here is a "man's" room of the time. Filled with muted colors and all kinds of masculine brick-a-brack. Minnelli raided the MGM props and costume departments, looking for just the right things with which to clothe them and surround them. He also worked closely with art director Jack Martin Smith; set decorators Edwin B. Willis & Paul Huldchinsky; costume designers Sharaff and Irene; as well as Jack Dawn on make-up and of course George Folsey on photography. In fact, Minnelli was such a perfectionist that he drove practically everyone crazy! He would take hours making sure the set was perfect, the camera angles/movements were perfect - THEN get to the actors. At which time he would rehearse and rehearse with them until he found everything to be perfect, then filming would finally begin. was especially maddening for Judy. Judy had just this side of a photographic memory. People still speak with awe about the way in which she could read a script for the first time and speak it like she had rehearsed it for same with music. She would hear a song once or twice on the piano, then sing it right back to the composer. A TRUE natural talent. So, just like the kid in school who's to "fast" for the class, so Judy was too "fast" for Minnelli. And it drove her crazy. She would try to get out of the studio, only to be stopped at the studio gate by Minnelli and summoned back to the set for more rehearsals. Although it seems that the production was mired in chaos, there were wonderful times too. Once Judy saw herself in the dailies she realized that not only was Minnelli making her the most beautiful she had ever been, but he was also making a beautiful and touching film. The credit for Judy's new appearance doesn't belong solely to Minnelli. The bulk of the credit goes to "Dottie" Ponedel. Minnelli had specifically asked for "Dot" to be Judy's make-up artists. This was a first at the time. Up to this time, all of the major make-up artists who worked on the stars were men. Sure, there were women assistants, but never before had one woman been given the task of making up a star of Garland's caliber. It was Dottie who was responsible for Judy's beautiful new look as shown for the first time in Meet Me In St. Louis. Dottie was a "no nonsense" type of person, and it's been reported several times that if there were no cup of water around, Dottie would simply dip her make-up brush in the nearest cup of coffee and continue! Meet Me In St. Louis was the first time Judy and Dottie worked together. Dottie reportedly looked at Judy's inserts for her nose and said "What are those? " When Judy told her, Dottie said "Throw them out, you don't need all that junk, you're a pretty girl. " It was Dottie who gave Judy the new look that would last the rest of her career. From this moment on, Judy insisted that only Dottie would do her make-up in all of her subsequent films. As Judy's appearance blossomed so did her acting. Although still a high school girl, the role of Esther Smith is light years away from the characters Judy had previously played. Instead of a peppy "teen" or "juvenile", Esther Smith is a young lady on the verge of womanhood. And Judy plays her with a subtleness and a sort of softness that effectively makes you believe that this character is real. That her emotions are real. Even though the film is a "musical" there are many wonderful scenes that rely on Judy's incredible comic timing. Once again, very subtle and never once forced. This is the film in which Judy completes her transition to mature leading lady. From here on out, Judy would always be presented as a beautiful and desirable woman. Meet Me In St. Louis has a look and feel all its own. Minnelli and his crew took great care in creating this singular palette. For the scene in which Esther and John go through the house turning out the lights, Minnelli went to great pains in creating just the right mood. To achieve the right multiple lighting effects when Esther and John turn out the lights, Minnelli had the technicians use everything from conventional dimmers to actual window blinds. The scene is beautifully effective in showing the deepening of Esther and John's romance as the rooms slowly darken. A very happy accident occurred when filming the lights from the kitchen beaming onto the nighttime snow. The scene is Esther and Tootie looking out the window on Christmas Eve, just before Esther sings "Have Yourself A Merry Little Christmas", and there is a quick shot of the back yard. This beautiful shot actually was an accident. When it was filmed by the Assistant Director, the word came back from the lab that film wasn't exposed properly. Happily, the beauty of the scene remained intact. Meet Me In St. Louis had it's first preview on June 5, 1944 and a second on July 3, 1944. And that's when more heartache came in. Some executives at the studio wanted the entire Halloween sequence cut - they thought it slowed down the picture and didn't have anything to do with the plot. In a sequence of events reminiscent of "Over The Rainbow" in The Wizard Of Oz, Minnelli and Freed fought to keep the sequence in. Arguing, as Minnelli would state later, that the sequence actually underlined the entire crux of the story - the reason WHY this family would want to stay in St. Louis - it was their HOME. No argument came of the cutting of "Boys And Girls Like You And Me. " It was decided that either that or "The Boy Next Door" should be cut - and since "The Boy Next Door" advanced the plot, whereas "Boys And Girls" really didn't, there was no contest. Martin and Blaine were pleased, fearing that the Rodgers & Hammerstein "Boys And Girls" would get all of the attention, leaving the songs by the "relatively unknown" songwriters in the background. Luckily, this wasn't to be. The film had it's official premiere in St. Louis, Missouri on November 22, 1944. Running 113 minutes, it was a smash! No one objected to the Halloween Sequence, and audiences everywhere fell in love with the Smiths of S. Garland's status went from "star" to "superstar" - and there was no denying that while Margaret O'Brien was cute and funny and quite the scene stealer - the REAL star of the picture was Judy. Now, in her first color film since The Wizard Of Oz (and one song in Thousands Cheer in 1943), Judy Garland blossomed into a beautiful, talented young woman - the epitome of what young girls everywhere wanted to be - and what the boys overseas were fighting for. When it was released in 1944, Meet Me In St. Louis became an instant hit, and was MGM's biggest grossing film to date after Gone With The Wind. However it must be noted that Gone With The Wind was actually a David O. Selznick production that MGM owned the release rights to, and would eventually own the entire film. Meet Me In St. Louis was 100% an MGM production. The film would go on to be nominated for 4 Academy Awards: Color Cinematography -- George Folsey; Scoring of a Musical Picture -- Georgie Stoll; Song "The Trolley Song" -- Music and Lyrics by Ralph Blane and Hugh Martin; and Screenplay -- Irving Brecher, Fred F. Finkelhoffe. It wouldn't win any Oscars, but it did win a lasting fame and place in film history that few films of 1944 would be able to achieve. Among other things, the film has one of Judy Garland's three best film performances (the other two being The Wizard of Oz and A Star Is Born). It's also considered one of, or THE, best efforts of many of the people involved. It's the film that launched Vincent Minnelli on his stellar directing career as the greatest director of film musicals. It broke new ground as an "integrated" musical - and in doing so, paved the way for further experimentation and freedom for Arthur Freed and the "Freed Unit" - this unit at the studio would be responsible for practically ALL of the great musicals of the 1940's & 1950's. Both Judy and Margaret O'Brien would reprise their roles in a radio version of the film for CBS Radio in 1946 - and in 1947 Judy would join the AFRS (Armed Forces Radio Show) Show Time Players in performing a version of Meet Me In St. Louis for the "Show Time" radio program. The film would inspire imitations - Summer Holiday (another Freed effort in 1948); On Moonlight Bay & By The Light Of The Silvery Moon (both Doris Day vehicles atWarner Bros and both with Leon Ames as the father, and a cast of characters almost identical to St. Louis) charming as those film are, none have that special magic that Meet Me In St. Louis has. Like all great cornerstone films of any genre, Meet Me In St. Louis was the right people in the right place at the right time making the right film. Two Broadway versions of the film, in 1960 and 1988, would be popular - as are the various touring companies that have brought the film to the stage - but in all cases, the film is so indelible that comparisons are always made (and usually not in favor of the stage version! ). Now, more than 50 years after its release, Meet Me In St. Louis continues to work it's magic on audiences of all ages. Over the years, Meet Me In St. Louis has remained one of the best film musicals ever made. Gene Kelly would always call it "my favorite musical". Today, the film still has resonance and power. This is due to its simple themes of family and home. Made during a time when America was embroiled in World War Two, and so many families didn't know if their loved ones would come home, the film gave them hope in lovingly looking back to an era that even then was a distant memory. Now, 100 years after the era it portrays, Meet Me In St. Louis still grabs us and makes us believe in the idealized world of the Smith family of St. Louis, Missouri. And even today there are precious few films that can so expertly give us that special warm feeling that Meet Me In St. Louis still gives. A true American classic that will last as long as people want to see good, quality entertainment. DATE EVENT 06/14/1941 "The New Yorker" magazine runs part one of eventually 8 installments of short stories written by Sally Benson entitled "5135 Kensington" the eighth and final installment appears May 23, 1942. 01/06/1942 Lily Messenger provides an initial screen treatment of the stories to MGM Studios boss Louis B. Mayer. Ms. Messenger is instrumental in getting Mayer to support the making of the film. People at the studio balked that there was no plot, but after "MGM's Scheherazade" (Lily) vividly described the story, Mayer was enchanted. 03/01/1942 MGM purchases the screen rights (as well as the radio and, interestingly enough, the television rights) to the "Kensington Stories" for $25, 000. 00. The purchase date could be much earlier, in May of 1941 as some reports give Arthur Freed credit with reading the stories provided to him by Fred Finklehoffe while in the office of Leland Hayward (the famous show business agent) BEFORE publication in "The New Yorker" magazine. According to the legend, Freed is so taken with the stories, that he immediately gets on the phone and negotiates their purchase. (date is approximate) 3/30/42 thru 5/9/42 Author Sally Benson, collaborating with Doris Gilbert, produces a 198 page screen treatment of the stories, followed by additional supplemental material. During this time, Ms. Benson takes the original stories, adds 4 more chapters so each chapter represents one month of the year from January - December, 1903 and 1904 - and then publishes them as a book by Random House as "Meet Me In St. Louis" - this is the first time the title of the film is associated with the stories. MGM of course has the rights to the book as well. April thru October 1942 Screenwriters who work on the script during this time include: Husband & wife team of Victor Heerman & Sarah Y. Mason (who jointly won the 1933 screenplay Oscar for "Little Women"), William Ludwig (who wrote the screenplay to Margaret O'Brien's immensely popular "Journey for Margaret") and even director George Cukor, who after a few months of work starting from scratch, was drafted into the Army and so the project was shelved, temporarily. 04/30/1943 Irving Brecher & Fred Finklehoffe provide a "rough continuity outline" of the screenplay followed by a draft of the screenplay. 05/22/1943 Arthur Freed signs the final shooting script as "complete". 06/10/1943 Judy Garland's 21st Birthday - this is important because Garland did not want to play Esther. In her previous few films, she was finally being allowed to "grow up" a little on screen, and playing the teenage Esther, in her eyes and those of many around her, would be a backwards step for her career. Her reluctance would cause a rocky start once rehearsals and production begins. 07/16/1943 Brecher worked on the script alone adding additional supplemental material, the final screenplay is completed. Total cost to MGM for all the work on the script is: $86, 616. 67 07/30/1943 Letter dated 7/29/43 is delivered to MGM from Joseph I. Breen of the Hays Censor Office. Click here to read the memo. 11/03/1943 Freed and singer Denny Markas pre-record "You and I" for Leon Ames & Mary Astor to lip sync to. 11/11/1943 Rehearsals begin. Meet Me In St. Louis goes into production as Production No. 1317. It is budgeted at $1, 536, 971. 93 with a shooting schedule of 58 days. Included in the budget are the following: $151, 575 to build the new "St. Louis Street" $62, 225 for the lower floor of the Smith home $16, 625 for the miniature of the exterior of the World's Fair $15, 625 for the trolley depot $5, 091 for the trolley tracks 12/01/1943 & cast pre-record "Meet Me In St. Louis". 12/02/1943 At 8:45pm, Judy & chorus and 41-man band pre-record "The Trolley Song" (which is Scene 90 in the shooting script). 12/03/1943 & Lucille Bremer pre-record "Meet Me In St. Louis" (duet version). & cast pre-record "Skip To My Lou". 12/04/1943 pre-records "The Boy Next Door". pre-records "Have Yourself A Merry Little Christmas". 12/06/1943 An "R. Monta" sends a memo to Arthur Freed relaying some story changes suggested by author Sally Benson. Click here to read the memo. 12/07/1943 Principle photography begins. 12/11/1943 a memo, Arthur Freed gives final approval for the following name changes Lucille Ballard (was to be surname of Picard or Dorsey) John Truett (was to be Bluett or Carson - author Benson objects to "Truett") Warren Sheffield (was to be Sheppard) Mr. & Mrs. Braukoff (was to be Waughop) Note: The Smith's real-life maid Katie gives her approval to MGM to use her name! 12/17/1943 & Margaret O'Brien pre-record "Under The Bamboo Tree. " 12/18/1943 arrives late for St. Louis filming, meets with producer Arthur Freed, then leaves at approximately 10:30 am not feeling well. Click here to read memo. 12/30/1943 absent from filming of St. Louis due to illness - Memo reads "Judy Garland is still ill, and Company worked around her until 12 noon today. The balance of the day was spent in rehearsing musical number. " 01/12/1944 absent from filming of St. Louis due to illness. Click here to read memo. 01/20/1944 1:20pm - Margaret O'Brien's dental plate comes loose and she's sent to the dentist. Click here to read the previous memo detailed the beginnings of Margaret's dental problems and absences from the set. 01/24/1944 "Under The Anheuser Bush" instrumental recorded (this is to be part of the underscoring of the "Christmas Party" sequence). 01/28/1944 Click here to read memo detailing Mary Astor's bouts with the flu. 01/31/1944 Click here to read memo by Dave Friedman dated this day which begins the "layoff" of the company due to Margaret O'Brien's unscheduled absence which last through early February. Click here to read related memo. Click here to read the "apology" from Margaret's mother which arrived some time after their departure. 02/02/1944 Shooting is stopped for several days due to Joan Carroll (Agnes) being rushed to the hospital on this day for an emergency appendectomy. MGM callously suspends her salary during the time she is away from the set. However, Arthur Freed sends her flowers and "well brought up young lady" that she is, she sends him a "thank you" note! Click here to read memo. 02/14/1944 Click here to read from daily production log of this date detailing Judy Garland's frequent lateness & absence. 02/15/1944 "Margaret O'Brien was available for work today" is reported in a memo - shooting resumes. 02/29/1944 Click here to read memo detailing Joan Carroll's bout with the sore throat and flu that seemed to be "popular" amongst the cast. 03/01/1944 absent from filming of St. Louis due to illness - Click here to read memo (Due to this and Joan Carroll's absence, the company is laid off again). 03/03/1944 Beginning at 8:43pm, the "Halloween Sequence" is filmed. A lunch from 11:45pm - 12:45am is reported. From 11pm through 11:32pm there is a break in filming for Minnelli to discuss "change in set up to give more eerie effect. " The filming finally finishes early 3/4/43 at 4:55am. 03/09/1944 03/20/1944 Company waits for "Perfume bottle (special container with satin lining asked for by Director)" (from daily production log) - the company waits until 3/26/44 for the bottle. This is a perfect example of Minnelli's quest for perfection. 03/23/1944 03/31/1944 Report by Assistant Director Dave Friedman tells of one of many accidents to happen during filming. Click here to read memo. 04/01/1944 date detailing more of Judy Garland's frequent lateness & absence. signs new three year contract with Decca Records. Click here to read entries from the daily production log detailing Minnelli's perfection in the composition of a scene - one that never makes it to the final print! 04/07/1944 Filming is completed and the production is closed. Total cost: $1, 707, 561. 14 ($170, 589. 21 over budget) Filming lasts an actual 70 days (12 days over schedule). 04/20/1944 records "Boys And Girls Like You And Me" for Decca records. records "Have Yourself A Merry Little Christmas" for Decca Records. records "The Boy Next Door" for Decca Records. 04/21/1944 records "Meet Me In St. Louis" for Decca Records. records "Skip To My Lou" for Decca Records. records "The Trolley Song" for Decca Records. 05/17/1944 sings "The Trolley Song" on the "Mail Call" (#91) radio program. 05/25/1944 Underscoring for the film begins with Conrad Salinger conducting. Some of the sections recorded on this day are: The "Main Title" (w/the MGM Studio Chorus); The Halloween Sequence; & the "I Hate Basketball" scene. 05/26/1944 pre-records "Over The Banister". for the film continues with Conrad Salinger conducting. "Getting Ready for the Party" scene; scene with Esther & John turning out the lights (including Judy's vocal of "Over The Banister"; "Tootie's Music Box"; "Tootie's Grief"; & the "Finale". 05/27/1944 Some of the sections recorded on this day are: Opening of the Winter section; Esther's acceptance of John's proposal after the Christmas Party. 06/04/1944 sings "The Trolley Song" on the "The Bakers of America Salute to the Armed Forces" radio program. 06/05/1944 First preview. 06/10/1944 Garland's 22nd Birthday. 06/25/1944 sings "The Boy Next Door" on "The Chase and Sanborn Hour" radio program. 07/03/1944 Second preview - cuts were made after this, including the deletion of "Boys And Girls Like You And Me. " 07/14/1944 Freed writes a letter to Rodgers & Hammerstein about the deletion of their song "Boys And Girls Like You And Me" - Mr. Freed states "The entire sequence the song was part of was eliminated after the preview on account of its length. " 10/08/1944 sings "The Trolley Song" on the "Hollywood Democratic Committee Dinner" radio program. 11/02/1944 Decca Records releases the " Meet Me In St. Louis Original Cast Album " (it would be another 50 years before an official complete soundtrack album of the film is released). 11/22/1944 Me In St. Louis premieres in St. Louis, Missouri - the running time of the film is 113 minutes. 12/17/1944 performs "The Trolley Song" & "Have Yourself A Merry Little Christmas, " for Philco Radio Hall Of Fame. 04/23/1945 Garland and Kay Thompson are recorded in the MGM Recording Studios singing an impromptu duet of "In The Valley When The Evening Sun Goes Down" (Judy's opening number to The Harvey Girls). This is the only know recording of these two great friends singing together. 03/01/1945 Grauman's Chinese Theater in Hollywood, Meet Me In St. Loui s is up for 4 Oscars in the 17th annual Academy Awards presentation: Cinematography (Color)-George Folsey; Music (Scoring of a Musical Picture)-Georgie Stoll; Music (Song "The Trolley Song")-Ralph Blane & Hugh Martin; Writing (Screenplay)-Irving Brecher & Fred F. It would win none. 09/17/1945 marries Vincent Minnelli - studio boss Louis B. Mayer gives the bride away. Vincent would direct Judy in her guest appearances for "Ziegfeld Follies, " and "Till The Clouds Roll By, " as well as the films "The Clock" and "The Pirate. " Although Vincent was scheduled to direct Judy in "Easter Parade" he was replaced with Charles Walters because, by this time, Judy's troubles at the studio had escalated to the point that Vincent (as both her husband and studio director) would be seen as and adversary and studio ally - thus aggravating her already fragile psyche. 12/02/1946 & Margaret O'Brien appear in "The Lux Radio Theatre" radio show version of Meet Me In St. Louis. 08/12/1947 and the AFRS (Armed Forces Radio Show) Show Time Players perform a version of Meet Me In St. Loui s for the "Show Time" radio program. Judy sings "Meet Me In St. Louis, Louis, " "The Boy Next Door, " "Skip To My Lou, " and "The Trolley Song. " 04/16/1948 "Summer Holiday" is released. Produced by Arthur Freed and directed by Rouben Mamoulian, it is a musical adaptation of Eugene O'Neill's "Ah Wilderness" starring Mickey Rooney & Gloria DeHaven. Actually filmed in 1946 the film goes through numerous revisions and is shelved for 2 years. It's an unsuccessful attempt by Freed to re-capture the magic and success of "St. Louis. " 03/01/1952 Records releases the "Judy At The Palace" which is one of the first Garland "compilation" albums & includes the Decca versions of "The Trolley Song" & "Meet Me In St. Louis, Louis". 04/26/1959 CBS airs a T. V. version - complete with the original score - starring Jane Powell, Jeanne Crain, Tab Hunter, Walter Pidgeon, Myrna Loy, Patty Duke, & Ed Wynn. Throughout the 1950's and 1960's Judy would perform songs from Meet Me In St. Louis in concert, on the radio, and on television literally dozens (if not more) times. "The Boy Next Door" and "The Trolley Song" were a part of her medley of film songs which began with her Palace concert in 1951. After a few years, "The Boy Next Door" would be dropped from the medley, and Judy would seldom perform it on it's own. Her most notable performances of the songs would come from her concerts and t. v. series. The most well know or significant are included in this timeline, but since Judy performed in concert hundreds of times, it would be futile to try and list each and every single performance of each song. 09/26/1955 Capitol Records releases it's first Judy Garland long playing LP "Miss Show Business. " Included in the song line up is Judy's first studio recording of her original medley of "You Made Me Love You/For Me And My Gal/The Boy Next Door/The Trolley Song" (recorded in August of 1955). 08/06/1958 first legitimate concert recording of the newly trimmed "Judy Medley" which drops "The Boy Next Door" from the lineup, and would remain as "You Made Me Love You/For Me And My Gal/The Trolley Song" - released by Capitol Records as "Garland At The Grove" (the Coconut Grove in Los Angeles, CA) 06/09/1960 "official" stage version of the film, with additional songs, is premiered at the St. Louis Municipal Opera (in St. Louis, MO) - this is the version that has since been produced by numerous local and summer stock companies, as well as a full scale Broadway edition. 08/05/1960 London, Judy records the second studio version of her medley, by this time "The Boy Next Door" had been dropped from the medley, and it would remain "You Made Me Love You/For Me And My Gal/The Trolley Song". 04/23/1961 legendary Carnegie Hall concert, which of course includes the "Judy Medley" of "You Made Me Love You/For Me And My Gal/The Trolley Song". 10/04/1963 Episode #9 of "The Judy Garland Show" Judy sings "The Trolley Song" as part of her medley of "You Made Me Love You/For Me and My Gal/The Trolley Song". 11/08/1963 #13 of "The Judy Garland Show" Judy and Peggy Lee sing "Under The Bamboo Tree" as part of the "Judy Garland-Peggy Lee Medley". 12/06/1963 #15 of "The Judy Garland Show" Judy sings "Have Yourself A Merry Little Christmas" (this is also known as "The Judy Garland Christmas Show"). 01/14/1964 #18 of "The Judy Garland Show" Judy sings "The Boy Next Door" in a rock arrangement as part of the "Hit Parade 1964 Medley". 01/31/1964 #21 of "The Judy Garland Show" Judy & Mel Torme sing a "duet" version of "The Trolley Song" with Mel singing a counterpart to Judy's lyrics from the "boy next door's" point of view in that fateful trolley ride! 02/21/1964 #23 of "The Judy Garland Show" Judy sings "The Boy Next Door". 07/23/1964 #4 of "The Judy Garland Show" Judy and Lena Horne sing "The Trolley Song" as part of the "Judy Sings Lena Sings Judy Medley". 1964 Records releases "The Judy Garland Story - Vol 2 The Hollywood Years! " - which include the first ever official release on record of the original soundtrack (taken directly from the soundtrack of the film) versions of "The Boy Next Door" & "The Trolley 1974 MCA Records releases the two record set of the soundtrack of That's Entertainment! The only "St. Louis" song included is the first ever official release on record of the soundtrack version of "Under The Bamboo Tree. " 1976 Records releases the single record soundtrack of That's Entertainment Part Two. This is the first ever official release on record of the soundtrack version of "Have Yourself A Merry Little Christmas". Unfortunately, since MGM Records saw fit to use the highly abridged versions as seen in the film, the song is missing the first verse. 1981 new home entertainment revolution begins with the advent of VCRs and Video Disc players. Meet Me In St. Louis is released by MGM Video on VHS and Beta tape as well as by RCA on "SelectAvision VideoDiscs" (precursors to the LaserDisc). Since that time, Meet Me In St. Louis has been re-released several times on both VHS & Laser Disc with each new improvement in the technology. Also in this year, the first "real" soundtrack album of the complete soundtrack appears on "Hollywood Soundstage" records. This is a bootleg company that made soundtrack albums of varying sound quality directly from the film soundtracks themselves. 1986 Dunhill releases the very first Judy Garland compact disc. It is produced by Sid Luft and co-produced by Judy's son Joey Luft. The medley of "You Made Me Love You/For Me And My Gal/The Trolley Song" is included. Some tracks are capitol studio recordings mixed with applause and the live tracks to make the entire CD sound as thought it were one concert. For several years, this would be confusing to Garland fans, not being able to tell (due to the mix) what versions some of the songs were or whether they were previously unreleased recordings (they're not). It has since been re-released by DCC Compact Classics with the exact same mix & track lineup. Also at this time, the Decca versions of the St. Louis songs pop up on a multitude of official and budget CDs. 1987 Records releases the CD "The Best Of Judy Garland from MGM Classic Films". For some strange reason, the label uses the Decca version of "The Trolley Song" (and the other pre-1946 MGM songs) on some pressings and the soundtrack version on others, with no explanation or indication in the liner notes as to which version is included. 11/02/1989 Broadway version opens at the Gershwin Theatre and runs for 253 performances. It closed on June 10, 1990. Donna Kane plays Esther, Betty Garret plays Katie, & George Hearn (who played Albin in "La Cage Aux Folles" in 1983 and Max in "Sunset Boulevard" in 1994) plays Mr. Smith (Alonzo). The show is popular although many critics state it is over produced and the additional songs are not as memorable as the originals from the film. Hugh Martin & Ralph Blane provide the additional songs, the same as were in the 1960 version. It was nominated for 4 Tony Awards, including Best Musical, but didn't win any. Interesting since the film was nominated for 4 Oscars and didn't win any. Click here for a "review" of the show. Meet Me In St. Louis is one of the few movie musicals to originate as a musical FIRST on the screen and SECOND as a Broadway adaptation. Oddly enough, three notable exceptions: "Singin In The Rain" (Broadway 1985), "Seven Brides For Seven Brothers" (Broadway 1982), & "Gigi" (Broadway 1973) were also originally MGM mega-hit Musicals - and Gigi (the film) was directed by Minnelli and the film for which he won his only Oscar for Best Director (the film won a total of 8 Oscars including Best Picture). 1990 Records releases a series of MGM original soundtrack recordings on CD. These are the complete soundtracks recorded directly from the film soundtracks themselves and are varying in sound quality. CBS did not do a soundtrack of Meet Me In St. Louis, nor did they do a version of That's Entertainment, but they DID do a double disc of That's Entertainment Part Two which included the first ever official release of the complete soundtrack version of "Have Yourself A Merry Little Christmas". 1991 Records releases "The One And Only" - a 3 CD deluxe box set of studio recordings, live performances, and the never (completely) released in the US "The London Sessions" which include the "Judy Medley" of "You Made Me Love You/For Me And My Gal/The Trolley Song" recorded on 8-5-60. The following year, due to the success of the box set, Capitol releases a single CD entitled "The London Sessions". 1994 Spanish company "Blue Moon" releases the CD "Judy Garland The Hollywood Years" which is a poor quality sounding copy of the MGM records versions (probably recorded directly from the old records themselves) of Judy's MGM songs. However, this is the first CD release of the soundtrack versions (aside from the confusing MCA 1987 release) of "The Trolley Song" and the first ever of "The Boy Next Door". Records releases a 4 CD deluxe box set of all of Judy's Decca recordings "The Complete Decca Masters - Plus, " which includes all of the Decca versions of the songs from St. Louis. Dec Turner Entertainment, & MGM Records release the 50th anniversary edition of Meet Me In St. Louis on video, laser disc, & CD. The film's soundtrack is remastered into true stereo, and it's the first legitimate release of the complete soundtrack in audio form (all in one place) and the last title released under the old "MGM Records" label. The restored film has since been re-released on VHS once by Turner and once by Warners (who now owns the distribution rights to the Turner/MGM film catalog). NOTE: Until the DVD edition is released, the Laser Disc is the only place to hear the entire background score, isolated and in true stereo, as well as alternate takes of many of the songs including "Have Yourself A Merry Little Christmas, " "The Boy Next Door, " and "Over The Banister". 1995 Rhino Records obtains the rights to all of the MGM pre-recording sessions. This allows them to produce MGM soundtracks of the highest sound quality - many in true stereo for the first time - of many of the studio's classic musicals. Louis is one of the first soundtracks to be released, with all the songs and part of the background score as well as the outtake of "Boys And Girls Like You And Me" being released in pristine quality for the first time. Rhino has since included songs from Meet Me In St. Louis on many of their compilation CDs (including their Christmas compilation CDs). Now the public can enjoy the film and its soundtrack as it was meant to be seen and heard. Click here to go to The Judy Garland Online Discography Meet Me In St. Louis soundtrack pages. 04/06/2004 Warner Home Video restores the film utilizing their new "Ultra Resolution" process. The image is amazingly clear and vibrant, the best the film has ever looked. The restored film is released on a special 2-disc DVD with many great extra features. Click here to see the DVD page. The film is presented a few days earlier on April 4, 2004 at the Director's Guild 60th Anniversary celebration. Liza Minnelli, Lorna Luft, June Lockhart and Margaret O'Brien are in attendance for this special screening of the newly restored film. See the Media Gallery for images from this event. top of page NEW! Expanded complete soundtrack now available, in honor of the film's 75th anniversary! Click on the images above to see Meet Me In St. Louis media (records, sheet music, posters, lobby cards, CDs, DVDs, and more) PRODUCTION No. 1317 Cost: $1, 707, 561. 14 Includes: $208, 275 to build the new "St. Louis Street". $86, 616. 67 for the screen writing process (including early drafts and treatments dating back to 1942) $62, 225 for the lower floor of the Smith home. Fair. $15, 625 for the trolley depot. $5, 091 for the trolley tracks. Premiere: November 22, 1944 Domestic Gross: $7, 566, 000 (as of August 31, 1957 - does not include 16 mm. rentals, double-bill playoffs, or the film's share when sold for television as part of a package and subsequent home video sales) Running Time: 113 minutes (10, 147 ft) CAST: Esther Smith: Judy Garland "Tootie" Smith: Margaret O'Brien Mrs. Anna Smith: Mary Astor Rose Smith: Lucille Bremer Alonzo Smith: Leon Ames John Truett: Tom Drake Katie the maid: Marjorie Main Grandpa: Harry Davenport Lucille Ballard: June Lockhart Lon Smith Jr. : Henry H. Daniels Jr. Agnes Smith: Joan Carroll Colonel Darly: Hugh Marlowe Warren Sheffield: Robert Sully Mr. Neely: Chill Wills Dr. Terry: Donald Curtis Ida Boothby: Mary Jo Ellis Quentin: Ken Wilson Motorman: Robert Emmett O'Connor Johnny Tevis: Darryl Hickman Conductor: Leonard Walker Baggage Man: Victor Killan Mailman: John Phipps Mr. March: Major Sam Harris Mr. Braukoff: Mayo Newhall Mrs. Braukoff: Belle Mitchell Hugo Borvis: Sidney Barnes George: Myron Tobias Driver: Victor Cox Clinton Badgers: Joe Cobbs, Kenneth Donner, Buddy Gorman Girl on Trolley: Helen Gilbert Singing voice of Alonzo Smith: Arthur Freed Singing voice of Anna Smith: Denny Markas PRODUCTION: Producer: Arthur Director: Vincente Minnelli Assistant Director: Wallace Worsley Screenplay: Irving Brecher, Fred F. Finklehoffe from the novel by Sally Benson Uncredited script contributions: Sally Benson, Doris Gilbert, Sarah Y. Mason, Victor Heerman, William Ludwig Photography (Technicolor): George Folsey (uncredited: Harold Rosson for "The Trolley Song" sequence) Technicolor Color Director: Natalie Kalmus Associate Technicolor Color Director: Henri Jaffa Musical Director: George Stoll Uncredited Musical Director: Lennie Hayton Musical Adaptation: Roger Edens Orchestration: Conrad Salinger Songs & Music: "The Trolley Song", "The Boy Next Door", "Skip To My Lou", "Have Yourself A Merry Little Christmas" by Hugh Martin, Ralph Blane; "Under The Bamboo Tree" by Bob Cole, J. Rosamond Johnson; "Meet Me In St. Louis" by Andrews B. Sterling, Kerry Mills; "You And I" by Arthur Freed, Nacio Herb Brown; "I Was Drunk Last Night, " "Over The Banister" (traditional) arranged by Conrad Salinger; "Brighten The Corner" by Charles H. Gabriel Jr. ; "Summer In St. Louis", "The Invitation" by Roger Edens; "All Hallow's Eve", "The Horrible One", "Ah, Love! " by Conrad Salinger, "Good-bye My Lady Love" by Joe Howard; "Under The Anheuser Bush" by Albert von Tilzer, "Little Brown Jug" by R. A. Eastburn, arranged by Lennie Hayton, "The Fair" by Lennie Hayton, "Boys And Girls Like You And Me" (recorded and filmed but deleted prior to release) by Richard Rodgers, Oscar Hammerstein III Dance Director: Charles Walters Editor: Albert Akst Art Directors: Cedric Gibbons, Lemuel Ayers, Jack Martin Smith Set Decorator: Edwin B. Willis Associate Set Decorator: Paul Huldchinsky Costume Designer: Sharaff Costume Supervisor: Irene Make-up: Jack Dawn Recording Director: Douglas Shearer Sound Recording: Joe Edmondson CREDITS: A special thanks to Eric Hemphill, Jamin Fowler, Simon Tarantelli, Brie Copely, Kim Loeffler, Meredith Ponedel & Mike Siewert for sharing photos of items from their collections for this spotlight. RESEARCH: Meet Me In St. Louis by Gerald Kaufman The World Of Entertainment! Hollywood's Greatest Musicals (subsequently published as The Movie's Greatest Musicals - Produced in Hollywood USA by The Freed Unit and " M-G-M's Greatest Musicals - The Freed Unit) by Hugh Fordin Rainbow - The Stormy Life of Judy Garland by Christopher Finch Judy by Gerald Frank Judy Garland - The World's Greatest Entertainer by John Fricke I Remember It Well by Vincente Minnelli with Hector Arce A special thanks to the late Scott Schechter, author of the fantastic Judy Garland - The Day-By-Day Chronicle of a Legend for his willingness to share the Meet Me In St. Louis portion of his book as added "meat" to the timeline, and for his unwavering support.

A delightful film about a year in the life of the Smith family leading to the 1904 World Fair in St. Louis. Filmed in gorgeous Techicolor, it is smoothly and lovingly directed by Minnelli. Garland, who would marry Minnelli soon after the film was completed, looks radiant and sings beautifully as one of the Smith children. She gets good support from Astor and Ames as the parents, Davenport as the grandfather, and Main as the family maid. O'Brien is made out to be a bit too cute as the baby of the family and her morbid sense of fun is somewhat disturbing, but she and Garland do a nice little number. In fact, all the songs are good in this charming musical.

My favorite muscial of all times sssooo thank u

Sensiz olamam movie online download. Who els is here from that one commercial with a little girl arranging Pineneedles. Sensiz olamam movie online youtube. Sensiz olamam Movie online.

 

Sensiz olamam movie online free. Sensiz olamam Movie. Sensiz olamam movie online torrent. Meet Me in St Louis! May 22-25, 2020 CANCELLED ALAS, WE HAVE HAD TO CANCEL THIS YEAR'S MEET ME IN ST LOUIS ON ACCOUNT OF THE PANDEMIC. WE WILL BE IN TOUCH ABOUT RETURNING MONIES FOR REGISTRATION. IF YOU CAN AFFORD IT, PLEASE CONSIDER MAKING A DONATION TO CHILDGROVE - MANY OF OUR COSTS GO ON, EVEN IF WE CANCEL THE WEEKEND, AND WE WOULD LIKE TO MAKE AT LEAST PARTIAL PAYMENT TO OUR TALENTED CALLERS AND BAND MEMBERS. 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 Location 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! 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.

Sensiz olamam movie online english

One of my all time favorite Judy Garland films aside from A Star Is Born! This is such a classic. Sensiz olamam Movie online ecouter. Sensiz olamam movie online telugu. Sensiz olamam movie online booking. Sensiz olamam Movie online pharmacy.

Sensiz olamam movie online activities

Sensiz olamam Movie online casino. Sensiz olamam movie online course.

 

 

 

 

1. https://www.openlearning.com/u/mouteadegol/blog/Hd1080PFreeMovieDieGroeLiebeNebenan/
2. https://kumu.io/torworklacti/meet-me-in-st-louis
3. https://seesaawiki.jp/gosanse/d/[Part%201]%20M%26%23248%3bt%20meg%20i%20St.%20Louis%20Download
4. https://www.openlearning.com/u/plotobarun/blog/OpenloadWatchFreeMeetMeInStLouis/
5. https://seesaawiki.jp/tetsuimo/d/Free%20Movie%20Meet%20Me%20in%20St.%20Louis%20Drama%20Judy%20Garland%20Hd-720p%20123movies
6. himeihon.amebaownd.com/posts/8045777
7. https://seesaawiki.jp/mariani/d/|Dailymotion|%20Free%20Watch%20Cita%20en%20St.%20Louis

Coauthor: Melinda Kinnaird
Biography: Love music, movies and TV. Give me a night at home with favorite TV and movies or a night with dear friends and I am one happy girl!