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Centennial Summer (1946)

In 1876 Philadelphia, two sisters vie for the affections of a Frenchman who's come to town to prepare the French pavilion for the Centennial exposition.



Nominated for 2 Oscars. See more awards »
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Cast overview:
Julia Rogers
Philippe Lascalles
Edith Rogers
Ben Phelps
Jesse Rogers
Zenia Lascalles
Mrs. Rogers
Susanna Rogers
Larry Stevens ...
Richard Lewis Esq
Buddy Swan ...
Dudley Rogers
J.P. Snodgrass
Avon Long ...


In 1876 Philadelphia, two sisters vie for the affections of a Frenchman who's come to town to prepare the French pavilion for the Centennial exposition.

Plot Summary | Add Synopsis


History | Musical


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Release Date:

August 1946 (USA)  »

Also Known As:

A Tia de Paris  »

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Recording)



Aspect Ratio:

1.37 : 1
See  »

Did You Know?


"Two Hearts Are Better Than One" (music by Jerome Kern, lyrics by Johnny Mercer), intended for this film, was not used. Columbia Records issued Frank Sinatra's version of the song. See more »


Referenced in Preminger: Anatomy of a Filmmaker (1991) See more »


All Through the Day
Music by Jerome Kern
Lyrics by Oscar Hammerstein II
Sung by Larry Stevens, Jeanne Crain (dubbed by Louanne Hogan), Linda Darnell (dubbed), William Eythe (dubbed by David Street) and Cornel Wilde (dubbed by Ben Gage)
See more »

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User Reviews

Mediocre imitation of Meet Me in St. Louis
26 September 2016 | by (United Kingdom) – See all my reviews

Why would anyone think they could compete with Meet Me in St. Louis? That movie had a great score, a charming script, well-cast secondary characters, a delightful and original character in little Margaret O'Brien, and, in Judy Garland, not just a star but a powerhouse. Foolish Fox decided to go head to head, with another musical set in a nineteenth-century city at the start of a World's Fair. However, that's the only equivalent. Starting with the title (a clunky description vs. a jaunty invitation), everything about this movie is greatly inferior. Instead of one of the greatest popular singers of the twentieth century, there are four non-singing, all-dubbed actors. Instead of a warm-hearted, close family, there is a father who is an unsuccessful but persistent inventor (that corny old bit again) and who is demoted at work, with his pay slashed; there is also a nasty girl (Linda Darnell) who wants so badly to marry the French visitor (not for love, but because she wants to go to Paris) that she tells lies about her younger sister, whom the Frenchman prefers.

Jerome Kern was a greater composer than the the songwriters for Meet Me in St Louis, but this, his last score, was far from his best. The numbers are pleasant enough, but none of them has the vitality of the songs Garland socks across. One song here, "In Love in Vain," is a real tear-your-heart-out number (which sounds as if it was meant for Garland), but not only is it vitiated by being delivered in a bland dubber's voice--we don't respond to it emotionally because, instead of really being unrequited in love, Jeanne Crain is only being temporarily ignored by her beloved because of a misunderstanding.

One brief, charming interlude--the adorable, dapper Avon Long steps into a saloon and delivers three minutes of magic by singing to a tiny girl the minstrel song "Cinderella Sue." Three men standing at the bar and watching him, however, look decidedly unimpressed--even somewhat hostile. I can't imagine MGM having such a sloppy way with details!

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