Sisters Carrie and Anna Berniers have been supporting their ne'er-do-well brother Julian through various failed businesses; now, he returns home with a sudden fortune and his young bride. ... See full summary »
George Roy Hill
Sorrowful Jones is a cheap bookie in 1930's. When a gambler leaves his daughter as a marker for a bet, he gets stuck with her. His life will change a great deal with her arrival and his ... See full summary »
On December 23rd, Korean War veteran George Haverstick and nurse Isabel Crane - who George lovingly refers to as "Little Bit" - get married in a civil ceremony. They met when George was ... See full summary »
A French boy (Daniel) and an American girl (Lauren), who goes to school in Paris, meet and begin a little romance. They befriend Julius who enchants them with his story telling. In an ... See full summary »
George Roy Hill
In 1922 New York City, Millie Dillmount and Miss Dorothy Brown are just two of the girls living at the Priscilla Hotel for Single Young Ladies run by Mrs. Meers. Orphaned, Miss Dorothy, just recently arrived, is a naive, old-fashioned girl from a seemingly privileged background who has aspirations to be a stage actress. From more modest means, Millie, in New York for three months, used to be old fashioned, but now has a new modern sensibility and look to match, complete with bobbed hair and dresses with hemlines above the knee. Included in this new modern sensibility is Millie's goal of getting a job as a stenographer, with a quick promotion to being her wealthy boss' "Mrs.". Love is not to factor into the equation. She believes she's found the right employer in the form of chisel-jawed Trevor Graydon of the Sincere Trust Insurance Company. Millie's pursuit of Mr. Graydon is despite the fact that Mr. Graydon sees her as one of the boys, he has old fashioned sensibilities, and Millie ... Written by
Hard for me to be objective, here, since I've been madly in love with Julie Andrews since being first exposed to her crystalline voice when I was three.
But I'll try: "Millie's" first half is, to quote the screenplay, "Delish," with Andrews vamping and camping throughout. I am unable to take my eyes off her as she clowns, flirts, cavorts, and also sings and dances (getting her hotel elevator to work results in a showstopper). The vehicle--a pastiche of 1920s conventions (including "moderns") and filmgoing techniques (including iris-outs and title cards)--is the frothy light story of a British import who comes to America and finds true love.
The second half gets bogged down in the overwrought script, with all the machinations of a white slavery plot and a pair of "inscrutible" Orientals who, in this day and age of racial sensitivity, get far worse than they deserve.
Some history: Ross Hunter, the producer, wanted to film "The Boy Friend," the Broadway musical that had introduced Andrews to the U.S. stage. When the rights were unavailable, he devised his own script, using the same setting--the 1920s. A "small" musical evolved.
Then Julie's star went through the stratosphere. And the Universal "suits," smelling another payday, insisted that the movie be a road-show presentation--with a road-show running time(and at which road-show prices could be charged). Little "Millie" had an intermission added, and her running time was increased considerably.
The movie's still a lot of fun and definitely recommendable (especially to Andrews fans), but let's just say that, at times, it more than shows its stretchmarks!
13 of 17 people found this review helpful.
Was this review helpful to you?