Thoroughly Modern Millie (1967)

Director:

George Roy Hill

Writer:

Richard Morris (written by)

Release Date:

21 March 1967 (USA)

Genre:

Comedy | Musical

Tagline:

Julie as you love her... in the happiest motion picture hit of the year!

Plot:

Millie comes to town in the roaring twenties to encounter flappers, sexuality and white slavers.

Plot Keywords:

Flapper | New York City | Bolo | Tap Dancing | Poison Dart

Awards:

Won Oscar. Another 5 wins & 10 nominations

Cast

Julie Andrews	...	Millie Dillmount
James Fox	...	Jimmy Smith
Mary Tyler Moore	...	Miss Dorothy Brown
Carol Channing	...	Muzzy Van Hossmere
John Gavin	...	Trevor Graydon
Jack Soo	...	Oriental #1
Pat Morita	...	Oriental #2
Philip Ahn	...	Tea
Anthony Dexter	...	Juarez
Cavada Humphrey	...	Miss Flannery
Herbie Faye	...	Taxi Driver
Michael St. Clair	...	Baron Richter
Lisabeth Hush	...	Judith Tremaine
Ann Dee	...	Singer
Beatrice Lillie	...	Mrs. Meers
rest of cast listed alphabetically:
Jackie Allen	...	Miss Dorothy Brown (singing voice) (uncredited)
Jimmy Bryant	...	Jimmy Smith (singing voice) (uncredited)
Albert Carrier	...	Adrian Huntley (uncredited)
Mae Clarke	...	Woman in the Office (uncredited)
Alan Copeland	...	Voice on Record (voice) (uncredited)
Don Crichton	...	Minor Role (uncredited)
Bill Lee	...	Trevor Graydon (singing voice) (uncredited)
Todd Mason	...	Male Pedestrian (uncredited)
Joseph Mell	...	Newspaper Vendor (uncredited)
Lou Nova	...	Cruncher (uncredited)
Christopher Riordan	...	Jazz Baby Dance Partner (uncredited)
Victor Rogers	...	Gregory Huntley (uncredited)
Benny Rubin	...	Waiter (uncredited)
Diane Sayer	...	Flapper (uncredited)
Jeffrey Sayre	...	Party Guest (uncredited)
Buddy Schwab	...	Dorothy's Dance Partner (uncredited)
Jay Thompson	...	Pianist (uncredited)
Jackie Ward	...	Ethel Pease (singing voice) (uncredited)
Kenneth Yee	...	Stoic Booth Owner (uncredited)
Alberto Zoppe	...	Performer in Show (uncredited)

Directed by
George Roy Hill

Writing credits
Richard Morris		(written by)

Produced by
Ross Hunter	....	producer

Original Music by
Elmer Bernstein

Cinematography by
Russell Metty		(director of photography)

Film Editing by
Stuart Gilmore

Art Direction by
Alexander Golitzen
George C. Webb

Set Decoration by
Howard Bristol

Costume Design by
Jean Louis		(gowns)

Makeup Department
Larry Germain	....	hair stylist
Hal Saunders	....	hair stylist: Miss Andrews
Bud Westmore	....	makeup artist

Production Management
Ernest B. Wehmeyer	....	unit production manager

Second Unit Director or Assistant Director
Douglas Green	....	assistant director

Art Department
Virgil Clark	....	set coordinator (uncredited)
John Faltis	....	prop (uncredited)
Solly Martino	....	prop (uncredited)

Sound Department
Ronald Pierce	....	sound
William Russell	....	sound
Waldon O. Watson	....	sound
Perry Devore	....	sound (uncredited)
Bruce Smith	....	sound (uncredited)

Special Effects by
Dave Fleischer	....	special effects (uncredited)
Albert Whitmore	....	special effects supervisor (uncredited)

Visual Effects by
Albert Whitlock	....	matte supervisor

Stunts
Jerry Brutsche	....	stunts (uncredited)
Paula Dell	....	stunts (uncredited)
Lee Faulkner	....	stunts (uncredited)
Russell Saunders	....	stunts (uncredited)
Hayward Soo Hoo	....	stunts (uncredited)

Camera and Electrical Department
Kenneth Smith	....	grip (uncredited)

Costume and Wardrobe Department
Sheryl Deauville	....	assistant to costume designer (uncredited)
Bill Jobe	....	costumer (uncredited)
Joan Joseff	....	costume jeweller (uncredited)

Music Department
Joseph Gershenson	....	music supervisor
Joe Layton	....	musical sequences
André Previn	....	scorer: musical numbers (as Andre Previn)
Buddy Schwab	....	assistant: Mr. Layton
Jay Thompson	....	assistant: Mr. Layton
Jack Hayes	....	orchestrator (uncredited)
Albert Sendrey	....	orchestrator (uncredited)
Leo Shuken	....	orchestrator (uncredited)

Other crew
Buddy Schwab	....	assistant: Mr. Layton
Jay Thompson	....	assistant: Mr. Layton
Wayne Fitzgerald	....	title designer (uncredited)
Edward Folger	....	production assistant (uncredited)

Production Companies

• Universal Pictures

Distributors

• Universal Pictures (1967) (USA) (theatrical)
• American Broadcasting Company (ABC) (1977) (USA) (TV)
• Universal (1967) (France) (theatrical)
• Universal Home Entertainment (19??) (USA) (DVD)

Other Companies

• Cinematique  cosmetics

Also Known As:

Runtime:

138 min | 153 min (roadshow version)

Country:

USA

Language:

English | Spanish | French | German | Italian

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

70 mm 6-Track (Westrex Recording System) (70 mm prints) | Mono (35 mm prints) | 4-Track Stereo (35 mm magnetic prints)

Certification:

UK:PG | Australia:G | Finland:K-8 | Sweden:Btl | USA:G

Filming Locations:

Square of Warriors, Backlot, Universal Studios - 100 Universal City Plaza, Universal City, California, USA

Company:

Universal Pictures

Trivia:

Beatrice Lillie's last film. She was showing early signs of Alzheimer's disease, and had trouble memorizing her lines. During filming, Julie Andrews stood off-camera and repeated Lillie's lines to her, so Lillie could complete her scenes.

Goofs:

Continuity: When Miss Dorothy checks into the hotel, Mrs. Meers's hands change positions between shots.

Quotes:

Miss Flannery:Forget the boy, Dillmount, get yourself a canary!
Millie Dillmount:[to herself] Forget the boy, Dillmount, get yourself a man!

Movie Connections:

Referenced in Thoroughly Modern Mili (2003)

Soundtrack:

Jingle Bells

Adorable, delightful and very funny

Thoroughly Modern Millie is a musical comedy classic, with a very memorable and wonderful musical score. Julie Andrews shows her versatility and charm, once again. Mary Tyler Moore is a special bonus in this film, and shows, once again, her fun side. Carol Channing is as charming as ever, and Beatrice Lillie is a riot! The rest of the cast is also well tuned. The film's continuity is well written and well staged. The sets, costumes and hairstyles were painstakingly well attended to in this period piece. This is just one more charming and delightful musical of the 1960s, and, alas, one of the last of its kind before the genre started to change.