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Mame (1974) More at IMDbPro »

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Mame -- Lucille Ball stars in this film of the blockbuster Broadway musical thattells the story of the flamboyant, unconventional and, above all,glamorous Mame.
Mame -- The musical revolves around the antics of Mame Dennis, a fun-loving, wealthy eccentric with a flare for life and a razor sharp wit...


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5.9/10   2,107 votes »
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Up 116% in popularity this week. See why on IMDbPro.
Jerome Lawrence (Broadway musical) &
Robert E. Lee (Broadway musical) ...
View company contact information for Mame on IMDbPro.
Release Date:
27 March 1974 (USA) See more »
She'll coax the blues right out of your heart!
It's the late 1920s. Upon the death of wealthy Chicagoan Edward Dennis, his nine-year old son Patrick Dennis... See more » | Add synopsis »
Nominated for 2 Golden Globes. See more »
(43 articles)
The Top Ten Funny Ladies of the Movies
 (From 7 August 2016, 10:29 PM, PDT)

Swinton To Lead "Auntie Mame" Remake
 (From Dark Horizons. 26 July 2016, 10:06 AM, PDT)

Kids Now Casting ‘Mame’ and Other Musical Gigs!
 (From Backstage. 3 May 2016, 12:30 PM, PDT)

User Reviews:
A view of the admirability that used to be See more (120 total) »


  (in credits order) (verified as complete)

Lucille Ball ... Mame Dennis

Bea Arthur ... Vera Charles

Robert Preston ... Beauregard Jackson Pickett Burnside

Bruce Davison ... Older Patrick
Kirby Furlong ... Young Patrick
Jane Connell ... Agnes Gooch
George Chiang ... Ito

Joyce Van Patten ... Sally Cato
Doria Cook-Nelson ... Gloria Upson (as Doria Cook)

Don Porter ... Mr. Upson

Audrey Christie ... Mrs. Upson

John McGiver ... Mr. Babcock
Bobbi Jordan ... Pegeen

Patrick Labyorteaux ... Peter
Lucille Benson ... Mother Burnside

Ruth McDevitt ... Cousin Fan

Burt Mustin ... Uncle Jeff
James Brodhead ... Floorwalker

Leonard Stone ... Stage Manager
Roger Price ... Ralph Divine
John Wheeler ... Judge Bregoff

Ned Wertimer ... Fred Kates

Alice Nunn ... Fat Lady
Jerry Ayres ... Bunny
Michele Nichols ... Midge
Eric Gordon ... Boyd

Barbara Bosson ... Emily
rest of cast listed alphabetically:
Bobbie Bates ... Dancer (uncredited)

Sandahl Bergman ... Dancer (unconfirmed) (uncredited)
Richard Bolks ... Dancer (uncredited)
Randy Doney ... Dancer (uncredited)
Ken Grant ... Dancer (uncredited)
Lars Hensen ... Restaurant Patron (uncredited)
George Hickman ... Restaurant Patron (uncredited)
Joseph La Cava ... Restaurant Patron (uncredited)
Wanda Perry ... Woman in Plaza Hotel (uncredited)

Leoda Richards ... Theatre Patron (uncredited)
Jessie Salve ... Bartender / Dancer (uncredited)
Jim Taylor ... Dancer (uncredited)
Jerry Trent ... Dancer (uncredited)
Marc Wilder ... Dancer (uncredited)
Darcel Wynne ... Dancer in 'Charleston' Number (uncredited)

Directed by
Gene Saks 
Writing credits
Jerome Lawrence (Broadway musical) &
Robert E. Lee (Broadway musical) and
Jerry Herman (Broadway musical)

Patrick Dennis (novel "Auntie Mame")

Jerome Lawrence (stage play 'Auntie Mame') (as Lawrence) and
Robert E. Lee (stage play 'Auntie Mame') (as Lee)

Paul Zindel (screenplay)

Produced by
James Cresson .... producer
Robert Fryer .... producer
Original Music by
Jerry Herman 
Cinematography by
Philip H. Lathrop (director of photography) (as Philip Lathrop)
Film Editing by
Maury Winetrobe 
Casting by
Nessa Hyams (uncredited)
Production Design by
Robert F. Boyle 
Art Direction by
Harold Michelson 
Set Decoration by
Marvin March 
Costume Design by
Theadora Van Runkle 
Makeup Department
Hal King .... makeup artist: Miss Ball
Irma Kusely .... hair stylist: Miss Ball
Jean Burt Reilly .... hair stylist
Fred Williams .... makeup artist
Production Management
Hal Klein .... unit production manager
Second Unit Director or Assistant Director
Jack Aldworth .... first assistant director
Jerry Ballew .... second assistant director (as Jerry Lee Ballew)
Jim Benjamin .... second assistant director
Michael D. Moore .... second unit director (as D. Michael Moore)
Art Department
Gregg H. Bilson .... assistant property master (uncredited)
Lowell Chambers .... leadman (uncredited)
William Hiney .... construction coordinator (uncredited)
Gene Lauritzen .... construction coordinator (uncredited)
Pat O'Connor .... property master (uncredited)
Bill Sully .... illustrator (uncredited)
Sound Department
Al Overton Jr. .... sound
Arthur Piantadosi .... re-recording mixer
Howard Wilmarth .... boom operator (uncredited)
Visual Effects by
Albert Whitlock .... special photographic effects
Fred Brookfield .... stunts (uncredited)
Steven Burnett .... stunts (uncredited)
Stephanie Epper .... stunts (uncredited)
Joe Finnegan .... stunts: Chuck Connors (uncredited)
Jerry Gatlin .... stunts (uncredited)
Leonard P. Geer .... stunts (uncredited)
Mickey Gilbert .... stunts (uncredited)
Chuck Hayward .... stunts (uncredited)
Eddie Hice .... stunts (uncredited)
Kevin N. Johnston .... stunt double (uncredited)
Hubie Kerns .... stunts (uncredited)
Walt La Rue .... stunts (uncredited)
Fred McDougall .... stunts (uncredited)
Bennie Moore .... stunts (uncredited)
Glenn Randall Jr. .... stunts (uncredited)
Wally Rose .... stunts (uncredited)
Walter Scott .... stunts (uncredited)
Bill Shannon .... stunts (uncredited)
Camera and Electrical Department
Warren E. Boes .... best boy (uncredited)
Bill Johnson .... camera operator (uncredited)
William C. King .... assistant camera (uncredited)
Carl Manoogian .... key grip (uncredited)
Edward Morey III .... assistant camera (uncredited)
Mel Traxel .... still photographer (uncredited)
Lee Wilson .... gaffer (uncredited)
Casting Department
Jim Martell .... extras casting (uncredited)
Costume and Wardrobe Department
Nancy McArdle .... wardrobe: ladies
Robert Modes .... wardrobe: men
Renita Reachi .... wardrobe: ladies
Bruce Walkup .... wardrobe: men
Joan Joseff .... costume jeweller (uncredited)
Editorial Department
Ralph H. Martin .... assistant editor (as Ralph Martin)
Location Management
Harry Zubrinsky .... location manager (uncredited)
Music Department
Ralph Burns .... orchestrator
Billy Byers .... additional orchestrations
Donald Harris .... music editor (as Don Harris)
Jerry Herman .... lyricist: songs
Jerry Herman .... musical adaptation
Peter Howard .... dance music arranger
Harry King .... music editor
Fred Werner .... music supervisor
Ralph Burns .... musical director (uncredited)
Ethmer Roten .... musician: flute (uncredited)
Transportation Department
Frank 'Cat' Ballou .... transportation captain (uncredited)
Frank 'Cat' Ballou .... transportation coordinator (uncredited)
Other crew
Martin Allen .... associate to choreographer
Lawrence Carr .... producer: New York stage (as Carr)
Wayne Fitzgerald .... title designer
Robert Fryer .... producer: New York stage (as Fryer)
Joseph Harris .... producer: New York stage (as Harris)
Sylvia Harris .... producer: New York stage (as Harris)
Marie Kenney .... script supervisor
Onna White .... choreographer: musical numbers
Carl Combs .... publicist (uncredited)
Al Yanks .... ramrod (uncredited)
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
132 min
Color (Technicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Australia:G | Finland:S | Sweden:Btl | UK:A (theatrical) | UK:PG (video rating) | USA:PG

Did You Know?

The budget for Lucille Ball's costumes was $300,000.See more »
Continuity: When Mr. Babcock and Mame argue, she has her hands protectively on Patrick's shoulders. Shot cuts to Babcock saying "That's not a school, it's the Garden of Eden," and when it cuts back to the longer shot, her hands are covering Patrick's ears. This odd bit of continuity is due to cut dialogue, in which she declares "What could be more wholesome and natural?" and he responds "It is not wholesome and natural for boys and girls to run around half nude." Mame is shown covering Patrick's ears while responding "Mr. Babcock! Not in front of the B-O-Y!"See more »
Vera:I have an astronomical discovery for you. The man in the moon is a bitch.See more »
Movie Connections:
Main Title & St. BridgetSee more »


This FAQ is empty. Add the first question.
5 out of 5 people found the following review useful.
A view of the admirability that used to be, 6 February 2002
Author: Scott Todd from Boston, MA

For those who enjoyed seeing this lively piece in the 1960s, or who liked the novel thirty years ago, Mame could be not only an entertaining sentimental journey, but an interesting view of how times have changed.

Lucille Ball is an interesting if not entirely right choice for the main role. She shows Mame Dennis's vivacious personality beautifully, accenting - naturally - the comic aspects of the character. It is a demanding role, covering eleven years from the heyday of the twenties until the start of the forties. Among the character developments are a period of job-hunting, the Southern-belle wooing of a second husband, and the growth involved in raising a child. Her acting is ideal. However, the role asks for a singer equal to the actor, and Ball is not up to it. Her low, aging voice has some depth, especially in the elegiac "Boy with the Bugle," but not the force and clarity of a good singer. The music and lyrics give her a hand, however, with an especial highlight in "Bosom Buddies," the scathing and hilarious duet with Bea Arthur as Vera Charles, "the first lady of American theater." Other catchy tunes you might remember are the title song ("You coax the blues right out of the horn,) Mame," and the romantic, "My Best Girl."

Beware of what you may get into as you watch it though: Mame is a piece whose message has become dated. Mame Dennis was a hero to a generation of young novel readers some forty years ago, and those who saw her character on the original musical stage were struck by her energy and her view of the world. "Live!" she says. "Life is a banquet, and most poor sons-of-bitches are starving to death!" But those viewers were from a different era, when women did not work, were expected to be domestic, and her world-hopping would have been seen as radical: an early expression of women's spirit. She was inspirational in her context.

Today, though, she represents a different notion. Coming from a vantage point of extreme wealth, her admonition, "Live!" is easy for her to say. She did not create her wealth, but inherited it from her first and second husbands. On her own, Mame cannot provide for herself. When her first inheritance is wiped out in the Great Crash of 1929, Mame gets fired from job after job, relying on her former butler and nanny to pay the bills, until she fortuitously manages to marry into wealth again.

So in a modern context, we see Mame not as a freedom-loving feminist expressing herself against the prevailing social constraints, but as a woman who must depend on men to provide her with the necessary element of her freedom: money. In the depression, she could afford to fly around the world and spoil her children on her inherited money, while those who may have wished to be inspired by this spirit could not.

Her heroism was not in how she gained her money, but in what she did with it. Even so, taking a two-year honeymoon and holding thirteen parties in two weeks ("She had to cancel one," the butler explains) is hardly politically correct, today. Even her altruistic gesture at the end, when she buys a plot of land for a home for single mothers, is as much a jab at her nephew's future in-laws as pure philanthropy, and the plight of her beneficiaries is only brought home to her when her secretary becomes one of them.

It is therefore difficult today, to find Mame unambiguously admirable or inspiring. Her spirit comes from wealth; her wealth is unearned; and is used primarily to pump her own spirit. Her charm notwithstanding, the view of her lifestyle has taken a turn in an age when the wealthy can know how to live, while most poor sons-of-bitches are starving to death.

Mame, therefore, is worth a second glance, not only for its tuneful exuberance and wonderful comic moments, not only as a vehicle for a sentimental review of an old favorite, but as a historical piece: a view of the admirability that was.

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