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Meet Me in St. Louis (1944)

Not Rated | | Comedy, Drama, Family | January 1945 (USA)
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In the year leading up to the 1904 St. Louis World's Fair, the four Smith daughters learn lessons of life and love, even as they prepare for a reluctant move to New York.

Director:

Vincente Minnelli

Writers:

Irving Brecher (screen play), Fred F. Finklehoffe (screen play) | 1 more credit »
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Popularity
986 ( 2,443)
Nominated for 4 Oscars. Another 6 wins & 1 nomination. See more awards »

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Cast

Complete credited cast:
Judy Garland ... Esther Smith
Margaret O'Brien ... 'Tootie' Smith
Mary Astor ... Mrs. Anna Smith
Lucille Bremer ... Rose Smith
Leon Ames ... Mr. Alonzo Smith
Tom Drake ... John Truett
Marjorie Main ... Katie (Maid)
Harry Davenport ... Grandpa
June Lockhart ... Lucille Ballard
Henry H. Daniels Jr. ... Lon Smith Jr.
Joan Carroll ... Agnes Smith
Hugh Marlowe ... Colonel Darly
Robert Sully ... Warren Sheffield
Chill Wills ... Mr. Neely
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Storyline

St. Louis 1903. The well-off Smith family has four beautiful daughters, including Esther and little Tootie. 17-year old Esther has fallen in love with the boy next door who has just moved in, John. He however barely notices her at first. The family is shocked when Mr. Smith reveals that he has been transfered to a nice position in New York, which means that the family has to leave St. Louis and the St. Louis Fair. Written by Mattias Thuresson

Plot Summary | Plot Synopsis

Taglines:

A cast of favorites in the Charming . . . Romantic . . . Tuneful Love Story of the Early 1900s ! See more »


Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

January 1945 (USA) See more »

Also Known As:

Meet Me in St. Louis See more »

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Box Office

Budget:

$1,707,561 (estimated)

Gross USA:

$7,566,000
See more on IMDbPro »

Company Credits

Production Co:

Metro-Goldwyn-Mayer (MGM) See more »
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Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Color:

Color (Technicolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Van Johnson was originally cast as John Truett, but Tom Drake took over. See more »

Goofs

When Rose accompanies Esther's singing on the piano, sometimes the position of her hands doesn't correlate with the sounds we hear. See more »

Quotes

[first lines]
Mrs. Anna Smith: Best ketchup we ever made, Katie.
[she tries to tasting ketchup, it is too sweet]
Katie (Maid): Too sweet.
Mrs. Anna Smith: Mr. Smith likes it all the sweet side.
Katie (Maid): All men like it on the sweet side. Too sweet, Mrs. Smith.
See more »

Alternate Versions

A rare version, dubbed in Spanish, exists, which was issued on VHS in Spain several years ago. This version features the entire soundtrack dubbed, including the songs, and several scenes deleted involving Margaret O'Brien deleted, dealing with Halloween, immediately after "The trolley song". TNT, in Latin America, after prologue dealing about how this film was restored presented it in its complete version but with the Spanish dubbed soundtrack lifted from that old version, which was not restored. For that reason, after "The trolley song" and during several minutes the films plays in English (after Judy Garland "sung" in Spanish) and then the audio reverts back to the dubbed version. Although that dubbed version was available in Spain, some people believe that it was actually produced in Mexico. See more »

Connections

Referenced in Will & Grace: Where There's a Will, There's No Way (1998) See more »

Soundtracks

Little Brown Jug
(1869) (uncredited)
Written by Joseph Winner
Played at the Dance
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Frequently Asked Questions

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User Reviews

 
Minnelli Directs Garland In MGM Classic
18 December 1998 | by stryker-5See all my reviews

"The day was bright, The air was sweet, The smell of honeysuckle almost knocked you off your feet ..." This is unashamed nostalgia for an idealised America, dating back to an age of innocence before the two World Wars.

It is 1903, and the city of St. Louis is ablaze with excitement as it prepares to host the World's Fair. Here in the geographic heart of the USA, the very pleasant Smith family lives in a very pleasant suburb of the very pleasant St. Louis. We watch the Smiths through the seasons and into Spring 1904 as they fall in love, dress up for Hallowe'en, bottle their home-made ketchup and .... well, ride the trolley.

This is a world of tranquillity where nothing can threaten the homely complacency of Middle America. The evening meal is always a wholesome family gathering, the month of July is always sunny, big brothers are always handsome Princeton freshmen and the iceman's mare knows the neighbourhood so well that she stops at each home on her round without needing to be told. The only shadow which falls across the Smiths' domestic bliss comes when Alonzo, the paterfamilias, proposes to move the household to New York. However, Alonzo soon realises what a terrible mistake it would be to tear his wife and daughters away from their beloved MidWest: he relents, and family harmony is restored.

This heartwarming, exuberant musical is one of the very best ever made, and MGM knew exactly what it was doing in terms of box office success. The film was calculated to cash in on the zeitgeist of 1944, the year in which vast American armies were sent across to Europe and the war in the Pacific turned decisively in America's favour. Millions of young American men found themselves far from home in what was certain to be the last Christmas of the War, and millions of families back home missed them terribly: " Some day soon we all will be together, If the fates allow. Until then, we'll have to muddle through somehow ..."

In this idealised America, everyone is prosperous, everyone conducts himself like a good citizen should, old folks are cheerful, healthy and alert, domestic servants feign grumpiness but actually adore their masters, and teenage girls are flirtatious but impeccably proper. There are strong American folk-resonances in the homespun wisdom of the family elders, the strong, straight young adults and the 'down home' hearthside gatherings and dances. It could be argued that the film invokes an America that has never in fact existed. This maybe so, but the Perfect America which we experience here exerts an emotional pull far stronger than any real place could command.

Vincente Minnelli directed the movie with panache. There are many subtle but sure touches - for example, two short scenes which establish the proposition that the family's happiness is inextricably linked to St. Louis. Alonzo announces the move to New York, and with clever choreography Minnelli turns him into a pariah in his own living-room. Esther and Tootie gaze at the snowmen which they will have to abandon in the yard, and we know without any dialogue to help us that the eastward migration isn't going to happen. With similar cinematic economy, Minnelli shows us the happy commotion around the Christmas tree without allowing it to distract our attention from Alonzo and Anna, whose wordless reconciliation sets the seal on the plot. This is directing of rare skill.

In films of the 1960's and 70's a stock device was used: a sepia-tinted photograph would 'come to life' with colour and motion, to show that the scene was laid in the past. Minnelli employs the trick elegantly in this film, and I am not aware of any example which pre-dates this one.

This is a 'formula' movie, but its ingredients are so fine and they are combined with such marvellous skill that the whole eclipses the parts. Among the elements which contribute to the project's success are the songs - and the film contains three classics: "The Trolley Song", "Have Yourself A Merry Little Christmas" and (of course) "Meet Me In St. Louis".

Judy Garland was 22 years old when she made this film (though she easily passes for a 17-year-old) and it was this movie which cemented her relationship with Minnelli. They married one year later and Liza was born in March 1946.

Predictably enough, the film has a happy ending. The teenage girls Esther and Rose are paired off, and the Smiths get to visit the World's Fair as one big happy family. As they look for the restaurant (once again, a meal signifies domestic harmony) they are distracted by the lighting-up of the city, a filmic metaphor for the approaching end of World War Two. The sisters are filled with awe at America's technological ascendancy, and that such miracles can be achieved by such folksy, simple people - "Right here where we live: right here in St. Louis!"


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