Mame (1974)

It's the late 1920s. Upon the death of wealthy Chicagoan Edward Dennis, his nine-year old son Patrick Dennis becomes the ward of their only living relative, Edward's equally wealthy New ... See full summary »

Director:

Gene Saks

Writers:

Jerome Lawrence (Broadway musical), Robert E. Lee (Broadway musical)

Stars:

Lucille Ball, Robert Preston, Bea Arthur

Nominated for 2 Golden Globes.

Cast

Cast overview, first billed only:
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

Storyline

It's the late 1920s. Upon the death of wealthy Chicagoan Edward Dennis, his nine-year old son Patrick Dennis becomes the ward of their only living relative, Edward's equally wealthy New York residing sister, Mame Dennis. Edward's will states that Patrick is to be raised Protestant in a "traditional" manner and that the trustee, Mr. Babcock with the Knickerbocker Bank, will pay Mame for expenses incurred in raising Patrick, he having the right of refusal to pay if he deems that the spirit of Edward's will is not honored. Mr. Babcock and Patrick's longtime nanny, the timid Agnes Gooch, are to ensure that Patrick is raised correctly. Edward included these stipulations in his will as he knows his sister is a flamboyant, free wheeling and eccentric woman who can be considered anything but traditional or conventional. Despite the disruption each provides in the other's life, Mame and Patrick form a loving, supportive relationship. Mame wants to provide her sense of guidance to Patrick, ...

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Plot Keywords:

taxi | 1920s | 1930s | 1940s | reference to rhett butler | 

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Taglines:

She'll coax the blues right out of your heart!

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Genres:

Musical

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Certificate:

PG

Details

Country:

USA

Language:

English Japanese French Russian

Release Date:

27 March 1974 (USA)

Also Known As:

Ante todo, mujer

Filming Locations:

Santa Clarita, California, USA

Box Office

Budget:

$12,000,000 (estimated)

Company Credits

Production Co:

American Broadcasting Company (ABC),Warner Bros.

Technical Specs

Runtime:

132 min

Sound Mix:

Stereo

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

George Cukor was originally slated as director, only to be replaced with the original Broadway director, Gene Saks, who was then married to co-star Bea Arthur.

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Goofs

Mame claps her hands together and asks "Where's all of last year's tinsel and stuff?" Then the camera angle changes and Mame's hands are suddenly spread apart.

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Quotes

Vera Charles: Oh my God. Somebody's been sleeping in my dress.

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Connections

Referenced in Arrested Development: Indian Takers (2013)

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Soundtracks

It's Today
Written by Jerry Herman (uncredited)
Performed by Lucille Ball and company

User Reviews

The Paragon of American Film: 1970s Opulence Over '50s/'60s Camp & Kitsch

Like the glorious cinematography from beginning to end, "Mame" sparkles in true silver-screen opulence and is to the embarrassment of 1950s/1960s musicals and films represented by "Auntie Mame" that 1970s "Stars Wars" is to the embarrassment of 1950s/1960s science-fiction films. On par with 1970s "The Black Stallion" and "The Godfather," the unsurpassed cinematography during a time when silver was still used in film-making, with every shot of Lucy a photographic masterpiece, the lush orchestrations and arrangements of the masterfully-reworked songs brought to shimmering life by the 1970s characteristic most monstrous orchestras in history, the seamless dance numbers and unparalleled choreography, and some of the most touching scenes in all of film, with young-Patrick singing to Lucy after her cameo stage number, all come together in a chef d'oeuvre that elevates this "Queen of Television" to her throne as "The Queen of Film" too. The intellectual and artist apex of this civilization represented by the 1970s is in blazing contrast against the campiest and most kitschy time-period in history represented by 1950s/1960s film, television, and music. And this film, Lucy's most revered trophy, stands as that symbol.