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runtime=1 hours 53 Minutes. country=USA. user rating=7,7 / 10. star=Judy Garland. Musical. Irving Brecher. Meet me in st louis full movie download. Meet Me in St. Louis Download full version. Meet me in st. louis download full moon. It is hard to believe Judy tried to dump the project when the people at MGM bought "Kensington Stories" believing it to have potential as a new Judy Garland musical vehicle. Wanting to prove herself capable outside the child roles which had made her so famous, it had been a long time before she began to get the first of the adult roles she wanted. "For Me and My Gal" the film which also marked the movie debut of Gene Kelly is the most memorable of the first of her adult roles. Even her Mother, who Judy saw as the 'real wicked witch of the west' backed her up in trying to get out of the musical commitment.

Thank goodness Judy played Esther. It is a role that seems to be tailor made for her, because she plays it so perfectly. It was a role that eventually became one of her favourites. Alongside her, a great supporting cast shines. Veterans Leon Ames and Mary Astor, as Esther's parents, and others, including Margaret O'Brien, Lucille Bremer and Tom Drake, relative newcomers, whose work in this film will be remembered. Margaret O'Brien is great as Tootie, however annoying she may look in pigtails. Lucille Bremer, as Rose is one of the best performers of the movie, but unfortunately, at a studio like MGM already overflowing with Hollywood's top stars, she did not receive as much attention to her talents, and probably did not become as famous as she may have.

The songs are completely addictive. I got myself a copy of the soundtrack last year. Along with an excellent score, songs include "The Boy Next Door" the title track, and the song Judy immortalised forever "Have Yourself a Merry Little Christmas" a heartbreaking rendition of reassurance. Somehow, the film makes the old classic children oriented song "Skip to My Lou" seem refreshed. The highlight was the current hit of the moment, The Trolley Song. On a 200 000 set of the St. Louis street on which the trolley runs, it is there that Judy performs one of the gems of her great career.

An outtake from the film was "Girls and Boys Like You and Me. It originally came from the Rodgers and Hammerstein debut "Oklahoma! and was tried in a couple of other MGM musicals including the Frank Sinatra vehicle "Take Me Out to the Ball Game. All ended up on the cutting room floor, until it was somehow turned into a ballad by Rodgers and Hammerstein for their television adapted version of "Cinderella. The story of middle class life in St. Louis becomes a little slight. But with the screenplay fitting, all is adequate. This is Vincente Minnelli's masterpiece, even more enjoyable than "American in Paris" and especially better than "Gigi. But the musical, a real family treat, is more than just another "Christmas" film. It cannot be expected to live up to the same season feel as "It's a Wonderful Life" but that's in part due to the fact the movie follows a whole year. Unforgettable things occur at Halloween too, which could very well eclipse Christmas time. But in technicolour splendour and an unforgettable drawing power charisma, Meet me in St. Louis" deservedly remains one of the best musicals of its decade. Rating: 8/10.

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Meet me in st. louis download full time. Background Meet Me In St. Louis (1944) is a delightful, classic, nostalgic, poignant, and romanticized musical film - and one of the greatest musicals ever made. It tells the story of a turn-of-the-century family in suburban, midwestern St. Louis of 1903, who live in a stylish Edwardian home at 5135 Kensington Avenue. The city, and the well-to-do Smith family (with four beautiful daughters), is on the verge of hosting (and celebrating) the arrival of the spectacular 1904 World's Fair. However, the family's head of the house is beckoned to New York due to a job promotion - an uprooting move that threatens to indelibly change the lives of the family members forever. Filmed during WWII, the decision to remain in St. Louis in the film's conclusion affirmed that nothing will be altered for the American family. This gem of cinematic, picture-postcard Americana and youthful romance, is richly filmed in Technicolor. It marked the beginning of the golden age of MGM musicals (and producer Arthur Freed's unit), and ultimately became the second most successful film for MGM (behind Gone With the Wind (1939)). The story is based on the book of the same name from Sally Benson's memoirs of her life in St. Louis, Missouri from 1903-4 - they were recalled and written in multiple issues of The New Yorker Magazine from 1941-1942 (originally published under the title "5135 Kensington" and eventually gathered together as The Kensington Stories). The charming stories, a dozen in all to represent each of the twelve months of the year, are expressed in the film in its musical numbers. The film abandoned the 'put-on-a-show' mentality of so many other backstage song/dance films. Its songs and wonderful performances are carefully and naturally integrated into the story of the close-knit family's day-to-day life, and serve to advance the action and plot from one season to the next. This most popular and financially-successful film was produced by the legendary Arthur Freed and directed by its star's future husband, newcomer Vincente Minnelli (who married 23 year-old Judy Garland a year later on June 15, 1945 - it was Garland's second marriage). The slice-of-life musical was only Minnelli's third film (after the all-black musical Cabin in the Sky (1943) and the musi-comedy I Dood It (1943) with Red Skelton) and it was Minnelli's first full-length film in color. After their marriage, Garland and Minnelli also worked together on The Clock (1945) and The Pirate (1948). Meet Me in St. Louis was nominated for four Academy Awards (without any Oscar wins): Best Screenplay (Irving Brecher and Fred F. Finklehoffe), Best Color Cinematography (George Folsey), Best Song ("The Trolley Song" with music and lyrics by Ralph Blane and Hugh Martin), and Best Scoring of a Musical Picture (Georgie Stoll). The film's awards promotion was subverted by MGM's support of its suspense thriller and gothic melodrama Gaslight (1944). However, young star Margaret O'Brien was awarded a Special (miniature) Oscar as the most outstanding child actress of the year. And this film marked the first significant film role, and probably her career-best effort, for beautiful actress Judy Garland since The Wizard of Oz (1939). Structurally, the film is a series of coming-of-age vignettes (four in number): different acts representing the seasons from summer 1903 to spring 1904 that conclude in the year of the St. Louis World's Fair/Exposition. Each segment marks changes and rites of passage - and is introduced by a filigreed tintype from the Smith family album - each static, initially sepia-toned image turns into color and comes to life. Although the Winter segment is one of the shortest vignettes, the film is still considered a favorite Christmas movie. The Story Summer, 1903 The First Vignette opens with a static view of a greeting card (or family album snapshot) picturing a lovely, sepia-colored Victorian house in St. Louis, Missouri. When the camera zooms in, the picture springs into an animated, full-color enlargement, showing the mansard-roofed home with dormer windows and a veranda, surrounded by green lawn. The camera tracks down the unpaved street, following an open, horse-drawn wagon carrying Circle Star Beer. It then turns left to track up the lawn, following a young man (son Lon) riding his bicycle onto the Smith house's lawn. The summer scene dissolves into the kitchen. There over the stove, happy housewife Mrs. Anna Smith (Mary Astor) is making ketchup, testing and critiquing its taste with Katie (Marjorie Main), the household's maid. [The opening scene is centered around everyone in the family tasting the ketchup simmering on the kitchen stove, and humming the film's title song. ] Two of the five children enter, only son Alonzo "Lon" Jr. (Henry H. Daniels, Jr. ), casually humming a bit of the tune of the title song after setting down a load of groceries. (The title song is sung by the whole family in the house. ) Then, second-youngest daughter Agnes (child star Joan Carroll) comes in, her bloomers still wet from swimming. As she walks through the kitchen, through the hallway and up the stairs, she picks up the song: "Meet Me In St. Louis. " Inside the bathroom, her Grandpa Prophater (Harry Davenport) (Mrs. Smith's father) continues the refrain. He crosses paths with Agnes in the upstairs landing, and then continues singing into his room, where he tries on samples from his exotic lodge-cap collection. He goes over to the window when he hears a foursome arriving, completing the chorus. Outside, he sees auburn-haired Smith daughter Esther (Judy Garland, a twenty-two year old playing a seventeen year old - and off-screen already showing signs of future neuroticism), and her friends pull up in front of the house in a pony cart. Alighting from the cart, Esther carries a tennis racket and enters the kitchen. Back in the kitchen, more taste-testing results in different opinions about the ketchup recipe. Esther whispers a secret request to Katie - exhorting her to arrange to have dinner served an hour earlier than usual, something that normally wouldn't be approved. Katie snaps at Esther's white lie after permission is granted: A lie's a lie, and dressed in white don't help it. Katie asks Esther why she was asked to lie. Esther explains that eldest sister - a second auburn-haired daughter Rose (Lucille Bremer in her film debut), unmarried at twenty, expects to receive a long-distance call at 6:30 pm from New York City from a far-off, admiring beau named Warren Sheffield (Robert Sully). Rose needs privacy to maneuver a proposal out of her boyfriend, because the phone is located in the dining room: "She may be loathe to say the things a girl's compelled to say to get a proposal out of a man. " Katie comments on Rose's use of the telephone - a new invention: Personally, I wouldn't marry a man who proposed to me over an invention. Katie announces the arrival of a coquettish Rose, sauntering up to the front steps of the house: "There's the poor old maid now. " Standing on the neighboring lawn is a young, handsome Boy-Next-Door dressed in white with a pipe firmly in his teeth, a new neighbor named John Truett (Tom Drake). Rose gazes at him, trying to attract a glance while entering the house. Rose quickly persuades Esther to join her and stand on the front porch to look at the boy. Attempting to be non-chalant, both desperately want to be noticed and admired. Unsuccessful in attracting his attention, he is oblivious to them and imperviously wanders inside. Rose thinks: "He's not very neighborly, I must say. " They also go inside their house, where they anticipate the evening's events. When Esther reminds Rose of her fateful phone call, stuck-up Rose disdainfully mentions her disinterest in boys before drifting upstairs to wash her hair: My dear, when you get to be my age, you'll find out there are more important things in life than boys. Unconvinced of that fact, a winsome Esther gazes toward the camera with a dreamy look, cued up to sing a soliloquy of longing with a lush, rich voice, "The Boy Next Door. " She muses about her beloved: The moment I saw him smile I knew he was just my style My only regret is we've never met Though I dream of him all the while Esther ambles over to the window seat, sitting and looking out over the neighbor's place in the direction of the Boy-Next-Door ("at 5133") as she continues singing about her crush on the teenager who lives closeby: How can I ignore the Boy Next Door? I love him more than I can say Doesn't try to please me, doesn't even tease me And he never sees me glance his way And though I'm heartsore, the Boy Next Door Affection for me won't display I just adore him, so I can't ignore him The Boy Next Door During the playing of the song's melody, Esther primps and prances in front of the hallway mirror, and then does a little dance with herself at the foot of the stairs. She returns to her window vantage point to repeat the final two lines, lovingly photographed with a rapturous closeup of her secret longing expressed in song: With a last lingering glance out the window, she slowly releases a translucent, white lace muslin curtain at the edge of the window - bewitchingly, it falls in front of her as the song ends. A closeup of the tureen of the batch of ketchup being stirred in the kitchen dissolves into view. Fussing continues over the ketchup's taste when Grandpa pronounces it "too thick. " Agnes bursts into the kitchen looking for her cat named Little Babbie. No-nonsense Katie brags about having kicked it down the cellar stairs, joking: Katie: I could hear its spine hit on every step. Agnes: Oh, oh, if you killed her, I'll kill you! I'll stab you to death in your sleep and then I'll tie your body to two wild horses 'til you're pulled apart. To Agnes' relief, the cat is found closeby in the kitchen. While preparing cabbage at the sink, Mrs. Smith advises Rose about her anticipated phone call: "If I
Reviewer: bela_vrana - favorite favorite - April 7, 2008 Subject: BIG playback glitch Before listening, I wondered how anyone could give any cylinder recording only one star based on sound quality- I mean, come on, it's a freakin' cylinder, right? Well, The problem with this one is the HUGE problem with playback early in the song, more so than overall sound quality. Enough of Murray's voice comes through to know it's him, at least. But talk about scratchy, yes. It is. But that big total interruption of sound, that's bad. Still, I'll give it a 2 based on it having MOST of the song audible. Robin_1990 favorite - February 1, 2008 Damn It! It's a nice song, But the sound quality stinks! I've heard better sound quality in DuMont-TV programs. The sound quality is so bad it's impossible to listen to. That's a shame, Since most of the other Billy Murray records on IA tend to have pretty good sound quality considering how old they are.
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