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Family, Comedy cast=Margaret O'Brien USA Writer=Fred F. Finklehoffe Meet Me in St. Louis is a movie starring Judy Garland, Margaret O'Brien, and Mary Astor. 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 7,9 of 10. @SuperLittleoldman Thank you so very much for sharing your thoughts here. I really enjoyed reading them.
Released 20th November 2015 You've been asking for us to bring Variations on Swing back to vinyl for years now, so we thought we'd go one better. Presenting, MMVI - MMIX, the full Meet Me In St Louis discography on double LP! LP1 is Variations on Swing, the band's seminal debut album, whilst LP2 features their first three track demo plus the EP, And With The Right Kind Of Eyes..., both remastered especially for this release. This beautifully packaged record, designed by the band's very own Paul Phillips, drawing inspiration from so much of their history and previous artwork, includes a huge 28 page photo booklet. There's a limited edition blue / orange vinyl version available, but with only 100 of those being pressed, we don't expect them to stick around for long. Tracklisting: A1. The Torso Was Severed In Mid Thorax A2. Well You Damn Well Should A3. Right This Way, You Maverick Renegade A4. I Am Champagne, You Are Shit A5. I Beat Up The Bathroom, I'm Sorry B1. Ein Zwei Drei Hasslehoff B2. All We Need Is A Little Energon, And A Lot Of Luck B3. Come To New York, There Were Fewer Murders Last Year B4. I've Got Knives In My Eyes I'm Going Home Sick B5. You're Doomed C1. I am Champagne and You are Shit C2. Why Thank You, Suzie C3. Corey Feldman D1. We Need To Act Like We Don't Need This Shit, Then They Give Us Shit For Free D2. The Kid Who Had His Ear Slapped By The Druggist D3. Why Thankyou, Suzie D4. What Happened To You Dylan? You Used To be Someone I Could Trust D5. You Said Your Finger Was A Gun Pressing info: 100 / LP1: blue, LP2: orange 400 / LP1: black / LP2: black.
Awesome. Any guitar tabs lurking about for these guys? I would love some... Meet me in st. louis vhs. 1:31 is the wackiest/ cutest thing Ive ever seen an actress do ?. Meet me in st louis louis. She was never lovelier than in this clip, so full of hope, so full of yearning. There will never be a more moving reading of this song. Meet Me in st. louis rams. Meet me in st. louis imdb. The best song ever written. That arrangement is breathtaking. I used to own 11 guitars and I burned them all after hearing this.
Gaston found his dream Girl. Awww, I had this song stuck in my head off and on since I was a little girl. When I was in my grandma's house in Missouri, me and my cousin watched song stuck with me ever since. Meet me in st louis song. Grandpa use to say It isn't Christmas until you hear this song. Love and miss you very much. R.I.P. Whoever the 36 people who gave this a Thumbs Down obviously know not a thing about music. or christmas for that matter. This song, it captures the bittersweetness the holidays have for so many. the great memories, longing for that reunion of loved ones who, the last time it happened, we eere all too young and stupid to realize how precious that time was. and nobody, well Rosemary Clooney comes close, but nobody makes it sweeter, and sadder, and more sweetly sentimental that after all the kicks in the teeth, to still be able to wish a merry christmas, even if it us just you. and maybe your 90 year old mother because your dad died the week before. But then the mexican lady from down the way brings over some home made tamales, and you forget awhile and just enjoy. How can you turn your thumb down to that.

It remember me my old grandparents and grandemothers. They're dead now. I have only one last, i love him so much. Meet Me in st. louis cardinals. There was and only will be one Judy Garland. She sings this song so beautifully. I always fill up. ??.

Synopsis A year in the life of the Smith family of St. Louis, Missouri, starts in the heat of summer, 1903. Esther Smith (Garland), sixteen years old, dreams about meeting John Truett (Drake), the boy next door. Rose (Bremer), Esther’s older sister, is expecting a call from Warren Sheffield (Robert Sully), her beau, who is at Yale. The only phone is in the dining room, and Rose will have to speak to Warren in front of her family. Esther tries to change dinner to an earlier time and her mother Anna (Astor) tells Alonzo (Ames), her husband, that to accommodate the maid they will have dinner early. However, he is tired and wants a bath and refuses to change dinner time. During dinner, the entire family listens quietly as Rose talks to Warren. Later that evening, Rose invites John to a farewell party for their brother, Lon, Jr. (Henry H. Daniels, Jr. ), who is leaving for Princeton. At the party, Esther and Tootie (O’Brien) entertain with a song and dance. After the party, Esther asks John to help her put out the lights. They flirt, but the shy John only shakes her hand as he leaves. Esther invites John to come with their friends to the fairgrounds being prepared for the St. Louis World's Fair. Several days later, at the trolley station, Esther waits excitedly for John, but the trolley starts, and she thinks he missed it. John boards just in time, and Esther expresses her happiness by singing The Trolley Song. At Halloween, Tootie and her older sister Agnes dress as goblins and go out to join the other neighborhood children at a bonfire in the street. The children dare Tootie to knock on the door of Mr. Braukoff, who everyone agrees is the scariest man on the street. Tootie shakily goes up to the door and knocks. When Mr. Braukoff answers, she throws flour on him and declares, I hate you Mr Braukoff! She runs off as Mr. Braukoff wipes himself off in amusement. Tootie exalts and declares herself the most horrible. Later, Tootie comes home crying, bruised and cut. She claims that John hit her. She has a bunch of hair in her hand. Esther storms over to John’s house and accuses him of being a bully and beats and bites him. Later Tootie and Agnes confess the truth, John saved them from being arrested after they nearly caused an accident on the trolley tracks. Esther rushes back to apologize, and John accepts her apology, pointing out where she bit him. Later that evening, Lon, Sr., returns with the announcement that his firm is transferring him to New York City, and they will move in January. Lon is enthusiastic about his promotion and the move, but his family is upset and unhappy at the thought of leaving St. Louis. Anna, loyally, agrees that if he wants to move, they will move. As Lon and Anna celebrate their love and togetherness, the children accept the future move to New York that their father wishes. On Christmas Eve, Rose is distressed because Warren has invited Lucille Ballad (June Lockhart), a visiting Easterner, to the Christmas dance. Lon, Jr., home for Christmas, is also perturbed; he wanted Lucille to go to the dance with him. With no one else to go with, Lon, Jr., and Rose end up going together, although they are not happy about it. Esther is upset because John will not be able to take her to the dance; he did not make it to the tailor’s in time to pick up his tuxedo. Esther goes with her grandfather (Harry Davenport). At the dance, Rose and Esther fill out Lucille’s dance card with the names of all the most boring and clumsy young men. The plan backfires when Lucille turns out to be sweet and understanding. She suggests that Rose pair with Warren, and she will partner with Lon, Jr. Esther cannot let Lucille dance with the men listed on the card, and she takes the dance card herself and bravely dances with all the dolts. Toward the end of the dance, John arrives and dances with her. In the garden under the moon, John and Esther kiss, and John proposes. He plans to leave college and get a job to support her. However, Esther realizes that they are too young to marry; he must finish college before marriage. At home, Tootie rushes out to destroy the snow people she has made, crying that so no else will have them after the family moves to New York. Esther comforts her, and they look forward to Christmas. Lon, Sr., watching from the window, sees his daughters in the snow, and realizes how much they want to stay in St. He assembles his family and tells them that he has changed his mind, they will not move. In the spring, the family, dressed in their finest, go to the Exposition. All the young couples are happy. Everyone is thrilled that the Exposition is in their own home town. Discussion Meet Me in St. Louis, a colorful musical that ranks among the finest films of the 1940s, is an almost perfect example of nostalgic turn of the century Americana. The lives of the Smith family in the year before the opening of the St. Louis World's Fair of 1904 are appealingly sweet and sentimental. Technicolor photography flatters the actors, especially the women in their colorful dresses, and enhances the beautiful settings. Director Vincente Minelli guides the production with special attention to achieving the ambience and charm of the period. Judy Garland sings two songs that were immediate hits: The Trolley Song sung to Tom Drake and Have Yourself a Merry Little Christmas sung to Margaret O’Brien. Garland also sings and dances the novelty song Under the Bamboo Tree with O’Brien. Leon Ames and Mary Astor, their voices dubbed, share the sentimental duet You and I. The fair’s own hit song, Meet Me in St Louis, Louis, written in 1904, is sung briefly by Garland and Bremer and reprised throughout the movie. The turn of the century feeling is further reinforced by several other period songs. Meet Me in St. Louis presents an idyllic picture of a family, consisting of parents, a college-age son, two teenage daughters, two young daughters, and a grandfather. The sixteen-year-old Esther and the seven-year-old Tootie are the focus of the film. The concerns of the family members are simple and innocent. The love and comradeship of their parents model success in life. Alonzo Smith represents the upper middle class businessman who supports his contented family, including his wife’s father, in a modern, well-appointed home. The aspirations of the older sisters involve forming romantic relationships with young men. Esther dreams about the handsome and shy boy next door. Rose’s beau is in college. Lon, Jr., in his first year of college, also has a sweetheart. The yearnings of these young people are in keeping with the social standards of the time. The young women yearn for romance, a husband, and their own home. The young men, of the upper middle class, aspire to graduate from college and become lawyers or businessmen. After graduation, they will marry, buy a home, and start a family. The most serious event in their lives is the proposed move from St. Louis to New York. Margaret O'Brien Child star Margaret O’Brien has a whimsical demeanor, charm, bright eyes, and a pleasant, chirpy voice. An outstanding child actress, she had a large emotional range and was known for her ability to cry on demand. O’Brien had a highly successful debut, at age five, in Journey for Margaret, a film about the Blitz (Nazi Germany's bombing campaign against London in 1940-41). Under contract to MGM, she quickly became a major star and box office attraction in 1945 and 1946. O’Brien’s appealing and determined personality matched well with strong older actors such as Charles Laughton in The Canterville Ghost (1944), Edward G. Robinson in Our Vines Have Tender Grapes (1945), Wallace Beery in Bad Bascomb (1946), and Lionel Barrymore, Lewis Stone and Thomas Mitchell in Three Wise Fools (1946). Her final films at MGM were based on two well-known children’s books, Little Women and The Secret Garden, both released in 1949. By 1950 O’Brien was a teenager rather than an appealing moppet and audiences lost interest. She starred in only two more films, Her First Romance (1951) and Glory (1956). In adulthood, O'Brien played character roles in a few films but mostly continued her career on television where, for the next 65 years, she appeared in many series. Margaret O’Brien’s popularity was at its zenith following the release of Meet Me in St. Louis, and she won one of only twelve Academy Juvenile Awards ever awarded (for outstanding child actress for 1944). Bob Hope, Master of Ceremonies at the Awards, playfully called the half-size juvenile statue an Oscarette. The statue was taken from O’Brien’s home in 1954 and disappeared for forty years. It was found at a Pasadena flea market in 1944 and returned to O'Brien. The Louisiana Purchase Exposition, also known as the St. Louis World’s Fair, was held in 1904 to commemorate the centenary of the 1803 purchase, during the presidency of Thomas Jefferson, of the vast Louisiana territory stretching from the Mississippi River to the Rocky Mountains. St. Louis, situated at the confluence of the Missouri and Mississippi Rivers, is at the eastern boundary of this territory. One of the largest world’s fairs ever held, the grounds covered 1200 acres and included exhibits from 62 countries and 43 of the 45 states. The fair was a combination trade show, showplace of technological advances, and cultural monument to the Gilded Age. The last major international exhibition before World War I, the fair was a tribute to the peace, prosperity, and progress of the late 19th century world order. Further Reading TCM Classic Film Festival, 2014.
Speaking for all the men who are bald. ? Hey! ? Thank You. I cant help but think of her sad journal entries that she shared with her granddaughter, to persuade her to not become an actress. ??. One of my favorites. O GAD! ????????. "Personally, I wouldn't marry a man who proposed to me over an INVENTION! It's the best line in the whole film and nobody could have delivered it like Marjorie Main (Katy the maid. She was born just a few miles from where I live. I've loved this film since I first saw it in black and white on TV in 1957. A couple years ago while passing through St. Louis I drove down Kensington Ave. to the site of 5135. The house no longer stood and a hundred years had taken it's toll on the neighborhood but it was a nice experience since the book and film were based on the real Smith family at that address.
This was my grandma's favorite Christmas song! Bernadine had good taste! Merry Christmas Bernadine, we miss you. Click here to read about author Sally Benson and the origins of the story. MGM purchased the screen rights to Sally Benson's "Kensington Stories" for $25, 000. 00 on March 1, 1942. Right away, the story went through the screen writing process at MGM. Several screen writers and authors took a stab at it. Sally Benson herself worked on what became a 198 page treatment written with Doris Gilbert between March 30 and May 9, 1942. Between April and October 1942, other writers worked on the project, including the husband-and-wife team of Victor Heerman & Sarah Y. Mason (Oscar winners for their 1933 adaptation of Little Women) and William Ludwig, who had written for the Andy Hardy series and also Margaret O'Brien's Journey For Margaret (1943). None of these treatments seemed to work, and finally Irving Brecher & Fred Finklehoffe were given the assignment. Finklehoffe had written for several Judy Garland musicals, and Brecher had written for the Marx Brothers, which seemed at first an odd choice to write a delicate family story. Finklehoffe and Brecher wisely decided that the bulk of the story should take place in the Smith family home and it's surrounding area of St. Louis. It was Finklehoffe and Brecher who expanded the "Warren Sheffield telephone call from New York" scene by making Mr. Smith ignorant to the goings on and having him hang up the phone when it first rings. They also took out scenes at Princeton University and a Smith family visit to their grandparents in Manitowoc, Wisconsin. Some other changes made were: Moving Mr. Smith's decision NOT to move the family to New York from immediately after the family's objections to the night before the planned move(Christmas Eve) heightening the tension; Removing a romance between Rose and Colonel Andrews (renamed Darly in the final film) -only a small scene remains that hints of Rose's attraction to him;Removing an announcement by Tootie that she did not want to go to the fair; Changing the hair color of Rose and Esther from blonde and black to both being auburn; Removing a blackmail subplot involving Esther and finally, they divided the film into four segments representing the four seasons of the year (Sally Benson's book had been 12 chapters, one for each month of the year). Name changes were made too, sometimes for legal reasons. Sally Benson wanted Lucille Ballard's name to be either Picard or Dorsey. John Truett began life as John "Bluett, " then for legal reasons became Collins, then Truett (Ms. Benson objected to "Truett"). "Bluett" stayed as the reference name of the house on MGM's "St. Louis Street" even after the backlot was torn down. Warren Sheffield originally was named Warren Sheppard, and for legal reasons the Waughops became the Braukoffs. The real life name of the maid was indeed Katie, and the real-life Katie was alive and well and provided a signed release to the MGM legal department, giving the "ok" to use her name. Finally, here are some interesting additions, changes, and/or deletions from the original book: The ketchup tasting scene that opens the film is an very expanded version of a simple paragraph in the book; In the book Rose gets mixed up with a middle-aged man; Mrs. Smith loses her temper; Tootie's ride on the ice wagon was originally a ride on a water-sprinkler; The cakewalk scene is danced in the book by Agnes, in a man's hat (Sally Benson based the Agnes character on herself); The Halloween sequence is in the book although it's Agnes who takes on the Braukoffs (or Waughops); A slight reference in the March segment of the book to a trolley gave birth to the entire "Trolley Song" sequence; The scene of Tootie and Agnes coming down the stairs during Lon's farewell party and Tootie singing "I Was Drunk Last Night" also comes from the book; Mr. Smith's decision to move the family to New York, and the subsequent tension it creates for the final half of the film, is from a small three-page episode in the book; and finally, it's Agnes who ends the book by saying "I can't believe it. right here where we live. Right here in St. Louis". With the script in place, producer Arthur Freed turned to Hugh Martin and Ralph Blane to compose the original songs for the film. At the time, Martin and Blane had enjoyed moderate success with their successful Broadway show "Best Foot Forward" property was bought by MGM, so Martin and Blane, along with stars Nancy Walker, Tommy Dix and Gil Stratton, were brought out to MGM to adapt the show for the screen. Martin and Blane also contributed to other films including "Three Cheers For The Yanks" to For Me And My Gal (1942) starring Judy Garland. Still, they hadn't obtained the success they wanted so Meet Me In St. Louis was their big chance. Freed felt strongly enough about their abilities to ask them to write new songs for Meet Me In St. Louis, to help complement the use standards of the day. They would end up providing four songs for the film, three of which would be the best of their careers and have since become classic standards ("The Boy Next Door", "The Trolley Song", and "Have Yourself A Merry Little Christmas"). Freed also took a chance on hiring Vincente Minnelli to direct. At first Minnelli seemed like an odd choice to helm such a costly and risky project. Although to Freed, it probably seemed like the logical choice. Known for his use of composition and his unusual flair for design, Minnelli was an inspired choice. Minnelli had directed I Dood It (1942) starring Red Skelton, and most notably Cabin In The Sky (1943) starring Ethel Waters and Lena Horne. Click here for a biography of Vincente Minnelli. Many at the studio felt the story had not plot and that the film would be a flop. It was even referred to by some as "Freed's Folly". But Freed stood by his choices and went about the tasks of pre-production on the film, including the casting of the major roles. When Judy Garland first discovered that MGM was going to cast her in their new musical film entitled Meet Me In St. Louis she was not happy. She feared, and with good reason, that the film would set her career back. She had finally been allowed to grow up on the screen. In For Me And My Gal (1942) she was given a real romantic lead in newcomer Gene Kelly, and she was the undisputed star of the film, with her name alone above the title for the first time. After that she appeared in Presenting Lily Mars which was the first time the studio made a real effort to make her look glamorous, even if it was mainly for the finale at the end of the picture. She was seen for the first time with her hair up and looking quite beautiful. True, she had also just completed Girl Crazy (1943) as well, but even in that, her final complete film with Mickey Rooney, she was a completely different character than in all of the other Garland/Rooney pictures. In this film, Mickey chased Judy rather than the other way around, and she was portrayed not as a teenager deep in puppy love, but as a lovely young woman. Now, after reading the St. Louis script, it appeared as though the studio wanted her to revert back to playing a high school girl with a crush on the boy next door. Judy was dating Joe Mankiewicz at the time, and he was also instrumental in allowing her to see herself as not just a little girl with a big voice, but a desirable woman. At 22 years of age, Mankiewicz reasoned, Judy Garland had the talent and ability to graduate to more adult roles. And Judy not only agreed with it, but with Mankiewicz in her corner, for the first time she summoned up the strength to actually resist the studio for her own benefit. Judy went to L. B. Mayer and complained, and for once he sided with her. He went to producer Arthur Freed to discuss the matter, but was effectively swayed in the other direction by Freed, director Vincent Minnelli, and most importantly the reigning studio storyteller Lillie Messinger. Once Lillie got a hold of a story, no one was immune. She was able to effectively point out the charms and magic of the story. Mr. Mayer loved a good sentimental "all-American" story and this had everything he loved. Next Judy went to see Minnelli on her own, thinking that she might be able to persuade him, since she was one of MGM's biggest stars, and he was a novice director. Minnelli had directed only two films before, neither was a big financial success. The best of the two, Cabin In The Sky, although a beautiful film that critics liked, was an all-black film and in 1943 that meant a limited audience. Judy was sure that not only would St. Louis be a mistake but that she could persuade Minnelli that it really wasn't very good! In his memoirs, Minnelli reports what happened when Judy came to see him about the film: "She looked at me as if we were planning an armed robbery against the American public. She later told me that she'd come to see me thinking I would see it her way. " Per Minnelli, Garland says "It's not very good, is it? " to which Minnelli responded with "I think it's fine. I see a lot of great things in it. In fact, it's magical. "Whether years later the exact words of the conversation are remember by Minnelli is immaterial. Judy may have been going on an early draft of the screenplay which was, according to most accounts, not very good. But it was shaped up by the time rehearsals began. And since Mayer switched and sided with Freed, and Freed stood behind Minnelli, Judy had no choice but to acquiesce. Rehearsals began on November 11, 1943 and Judy did not exactly throw herself into the role. She was used to the more contemporary, "wise cracking" dialog. When filming began almost a month later on December 7, 1943 things weren't much better. In fact, it's reported that when Minnelli was away from the set, Judy would sometimes entertain the cast and crew with a devilishly satire of Minnelli centered around his "perfectionism. " This skit would enta

Running out of tissues remembering how happy this movie made me me as a child. I came from a broken home and this movie transported me to a better place for a few hours every year. so wonderful, thank you Dorothy and rest in peace. Classic! I just saw this musical for the first time in the movie theatre... San Diego had it playing at the Angelika and it was PERFECT! Seeing this scene on the big screen... their are no words, timeless! I cried and cried like a baby! Side note: I had no idea the original lyrics to “Have yourself a Merry little Christmas was actually quite sad, really sad... “Have yourself a merry little Christmas, it may be your last. Next year we may all be living in the past” that was quickly changed to a more upbeat song. Best Musical ever! So sad to think of what Judy was going through off screen and for the rest of her life battling with depression, weight issues, etc. I wish someone would of told her she was beautiful inside and out. That talent is unparalleled. One of my biggest idols. You will never be forgotten Judy! ?????.

This film was very good for the most part, but it was ruined by some of that bullsh*t 50s melodrama, an overlong dance number, and a nonsensical ending.

Meet me in st. louis opening. Meet me in st. louis 75th anniversary event. Meet me in st. louis stage show. My mother used to sing this to us always looked so happy when she sang this has been gone for far too long and now this song is like a treasure. I think I go back to San Juan.

Beautiful. Have yourself a merry little Christmas Let your heart be light Next year all our troubles will be out of sight Have yourself a merry little Christmas Make the yule tide gay Next year all our troubles will be miles away Once again as in olden days Happy golden days of yore Faithful friends who were dear to us Will be near to us once more Someday soon, we all will be together If the fates allow Until then, we'll have to muddle through somehow So have yourself a merry little Christmas now. Any movie with Monty Woolley is a fave of mine. I loooooove his voice.
Meet me in st. louis musical the film. Judy could learn a dance routine after watching it once. Nobody like her ever. When she dances with someone Kelly or Astaire you only see her. Anita and María's dance dresses have always been two of my favourites in any movie I've seen. Meet me in st louis musical. Classic,x. Meet me in st louis gymnastics meet. Way too ahead of its time. Meet me in st. louis soundtrack 320 torrent. 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 c

• Buenos días -Muchas frías. no entendí lo de las frías XD. MEET ME IN ST. LOUIS (1944) 8.5/10

Vincent Minnelli isn't by all means my favorite director, not even the best director of musicals, but all his films I've seen seemed to hypnotize me. They are magical, colorful, funny and pleasant. The 20 minute dance sequence of AN AMERICAN IN PARIS, the innocence of GIGI, the situations that Spencer Tracy has to handle in FATHER OF THE BRIDE aren't really touches of genius, but come from someone who knows the magic of cinema. MEET ME IN ST. LOUIS is probably his most pleasant film to watch, probably because it mixes all the elements that would please parents and children of the '40s: vivid colors, friendly songs, a story that comes from the heart, a smart child and most of all Judy Garland. This is among her best performances, along with THE WIZARD OF OZ and A STAR IS BORN. She is cute (though not gorgeous) bright, expansive and charismatic. Although she is not my favorite actress, not even my favorite musical actress, she caught me here. The real star, however, is Margaret O'Brien, who plays Tootie- she steals every scene she's in, putting on shame veterans like Mary Astor. MEET ME IN ST. LOUIS is a great musical, the perfect film to watch with your whole family. Your 5 year-old cousin and your 80 year-old grandmother will like it the same way. It's a fine slice of Americana, but if you want something to mess up your wind. see MAGNOLIA or REQUIEM FOR A DREAM instead.

Meet me in st. louis streaming. My dad got me to watch this movie with him many years ago during the holiday season. My dad is gone now but I still watch it every year. Always makes me think of him. Great movie and Ingrid Bergman was great an so funny, not to mention beautiful. Meet me in st louis black and white. I Remember Seeing This Movie Meet Me In St. Louis Back At My Father's ApartMent When I Just Had Gotten The DVD Of It From My Library And I Really Miss Judy Garland A Lot 2 AlSo.