An American Classic In A Memorable DVD Package

Many critics consider MEET ME IN ST. LOUIS the single finest Hollywood musical of the 20th Century. Produced by Arthur Freed, directed by Vincent Minnelli, and sporting a flawless ensemble cast led by Judy Garland, the film was immediately hailed when it debuted in 1944--and time has only added luster to its name. Now, after several home market incarnations, it at last receives the edition it deserves on DVD.

Given its stature, it is ironic that both MGM and Judy Garland originally fought the project. Based on a collection of autobiographical stories by Sally Benson, the script is little more than a series of domestic adventures in the lives of the Smith family of 1903 St. Louis. But it became a thing of wonder: a careful balance of sly but gentle humor, a collection of memorable performances, an understated score shorn of the usual movie-musical affectations, and at the center of it all Judy Garland, one of Hollywood's most memorable talents.

The transfer is excellent, capturing every nuance of the film's meticulously and beautifully designed sets in full Technicolor; the sound elements, remastered in Dolby 5.1, are equally fine and Garland's unique vocal skills are undimmed by time. All in all, it seems safe to say that not even the original 1944 theatrical release could surpass the quality of picture and sound offered here.

Although the bonus package would have better without the awful pilot for a failed television series based on the film, by and large it offers a superior collection. Previously available on VHS, the Roddy McDowell-narrated "making of" documentary is worth revisiting, as is the TCM-produced "Becoming Attractions." While a number of later documentaries surpass it, "Hollywood: The Dream Factory" has never before been widely available and offers an inside glimpse of the famous 1972 MGM auction. The Martins' performance of "Skip to My Lou" a reconstruction of "Boys and Girls Like You and Me," and a collection of Vincent Minnelli movie trailers round out the offerings, all of them entertaining.

The notable audio commentary is led by film historian and Garland scholar John Fricke. I regret to say that I have several issues with Fricke, who seems to rely excessively on Vincent Minnelli's autobiography I REMEMBER IT WELL and who has a tendency to perpetuate certain myths about the film--chief among them the idea that Garland did "The Trolley Song" in a single take. (Garland prerecorded the song, the overall sequence involves at least seven unique camera set-ups, and although Garland performs most of the solo in a single take there is a change in camera set-up toward the end of her vocal.) Even so, Fricke offers considerable insight into the cast, crew, and production of MEET ME IN ST. LOUIS, and the commentary is laced with remarks (some of them archival) by the likes of Margaret O'Brien, Hugh Martin, and Irving Brecher; in spite of my occasional misgivings, it really is everything one could wish an audio commentary to be.

These aside, the bonus package contains one significant and unique prize: the short film "Bubbles" and a notable audio commentary led by Hollywood and Garland historian John Fricke. Long thought lost, "Bubbles" is one of several shorts made in the early 1930s that include The Gumm Sisters, the youngest of whom would become better known as Judy Garland--a true rarity indeed.

Given the beauty of the transfer and the generally exceptional bonus package, it is difficult to imagine a better edition of this uniquely American classic. I strongly recommend it.

GFT, Amazon Reviewer

Wonderful journey to a time long gone by

"Meet Me In St. Louis" would have to be in my belief one of the most perfectly executed musicals to come out of Hollywood's golden age. While most attention always tends to go on praising "An American In Paris" and "Singin' In The Rain", both of which leave me largely cold, this film I feel is leagues ahead in quality of presentation, musical score and performances.

MGM the home of top quality musicals poured all of its creative talent both from behind and in front the camera, into making "Meet Me In St. Louis" the classic which it has become. The film relates the very simple story of a year in the life of the Smith family in St. Louis and all the trials and tribulations that each member experiences in the led up to the World's Fair. Starring the magical Judy Garland at the peak of her talents as Esther Smith and a superb supporting cast including child sensation Margaret O'Brien as the scene stealing Tootie Smith, veterans Mary Astor and Leon Ames as the Smith parents, and Margorie Main in the typical role of the no nonsense housekeeper Katie the film is overflowing with wonderful talent that gives the story their all. Indeed rarely has such a nostalgic look back at simple Americana been presented in so appealing a manner and as we get further away from thos eearlier simpler times I feel this movie grows in stature.

Produced by the famed Arthur Freed Unit at MGM and based on a short novel by Sally Benson the film cost a fortune to make in late 1943 and was a considerable gamble considering the uncertainty of how the war would turn out at that time. The risk was rewarded with a huge Box Office success that made "Meet Me In St. louis" one of the biggest hits in MGM's history. With the films lavish use of the most brilliant technicolour, the introduction of each new season within the borders of what appears like a beautiful illustrated greeting card, sumptuous sets and beautifully detailed costumes it without a doubt has been regarded as one of the most beautiful films produced by MGM during the 1940's and has become one of the great classics of any time. "Meet Me In St. Louis" provided Judy Garland with her most famous role after "The Wizard Of Oz" and amazingly she was at first very reluctant to do it as the character was a much younger woman than those she had been recently playing and she feared that she would be eternally trapped in the image of the young girl looking for love. Luckily the powers that be convinced her otherwise and she went on to create a sensation in the role of the young girl who develops a passion for the boy next door. Directed with his usual flair in the musical genre by the legendary Vincente Minnelli this is where the romance between Judy Garland andhimself began and it was continued into their next film together the outstanding drama "The Clock" resulting in marriage. Garland produced some of her finest work on film under Minnelli's direction and here she is never better where she is in turn sentimental, alive and a ball of energy. glowing with a rare beauty, and in beautiful voice to sing some of her classic trade mark songs created especially for this film. And what songs!!!. The classic "The Boy Next Door", "The Trolley Song", "Under The Bamboo Tree", and unforgettably the classic "Have Yourself A Merry Little Christmas" guaranteed to bring tears to your eyes like no other song you will hear. This is Garland at her shining best just before her own personal troubles began to interfere with her work leading to her being released from her contract by MGM in 1950.

The film contains so many wonderful sequences. One of my personal favourites is the famed Halloween scene which is dominated by wonderful child actress Margaret O'Brien in a scene stealing performance. Rather than just have Tootie depicted as a sweet child up to mischief they have shown her talking about all the fatal diseases her dolls are suffering from and how half of them are buried in the backyard!! Truly a delightful performance by who the critics dubbed "the pint sized Garbo". The wonderful section set during the Christmas season also helps make "Meet Me In St. Louis" such a special viewing experience. The lovely togetherness of the Smith family learning to cope with it being their last Christmas in their St. Louis home is touching and beautifully done. It's scenes such as these that make you really wonder where Hollywood's heart is nowadays as rarely do present day films touch me as much as this part of "Meet Me In St. Louis" succeeds in doing. Among the smaller roles Tom Drake is the perfect young leading man to play John Truett the eternal boy next door and the object of Esther's attention. He would be forever typed as this character and it is still the role Drake is best known for. Harry Davenport as Grandpa, June Lockhart as Lucille Ballard and Chill Wills as the iceman all round out a superb cast delivering their best in unforgettable roles.

For an enchanting excursion back to a time and place long gone from our present harder world "Meet Me In St. Louis" cannot be bettered. It is without a doubt one of the finest musicals ever produced and each screening brings out more joys to wonder at and experience. Enjoy some wonderful time with the Smith family of St Louis soon.

Amazing color palette

I couldn't disagree more with Dan Navarette's evaluation of the Technicolor restoration presented in this edition. It's absolutely stunning, and a revelation to boot. I believe part of the problem with the perception of colors in this film is that, for years, the only measuringstick to which viewers could turn for reference were inferior Eastmancolor prints (both 16mm and 35mm) used in university and theatrical revivals, mostly in the 1970s and 1980s, and less-than-stellar video transfers in early and some later VHS editions. These prints completely lacked the refinement of the transfer in this new DVD, and the subtle palette of colors that Vincente Minelli, Cedric Gibbons, Lemuel Ayers, Irene Sharaff, et al. employed was rendered garish and indistinct at best, and washed-out and lifeless at worst (and oftentimes all within the same print, varying from scene to scene).

The case in point that Mr. Navarette mentions is interesting: the striped tennis dress that Judy Garland wears early in the film, most notably while singing "The Boy Next Door." What the viewer sees here for the first time is the subtle slate-blue color of the stripes that was intended, not the sickly baby blue that was rendered in the subpar prints and transfers of years past. Gone, too, are the pasty and unstable flesh tones, and when colors are intended to "pop," they do so -- and how -- such as with the red velvet gown that Ms. Garland wears to the Christmas ball. And the detail that has been captured in this transfer is nothing short of miraculous, especially in the several scenes shot in half-light (which was not easy to do with the early Technicolor process). In short, what the film enthusiast finally has in this DVD is a true "golden yardstick" by which to measure future prints of this painstakingly designed and beautifully photographed film.