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Vincente Minnelli. Year=1944. Margaret O'Brien. rating=19296 vote. . resume=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. Watched this with my father, one Xmas we got a book SingALong wMitch & would recreate a show with my siblings. I was brought here by OOTS, and it is indeed good to be evil. So. she's pouring her heart out about this guy, then freezes when he sits next to her. Perfect scene for a rom-com today. This is what a legend looks like. Giant talent mixed with tons of class. ❤.

Meet Me in St Louis was the second pairing of producer Arthur Freed and director Vincente Minnelli, but unlike their first collaboration on Cabin in the Sky, this time both appear to have hit their stride and made a mission statement on how a screen musical should be made.
Meet Me in St Louis is sometimes wrongly identified as the first "integrated" musical that is, a musical in which the songs are part of the story rather than distinct interludes. However there were plenty before this, going back to 1929's The Love Parade, as well as the 1936 version of Showboat, the Disney features and of course the one everyone knows, The Wizard of Oz. In fact you could say that this picture is less integrated than many of those earlier musicals, as its score is cobbled together from a mix of new material and period songs few of which literally relate to the story in the way that say, Hammerstein's lyrics do.
But Freed was after a different kind of integration. The exact lyrics do not really matter, it's how the placing of the song makes it part of the narrative. For example, look how the title song is used in the opening scene to introduce the family, moving from room to room and character to character, whilst simultaneously keying us into the mood of the picture. We also have "The Trolley Song" in itself a fairly meaningless ditty about riding a trolley and falling in love, but as the number plays out we see Judy Garland's disappointment that John Truett is not on board, followed by her rush of excitement to see him catch it at the last minute, which eventually turns to embarrassment as she doesn't know what to say to him. "The Trolley Song" is effectively a scene in its own right even though, apart from a few lines at the beginning, it has no dialogue. That is the Freed effect.
Minnelli was perhaps the perfect director to work with Freed, and he had many of his own ideas about how a musical should be shot. In 1930s musicals, the songs were all too often shot and choreographed flatly, as if shooting a stage performance. When directors did experiment with a musical filming technique they tended to be either filling a unique niche (Busby Berkely) or they were making one-offs and never returned to the genre (James Whale in Showboat; King Vidor in the prologue of Wizard of Oz. Minnelli's approach is subtle, and yet it is so precise. In a slow song like "The Boy Next Door" he just gradually changes the framing around Judy Garland as the song moves from one verse to the next, in a similar way to how Vidor filmed her singing "Somewhere over the Rainbow. In a busy dance number like "Skip to My Lou" he keeps the camera moving in time with the music, following one dancer and then another as they take it in turns to pick up the song. The camera had not been so smoothly woven into the choreography since Busby Berkely's heyday in the early 1930s but the difference is that while Berkely's numbers were completely abstract, Minnelli's make sense as part of the scene.
Perhaps the most pioneering moment in Meet Me in St Louis is his staging of Have Yourself a Merry Little Christmas, which is even more restrained than "The Boy Next Door. The camera does not even move, although the shot changes a few times to give us close-ups at key moments. But Minnelli makes a subtle kind of choreography out of the smallest movements Judy Garland putting down the music box, then taking off her bonnet little actions that keep the number moving visually without being jarring or intrusive.
Aside from the music, Minnelli had now developed into a competent and unique filmmaker. Of most obvious note is his exquisite shot composition and use of colour, which is extra special because whereas most directors would colour co-ordinate a set or an establishing shot, Minnelli plans the colour arrangements for wherever the actors are standing or the camera is pointing at any given moment. Then there is his handling of the Halloween segment. It's the dullest part of the picture because it is the longest break without a song, but at least Minnelli gives it its own character, showing the scenario with a child's eye view, and mixing stereotyped horror atmospherics with comedy.
Of course Freed and Minnelli would be nowhere without their able collaborators. Ralph Blane, who actually had a longer career as a lyricist than as a musician, captures the spirit of the era with his original compositions. Judy Garland, despite being sick of playing teenage roles, shows a developing maturity and even displays a hint of the sass and cynicism that would later become her trademark. There isn't a single bad performance amongst the supporting cast, although the most enjoyable to watch are Harry Davenport and Margaret O'Brien probably the most talented child actress of her era.
Meet Me in St Louis did very little that had not been done somewhere before, but nevertheless it is a landmark musical, but it helped establish the trend for all future screen musicals. It didn't mark the beginning of the integrated musical, but it marked the end of the non-integrated musical.

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