Tag Archives: Meet Me in St. Louis

Top 100 Films – Full List & Stats


Top 100 Films – Full List

100. Rope (1948) (dir. Alfred Hitchcock)
99. The Jerk (1979) (dir. Carl Reiner)
98. Office Space (1999) (dir. Mike Judge)
97. American Movie (1999) (dir. Chris Smith)
96. Touch of Evil (1958) (dir. Orson Welles)
95. Zero Dark Thirty (2012) (dir. Kathryn Bigelow)
94. The Wrestler (2008) (dir. Darren Aronofsky)
93. The Virgin Spring (1960) (dir. Ingmar Bergman)
92. United 93 (2006) (dir. Paul Greengrass)
91. Brokeback Mountain (2003) (dir. Ang Lee)
90. Election (1999) (dir. Alexander Payne)
89. Close-Up (1990) (dir. Abbas Kiarostami)
88. Minnie and Moskowitz (1971) (dir. John Cassavetes)
87. Chungking Express (1994) (dir. Wong Kar-wai)
86. Stand By Me (1986) (dir. Rob Reiner)
85. Blazing Saddles (1974) (dir. Mel Brooks)
84. Metropolis (1927) (dir. Fritz Lang)
83. Boyz n the Hood (1991) (dir. John Singleton)
82. A Man Escaped (1956) (dir. Robert Bresson)
81. Manhattan (1979) (dir. Woody Allen)
80. Sunset Boulevard (1950) (dir. Billy Wilder)
79. All That Heaven Allows (1955) (dir. Douglas Sirk)
78. Sunrise: A Song of Two Humans (1927) (dir. F.W. Murnau)
77. No Country for Old Men (2007) (dir. Joel Coen, Ethan Coen)
76. The King of Comedy (1982) (dir. Martin Scorsese)
75. Short Term 12 (2013) (dir. Destin Daniel Cretton)
74. The Fighter (2010) (dir. David O. Russell)
73. Ben-Hur (1956) (dir. William Wyler)
72. There Will Be Blood (2007) (dir. Paul Thomas Anderson)
71. Playtime (1967) (dir. Jacques Tati)
70. My Darling Clementine (1946) (dir. John Ford)
69. The Assassination of Jesse James by the Coward Robert Ford (2007) (dir. Andrew Dominik)
68. The Sting (1973) (dir. George Roy Hill)
67. Sherlock Jr. (1924) (dir. Buster Keaton)
66. Eternal Sunshine of the Spotless Mind (2004) (dir. Michel Gondry)
65. Kagemusha (1980) (dir. Akira Kurosawa)
64. Citizen Kane (1941) (dir. Orson Welles)
63. Raging Bull (1980) (dir. Martin Scorsese)
62. Dog Day Afternoon (1975) (dir. Sidney Lumet)
61. The Life Aquatic with Steve Zissou (2004) (dir. Wes Anderson)
60. Some Like it Hot (1959) (dir. Billy Wilder)
59. Pulp Fiction (1994) (dir. Quentin Tarantino)
58. The Umbrellas of Cherbourg (1964) (dir. Jacques Demy)
57. It’s a Wonderful Life (1946) (dir. Frank Capra)
56. This is Spinal Tap (1984) (dir. Carl Reiner)
55. M (1931) (dir. Fritz Lang)
54. When We Were Kings (1996) (dir. Leon Gast)
53. The Gold Rush (1926) (dir. Charlie Chaplin)
52. Rosemary’s Baby (1968) (dir. Roman Polanski)
51. The Wages of Fear (1953) (dir. Henri-Georges Clouzot)
50. The Great White Silence (1924) (dir. Herbert Ponting)
49. Autumn Sonata (1978) (dir. Ingmar Bergman)
48. Withnail and I (1987) (dir. Bruce Robinson)
47. The Royal Tenenbaums (2001) (dir. Wes Anderson)
46. Before Sunrise (1995) (dir. Richard Linklater)
45. True Romance (1993) (dir. Tony Scott)
44. Before Sunset (2004) (dir. Richard Linklater)
43. Inglourious Basterds (2009) (dir. Quentin Tarantino)
42. 4 Months, 3 Weeks, and 2 Days (2007) (dir. Cristian Mungiu)
41. The African Queen (1951) (dir. John Huston)
40. A Matter of Life and Death (1946) (dir. Michael Powell, Emeric Pressburger)
39. Days of Heaven (1978) (dir. Terrence Malick)
38. Rushmore (1998) (dir. Wes Anderson)
37. What We Do in the Shadows (2014) (dir. Jemaine Clement, Taika Waititi)
36. 12 Angry Men (1957) (dir. Sidney Lumet)
35. It’s Such a Beautiful Day (2012) (dir. Don Hertzfeldt)
34. Casablanca (1942) (dir. Michael Curtiz)
33. Scenes from a Marriage (1973) (dir. Ingmar Bergman)
32. A Woman Under the Influence (1974) (dir. John Cassavetes)
31. Brief Encounter (1945) (dir. David Lean)
30. The Godfather Part II (1974) (dir. Francis Ford Coppola)
29. Do the Right Thing (1989) (dir. Spike Lee)
28. Meet Me in St. Louis (1944) (dir. Vincente Minnelli)
27. The Godfather (1972) (dir. Francis Ford Coppola)
26. Seven Brides for Seven Brothers (1954) (dir. Stanley Donen)
25. Wild Strawberries (1957) (dir. Ingmar Bergman)
24. Seven Samurai (1954) (dir. Akira Kurosawa)
23. All That Jazz (1979) (dir. Bob Fosse)
22. Fargo (1996) (dir. Joel Coen)
21. Dersu Uzala (1975) (dir. Akira Kurosawa)
20. Grizzly Man (2005) (dir. Werner Herzog)
19. The Thing (1982) (dir. John Carpenter)
18. A Serious Man (2009) (dir. Joel Coen, Ethan Coen)
17. The Searchers (1956) (dir. John Ford)
16. Dazed and Confused (1993) (dir. Richard Linklater)
15. The Social Network (2010) (dir. David Fincher)
14. The Apartment (1960) (dir. Billy Wilder)
13. Rear Window (1954) (dir. Alfred Hitchcock)
12. Winter Light (1963) (dir. Ingmar Bergman)
11. The Graduate (1967) (dir. Mike Nichols)
10. Harakiri (1962) (dir. Masaki Kobayashi)
9. The Night of the Hunter (1955) (dir. Charles Laughton)
8. Paris, Texas (1984) (dir. Wim Wenders)
7. Mr. Smith Goes to Washington (1939) (dir. Frank Capra)
6. Rocky (1976) (dir. John G. Avildsen)
5. Harold and Maude (1971) (dir. Hal Ashby)
4. The Exorcist (1973) (dir. William Friedkin)
3. Annie Hall (1977) (dir. Woody Allen)
2. City Lights (1931) (dir. Charlie Chaplin)
1. Punch-Drunk Love (2002) (dir. Paul Thomas Anderson)

Top 100 Films – Statistics

Movies by Decade:
2010’s: 6
2000’s: 15
1990’s: 13
1980’s: 9
1970’s: 18
1960’s: 8
1950’s: 15
1940’s: 8
1930’s: 3
1920’s: 5

Best Year:
2007 – 4 (No Country for Old Men, There Will Be Blood, The Assassination of Jesse James by the Coward Robert Ford, 4 Months, 3 Weeks, and 2 Days)

Most Popular Actors/Directors/Writers:
Ingmar Bergman5
Diane Keaton – 4
Wes Anderson – 3
John Cassavetes – 3
Seymour Cassel – 3
John Cazale – 3
Joel & Ethan Coen – 3
Robert De Niro – 3
Akira Kurosawa – 3
Richard Linklater – 3
Bill Murray – 3
Al Pacino – 3
Brad Pitt – 3
Talia Shire – 3
James Stewart – 3
Max von Sydow – 3
Quentin Tarantino – 3
Billy Wilder – 3
Owen Wilson – 3

Counting down 100 films in just 50 days was one heck of an adventure, and something I was fully prepared to give up on halfway through. The list got me through some tough times recently, and provided a nice goal and distraction for me to build towards. I’ve never been more proud of myself as a writer, and seeing #1 finally pop into my feed has been the most rewarding experience yet here at Sgt. Pepper’s Lonely Hearts Film Club! Thanks to everybody who joined me in the journey, liking, sharing, and commenting on posts, and to all those who read them in their spare time. Your support means the world to me, and I couldn’t have done it without you. Here’s to another great year of films and writing for everybody!

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Top 100 Films #28 – Meet Me in St. Louis (1944)


mmisl3#28. Meet Me in St. Louis (1944)
Directed by: Vincente Minnelli
Written by: Irving Brecher, Fred F. Finklehoffe (based on Meet Me in St. Louis by Sally Benson)
Starring: Judy Garland, Margaret O’Brien, Mary Astor, Lucille Bremer, Leon Ames, Tom Drake, Marjorie Main, Robert Sully

Meet Me in St. Louis is Vincente Minnelli’s familial musical romance starring Judy Garland at the absolute peak of her stardom.  The film takes place over four consecutive seasons, covering a year in the lives of Smith family – an upper middle class unit gearing up for the upcoming 1904 World’s Fair in their home town of St. Louis, Missouri.  We meet Esther (Judy Garland), a young woman pining for her next door neighbor John Truett (Tom Drake), Rose (Lucille Bremer), who is to be married to a young man named Warren Sheffield (Robert Sully), and Tootie (Margaret O’Brien), the mischievous youngest daughter of the Smith family as she navigates her carefree childhood.  Through the months, the Smith patriarch Alonzo (Leon Ames) receives a job promotion and decides to move the family to New York – which is not well received by his St. Louis loving family.  Along the way to the World’s Fair and the eventual move to New York, we see the Smith family celebrate Halloween and Christmas, fall in love, have their hearts broken, and get involved in generally humorous and dramatic situations. Though Meet Me in St. Louis is very early on in Vincente Minnelli’s career, his talent as a director of musical films is immediately apparent.  He uses bright, beautiful Technicolor to accentuate his unique aesthetic, and excellent blocking and choreography in the film’s many musical scenes that make it stand out from the crowd.  Minelli’s direction feels both classic and modern in many ways, with the film’s pacing being one of the most notable – the film never spends too much time in any of the seasons, using the unique elements of each to push the main storylines forward.  The musical aspects of the film work perfectly in context throughout, as the Smith family are established in the very beginning as a fun-loving, music-playing family, specializing in piano and song-and-dance numbers that they perform to entertain guests.  The songs are excellent and incredibly catchy, most notably “Skip to My Lou”, “Under the Bamboo Tree”, “The Trolley Song”, and “Have Yourself a Merry Little Christmas” – which was written for the film before ever becoming a Christmas classic.  Judy Garland carries each and every song she is featured in to memorable heights, using her beautiful and unique voice to make each and every song her own.  The performances in Meet Me in St. Louis are charming and often hilarious, with the highlights being Judy Garland’s bold, but shy, Esther and Margaret O’Brien’s wide-eyed and curious Tootie being the highlights.  Supporting characters add a great deal of comedy to the film, with Leon Ames’ Alonzo and Marjorie Main’s Katie being the comedic highlights.  Meet Me in St. Louis is an absolute blast from start to finish, featuring some of my favorite musical numbers, incredibly endearing characters, and a wonderfully funny and sentimental story to make it a truly special experience.  If you’re interested in reading my full thoughts on Meet Me in St. Louis, you can read them here.

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Classic Musicals #2 – Meet Me in St. Louis (1944)

Meet_Me_in_St._Louis_posterMeet Me in St. Louis (1944)
Directed by: Vincente Minnelli
Written by: Irving Brecher, Fred F. Finklehoffe (based on Meet Me in St. Louis by Sally Benson)
Starring: Judy Garland, Margaret O’Brien, Mary Astor, Lucille Bremer, Tom Drake, Marjorie Main

In 1944, young starlet Judy Garland could do no wrong.  Coming just five years after tremendous hits like The Wizard of Oz and Babes in Arms, the now adult Garland was on track for even more success.  Her collaboration with fresh-faced director Vincente Minnelli on Meet Me in St. Louis would result in a marriage between the two eventual icons, and the creation of one of Hollywood’s most revered musical films.  Based on a series of twelve autobiographical short stories called 5135 Kensington by author Sally Benson, which followed the Smith family over a period of twelve months, each story covering one month.  MGM acquired the rights to the stories, renaming the anthology Meet Me in St. Louis, and instead opted to follow the family over four seasons instead of the more ambitious twelve months.  The events of the film are roughly structured around the time of the Louisiana purchase, which author Sally Benson lived through.  Minnelli’s film was also one of the first musicals to naturally and seamlessly implement musical numbers into the story, never awkwardly digressing from the story to fulfill its obligated song and dance numbers.  The Smith’s are portrayed as being a delightful, wholesome, and musically-talented all-American family.  The cast is made up of Judy Garland as Esther, Lucille Bremer as her older sister Rose, Mary Astor and Leon Ames as the matriarch and patriarch of the family, respectively.  Rounding out the cast of family members is the breakout star Margaret O’Brien (who would win a Juvenile Oscar for her breakthrough in the film) as the young Tootie, and Joan Carroll as Agnes.  Meet Me in St. Louis was shot in brilliant technicolor by cinematographer George J. Folsey, who is notable for shooting a number of early Marx brothers comedies, as well as comedies Adam’s Rib and Seven Brides for Seven Brothers.  Minnelli’s early film was a smash hit at the box office, being the fifth highest grossing movie of 1944, and proving to be MGM’s most profitable project since 1939’s Gone with the Wind.  Meet Me in St. Louis established Vincente Minnelli as a colorful and inventive director to watch, set Judy Garland on a path to stardom, earned four Academy Award nominations in the process, and put a number of iconic songs on the map including “Have Yourself a Merry Little Christmas”, “The Trolley Song”, and “Skip to My Lou”.  Though it left the Oscar ceremony without a single statue, Meet Me in St. Louis has stood the brutal test of time, especially in comparison to other musicals of the era.  The Library of Congress’ National Film Registry honored the film with preservation status in 1994, ensuring that it would be beloved by audiences for decades to come.

Meet Me in St. Louis covers one year in the lives of the Smith family, a wholesome upper-middle class bunch living St. Louis, Missouri in the summer of 1903.  Alonzo (Leon Ames) and Anna (Mary Astor) head the family, guiding their four daughters and young son to success in their comfortable American lives. Rose (Lucille Bremer), the oldest daughter, is expecting to be proposed to by the man she loves, and Esther (Judy Garland) has fallen in love with her neighbor John Truett (Tom Drake).  Their younger siblings Agnes (Joan Carroll), Tootie (Margaret O’Brien), and Lon (Henry H. Daniels Jr.) all lead relatively more carefree lives, enjoying the simplicities of childhood in the comfort of their family and home.  The film is split into four vignettes, each chronicling a single season in the year.  We begin with Summer 1903, where the love lives of young Esther and Rose are detailed, as well as the inner-workings of the Smith family. We see each member going about their usual routines, eating dinner together, hosting parties, singing, dancing, and generally having a lovely time together. Esther vies for John’s affections multiple times, to varying degrees of success, while Rose patiently waits for the call she’s been eagerly awaiting.  In the Fall 1903 vignette, we follow Tootie and Agnes as they go out for Halloween, trick or treating and causing general mischief in their neighborhood.  Tootie returns home injured, falsely claiming she has been struck by the charming John Truett. Esther reacts poorly to the revelation, confronting John before finding out the true story.  Once the air has been cleared, Esther dashes to John’s house and the two share their first kiss.  In Winter 1904, the Smith family are preparing for a move to New York, where Alonzo has found a work promotion.  Each member of the family is upset about the move, but willing to do whatever it takes to see that their family is successful.  Esther attends a Christmas ball, where after a series of misfortunes she finally gets to dance with John.  She returns home to find Tootsie distraught, not wanting to leave the only home she’s ever known.  Will the Smith family uproot and move to the bustling big city, or will they sacrifice the opportunity to stay in the place they love?  Find out in Vincente Minnelli’s iconic film Meet Me in St. Louis!


The young Margaret O’Brien and Judy Garland performing one of the many iconic musical moments in 1944’s Meet Me in St. Louis.

My history with the grand musical films of Oscar-winning director Vincente Minnelli has been rocky to say the least.  His two most successful movies, Best Picture winning An American in Paris and Gigi, both have incredible and ambitious aspects to them, but have always failed to connect with me on any meaningful level.  Meet Me in St. Louis is the first Minnelli film that I’ve absolutely fallen in love with, let alone enjoyed fully and completely.  His direction is inventive and energetic, changing pace for each of the film’s four acts. The Summer 1903 segment is bright, colorful, and positive, Fall 1903 is dark and brooding, with the Halloween scenes being genuinely creepy and atmospheric. From there, Minnelli immediately changes his style for something a little more traditional, portraying a wholesome and somewhat tragic and mostly believable Missouri Christmas.  While it may never seem as grand as some of the bombastic musicals of the 1930’s, the family-friendly nature of Meet Me in St. Louis feels perfect for any movie viewer.  It’s constantly interesting to look at, well-acted with lovable characters to get behind, and incredibly well written, bringing with it relatable family tensions, comedy, and catchy music.  Judy Garland effortlessly holds the film together, taking advantage of her incredible singing voice and wholesome nature.  Garland’s Esther is hopelessly positive, helping to keep her family together even when nothing seems to be going right for the young woman. She’s charming, and the love story told between Esther and Tom Drake’s John Truett is believable and lovely.  Though I haven’t seen Garland’s entire catalog, Garland’s performance in Meet Me in St. Louis is the best I’ve seen from her. Backing up Garland is a great juvenile performance from Margaret O’Brien as the odd but lovable Tootie.  O’Brien’s Tootie goes from a clumsy and lovable little girl in one act, to a creepy and fairly complex character just twenty minutes later. Her performance is rare for somebody of her age, and it absolutely stands the test of time as far as child actors go.

The music in Meet Me in St. Louis was written by the famous Arthur Freed, who worked with Vincente Minnelli on many of his musical pictures.  Freed’s songwriting combined with Garland’s beautiful voice makes for a breezy two hours, and often had me wishing that the movie featured more musical numbers. The singing and dancing sequences are perfectly written into the happenings of the film, never seeming out of place or unnecessary.  The lyrical content is surprisingly dark at times, and relentless optimistic at others.  Memorable songs like “Have Yourself a Merry Little Christmas” and “The Trolley Song” are absolute ear-worms, and will be stuck in your head for days.  The screenplay, written by Irving Brecher and Fred F. Finklehoffe, feels completely fluid and constantly does it’s best to feel fresh and inventive.  The four season vignettes ensure that we never linger for too long on any one part of the film, and helps to break up the tone from act to act.  Despite the constant change in scenery and events through the film, the themes of the importance of family and unity are never lost.  The most important thing in every scene of Meet Me in St. Louis is family, and no decision is made without considering the repercussions and effects it may have on the rest of the Smith household.  The family values portrayed in the film are relatable and affecting without being over-the-top or obnoxious, instead creating something magical that can be viewed by anybody.   The stand out scene takes place during the Fall 1903 portion of the film, specifically the Halloween sequence starring Tootie and Agnes.  The film’s tone is immediately changed from bright and cheery to dark and moody, with Minnelli’s camera shooting lower and from harsher angles, in order to portray the perspective of the trick or treating children.  Tootie’s true personality is revealed in this scene, and Minnelli’s direction is at its most interesting.  There’s no doubting that it’s slightly out of place in our otherwise fairly standard wholesome 1940’s musical, but it’s a heck of a lot of fun.


A still from the Winter 1903/04 portion of Vincente Minnelli’s Oscar-nominated Meet Me in St. Louis.

After three viewings of Meet Me in St. Louis, I feel confident in saying that this is quite possibly one of the greatest musicals I’ve ever had the pleasure of seeing.  It’s made me a huge fan of Judy Garland, and even has me wanting to revisit Vincente Minnelli’s later famous works and reassess how I feel about them.  Meet Me in St. Louis features incredible songs, a great performance from one of Hollywood’s most beloved actresses, a lovable cast of characters, beautiful cinematography, and daring direction from one of Hollywood’s most revered musical directors.  The themes of family and unity explored throughout are universally relatable and are every bit as relevant now as they were more than seventy years ago.  There’s no way anybody with a heart and a taste for musicals can sit through this film and not be beaming for two straight hours.  Meet Me in St. Louis gets my absolute highest recommendation.  

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