Bunuel1976 Review of Thoroughly Modern Millie

Thoroughly Modern Millie (1967)

THOROUGHLY MODERN MILLIE (George Roy Hill, 1967) ***

[6/10 · 3 February 2009]

This exhilarating but wildly uneven musical comedy is something of an anomaly in more ways than one: firstly, it deals with the hardly humorous subjects of white slavery and opium dens; it was originally intended as the first starring vehicle for TV star Mary Tyler Moore but then Julie Andrews came on board and the latter was relegated to a major supporting role instead; despite being inspired by an obscure 1956 British stage musical entitled "Chrysanthemum", composer Elmer Bernstein emerged triumphant at the Oscars in the Best Music Score category – while musical directors Andre' Previn and Joseph Gershenson were also nominated in the "Best Music Adaptation" category (since the score makes use of song standards like "Baby Face" and "Ah! Sweet Mystery Of Life"); and the film is a mostly successful throwback to Silent comedy routines like building-climbing and aerial stunts, zany car chases and pratfalls, and even the occasional intertitle! Small wonder therefore that the narrative is indeed set in 1922, that Silent comedienne Beatrice Lillie virtually steals the whole show in her comeback (and last film) role as the Asian villainess, and that this ambitious production from Universal (accorded a lavish Roadshow presentation running for 152 minutes as opposed to the general release print of 138) sports impeccable production design and costumes. Needless to say, during such a long haul, one does get to experience a few bumps: some musical numbers go on too long (James Fox's "The Tapioca"), some are utterly gratuitous (Andrews' "Jewish Wedding Song") and, bafflingly, the film's most acclaimed performance – Broadway star Carol Channing was nominated for an Oscar and won a Golden Globe as ditzy blonde, raspy-voiced, grand dame Muzzy – is tough to stomach at times when other performers are so agreeable: Andrews herself, James Fox (as Andrews' devil-may-care friend), John Gavin (as Andrews' "perfect" bachelor boss), Lisabeth Hush (as bitchy socialite Judith Tremaine) and especially Lillie – who, truthfully, should have gotten the accolades instead of Channing. The flashy direction of George Roy Hill (in his second consecutive film with Andrews and on the verge of the most successful period in his career) amiably glides past the various disparate ingredients to co-ordinate a highly enjoyable if occasionally uncontrolled and frustrating viewing experience. For the record, the film received 7 Oscar nominations in total, including one for its catchy title song which it unaccountably lost to Rex Harrison's recitative "Talk To The Animals" from DOCTOR DOLITTLE (1967).