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Thoroughly Modern Millie (1967)

 -  Comedy | Musical  -  21 March 1967 (USA)
7.0
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Ratings: 7.0/10 from 3,899 users  
Reviews: 79 user | 15 critic

Millie comes to town in the roaring twenties to encounter flappers, sexuality and white slavers.

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Title: Thoroughly Modern Millie (1967)

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Won 1 Oscar. Another 5 wins & 11 nominations. See more awards »
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Cast

Complete credited cast:
...
...
...
...
...
...
Oriental #1
...
Oriental #2
Philip Ahn ...
Tea
Anthony Dexter ...
Juarez
Cavada Humphrey ...
Herbie Faye ...
Taxi Driver
Michael St. Clair ...
Baron Richter
Lisabeth Hush ...
Judith Tremaine
Ann Dee ...
Singer
...
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Storyline

In 1922 New York City, Millie Dillmount and Miss Dorothy Brown are just two of the girls living at the Priscilla Hotel for Single Young Ladies run by Mrs. Meers. Orphaned, Miss Dorothy, just recently arrived, is a naive, old-fashioned girl from a seemingly privileged background who has aspirations to be a stage actress. From more modest means, Millie, in New York for three months, used to be old fashioned, but now has a new modern sensibility and look to match, complete with bobbed hair and dresses with hemlines above the knee. Included in this new modern sensibility is Millie's goal of getting a job as a stenographer, with a quick promotion to being her wealthy boss' "Mrs.". Love is not to factor into the equation. She believes she's found the right employer in the form of chisel-jawed Trevor Graydon of the Sincere Trust Insurance Company. Millie's pursuit of Mr. Graydon is despite the fact that Mr. Graydon sees her as one of the boys, he has old fashioned sensibilities, and Millie ... Written by Huggo

Plot Summary | Add Synopsis

Taglines:

Our own lovable .... Julie Andrews singing dancing delighting is "Thoroughly Modern Millie" See more »

Genres:

Comedy | Musical

Certificate:

G | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

| | | |

Release Date:

21 March 1967 (USA)  »

Also Known As:

Millie  »

Box Office

Budget:

$6,000,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (roadshow)

Sound Mix:

(Westrex Recording System) (70 mm prints)| (35 mm prints)| (35 mm magnetic prints)

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Mary Tyler Moore said that she always thinks of the tap dancing scene in this film whenever she sees an elevator. See more »

Goofs

When Muzzy is flying through the air after being shot from a cannon. She has on a silver colored suit and helmet. After she lands on the stage the suit and helmet are both gold colored. See more »

Quotes

Muzzy Van Hossmere: [seeing Millie in tears] Oh! Moderns don't cry.
Millie Dillmount: No. No, of course not.
Muzzy Van Hossmere: Now Millie, I must apologize for my guest. Judith is a rude and spoiled young lady. You must not let her upset you.
Millie Dillmount: Oh Muzzy, I'm so mixed up, so confused. It's not only Miss Tremaine, though she did read me right. I am a working girl, and a boob.
Muzzy Van Hossmere: Well, there's certainly nothing wrong with being a working girl. I was a working girl myself in the chorus, but I wasn't a boob.
Millie Dillmount: No, you married well, and that's exactly my plan, ...
[...]
See more »

Connections

Featured in 18th Annual Screen Actors Guild Awards (2012) See more »

Soundtracks

Baby Face
(uncredited)
Music by Harry Akst
Lyrics by Benny Davis
Sung by Julie Andrews
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

My brief review of the film
1 December 2005 | by (Perth, Australia) – See all my reviews

A crazy but enjoyable parody of the films and fashion trends during the 1920s, it has everything from jazz music to silent movie title cards, and there is a hilarious kidnapping subplot tied in with the main storyline. It is a bit too silly, and plus 130 minutes is a little too long, with a few of the dance routines drawn out, but this is great entertainment otherwise. The title song, costumes and set design all reflect the era very well, the cinematography is excellent, making everything interesting to look at, and some of the editing work and the sound design are great too. The supporting cast adds a lot of flavour to the mix. Beatrice Lillie comes off the best but Jack Soo, Pat Morita, and just about everyone else are close behind. Maybe it is a bit silly, maybe it is overlong, but it is a delight and a compelling film due to its uniqueness and bizarreness.


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