"Thoroughly Modern Millie" is a thoroughly wonderful movie! With stars like Julie Andrews, Carol Channing and Beatrice Lillie, how can you lose?. The answer: You can't! Splendid songs, dances and a sometimes hilarious script blend into top entertainment. Julie Andrews stated she took the role because she didn't have much longer to play ingénue parts. And she couldn't have chosen better. She is perfect as Mllie, the Kansas innocent (with a forgivably British accent) who comes to the Big City (circa 1922) to land a rich husband. At the same time, she meets "Miss" Dorothy Brown (an appealing Mary Tyler Moore), a self-described "rich orphan" out to experience life among the working girls. A chance meeting with Jimmy Smith (James Fox, currently in "Charlie and the Chocolate Factory") leads to a meeting with fabulously wealthy playgirl Muzzy Van Hossmere (Carol Channing) and a series of delightful mishaps. Along the way, Millie becomes enamored of her handsome boss, Trevor Graydon (John Gavin) and learns the REAL occupation of her mysterious landlady, Mrs. Meers (Beatrice Lillie). All of the performers are "just swell", but inevitably, Lillie and Channing (who got an Oscar nomination) stand out, and there is a terrific turn by Cavada Humphrey as a formidable office manager. A typically polished Ross Hunter production, original songs by Sammy Cahn And James Van Heusen, and a musical background of standards by Oscar-winner Elmer Bernstein make this "Thoroughly Irresistible!"
109 Reviews
Patchy in places, but a delightful and underrated musical nonetheless
TheLittleSongbird18 October 2009
I will admit the plot is a little confusing at times, and the last half hour or so is rather silly, but putting all that aside it is a hugely enjoyable and extraordinarily delightful musical. I cannot praise enough the splendid songs, the superb choreography and the funny script. Julie Andrews is perfect as Millie, then again there may be a sense of bias because I love her. I love the angelic quality in her voice and her dazzling stage presence. She is also aided by terrific supporting turns from the lovely Mary Tyler Moore and the dashing James Fox. The scene stealers for me though were Beatrice Lillie and Carol Channing, both of whom were hilarious. Plus Pat Morita as one of the henchmen was inspired casting. The direction is good, there are some priceless moments, like the dancing in the elevator to make it work. Thoroughly Modern Millie has its flaws, but I do think it is a delightful film, and an underrated one too. A solid 8/10 from me. Bethany Cox
My brief review of the film
sol-1 December 2005
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.
fun in spite of itself
emisue027 April 2003
I like this movie because it makes fun of itself. It knows it's silly, irreverant, and totally over the top. That's the point of the movie, and it works. It's completely void of substance-my friend claims to loose brain cells every time she sees it, yet she wants to watch it all the time. It's just plain fun and Julie Andrews (my personal fav) is at her most adorable. Even though in real life she was 31 and the mother of a 4-year-old, she's totally convincing as Millie. It does drag sometimes, but it's still a darling musical that's just full of fun-exactly how it's intended to be.
A Showcase for Julie
dweck1 February 1999
Hard for me to be objective, here, since I've been madly in love with Julie Andrews since being first exposed to her crystalline voice when I was three.
But I'll try: "Millie's" first half is, to quote the screenplay, "Delish," with Andrews vamping and camping throughout. I am unable to take my eyes off her as she clowns, flirts, cavorts, and also sings and dances (getting her hotel elevator to work results in a showstopper). The vehicle--a pastiche of 1920s conventions (including "moderns") and filmgoing techniques (including iris-outs and title cards)--is the frothy light story of a British import who comes to America and finds true love.
The second half gets bogged down in the overwrought script, with all the machinations of a white slavery plot and a pair of "inscrutible" Orientals who, in this day and age of racial sensitivity, get far worse than they deserve.
Some history: Ross Hunter, the producer, wanted to film "The Boy Friend," the Broadway musical that had introduced Andrews to the U.S. stage. When the rights were unavailable, he devised his own script, using the same setting--the 1920s. A "small" musical evolved.
Then Julie's star went through the stratosphere. And the Universal "suits," smelling another payday, insisted that the movie be a road-show presentation--with a road-show running time(and at which road-show prices could be charged). Little "Millie" had an intermission added, and her running time was increased considerably.
The movie's still a lot of fun and definitely recommendable (especially to Andrews fans), but let's just say that, at times, it more than shows its stretchmarks!
But I'll try: "Millie's" first half is, to quote the screenplay, "Delish," with Andrews vamping and camping throughout. I am unable to take my eyes off her as she clowns, flirts, cavorts, and also sings and dances (getting her hotel elevator to work results in a showstopper). The vehicle--a pastiche of 1920s conventions (including "moderns") and filmgoing techniques (including iris-outs and title cards)--is the frothy light story of a British import who comes to America and finds true love.
The second half gets bogged down in the overwrought script, with all the machinations of a white slavery plot and a pair of "inscrutible" Orientals who, in this day and age of racial sensitivity, get far worse than they deserve.
Some history: Ross Hunter, the producer, wanted to film "The Boy Friend," the Broadway musical that had introduced Andrews to the U.S. stage. When the rights were unavailable, he devised his own script, using the same setting--the 1920s. A "small" musical evolved.
Then Julie's star went through the stratosphere. And the Universal "suits," smelling another payday, insisted that the movie be a road-show presentation--with a road-show running time(and at which road-show prices could be charged). Little "Millie" had an intermission added, and her running time was increased considerably.
The movie's still a lot of fun and definitely recommendable (especially to Andrews fans), but let's just say that, at times, it more than shows its stretchmarks!
This is an AWESOME movie
popsicle_4659 April 2005
Julie Andrews really shines in this twisted-up romance. She stars as the young, pretty Millie Dillmount, who came to New York, intent on becoming a "modern" and marrying her boss, as was the 'cool' thing to do. She at last finds the 'perfect' boss, a handsome young man named Trevor Graydon. Despite her attempts to suggest her love to him subtly, he doesn't seem to be taking the hint. Along comes Jimmy, too, an irrepressible, lovable paper-clip salesman, who's got his heart set on Millie. Millie tries to stay away from Jimmy and get Mr. Graydon to notice her, going to drastic measures to do so, and all the time while Millie is chasing Mr. Graydon, Jimmy is chasing Millie, and on top of that, Miss Dorothy, Millie's best friend, appears to be chasing both men. In the end, wild and crazy "jazz baby" Muzzy is needed to clear the air and match up lovers once and for all. With an upbeat air and a peppery score, along with Millie's realistic problems and the strange behavior of the housemother, this is definitely a ten on my list.
An enjoyable family film that balances slapstick with surrealism
allansluis22 March 2004
If you got to see this film when you were six like I did, you pleasantly discover that viewing it at 33 is still a lot of fun. In many ways it's better- contrary to most films you remember enjoying as a kid. Even though my nostalgic memories of this movie included some mildly scary imagery, when I view it now it still has impact but from a more humorous standpoint. I must also add on a more base level that Julie Andrews level of attractiveness is on par with her considerable talent. An interesting observation particularly since I remember being more attracted to Mary Tyler Moore when I was a kid and barely noticed Julie. The director's intention no doubt. Digressions aside, this movie is an ideal choice for a family movie night. Although it has aspects that are not as culturally sensitive as some may like, these details are not intended to be malicious but are included as contrast devices. Particularly for 1967. Do yourself a favor and rent or purchase the DVD. A widescreen treat that will get your feet tapping. The child and the middle aged man in me must both give this film a 9 out of 10.
Sweet, Cute, Lots Of Fun
angel12124815 February 2005
A brilliant musical offering well worth watching. Whether you like it or not all depends on taste; If you're like me and could watch and listen to Julie Andrews forever, it's for you. The rest of the cast is also fantastic, with Mary Tyler Moore as sweet Miss Dorothy and Beatrice Lillie as the hilarious Mrs Meers, and how could we forget Carol Channing as the fabulous Muzzy? Many people seem to have negative views on this movie; To others, it's great. If you're looking for deep, meaningful and heavy stuff, this probably isn't the movie for you. If you're looking for light, fluffy fun, come and bask in the glory of "Thoroughly Modern Millie"!
screwball musical
SnoopyStyle30 December 2017
It's 1922 New York City. Millie Dillmount (Julie Andrews) decides to start following the thoroughly modern trends. She is staying at the Priscilla Hotel for Single Young Ladies run by Mrs. Meers. Naive new arrival Miss Dorothy Brown (Mary Tyler Moore) is an upper class orphan from California looking to be a stage actress. Meers and her Chinamen are actually white slavers. Her next target is Dorothy. Millie has a fling with paper clip salesman Jimmy Smith. The girls meet Jimmy's friend eccentric widower performer Muzzy Van Hossmere (Carol Channing). Millie gets a job working for Trevor Graydon of the Sincere Trust Insurance Company. Unwilling to pursue the carefree Jimmy, Millie pursues Trevor instead but she's too modern for him. He's looking to marry someone old fashion like Dorothy.
There are issues to overcome. This is a light-hearted spoof musical screwball comedy. The white slavery and menacing Chinamen are meant as throwbacks to old Hollywood but they do come with difficult baggage. The flat chest jokes are more lighter and easier to fit the comedic tone. The music is a mix of new and old. The Harold Lloyd thrills don't really fit. Then there is the awkward takedown of the white slavery ring. The premise just clashes with a light happy screwball comedy and it's kinda racist.
There are issues to overcome. This is a light-hearted spoof musical screwball comedy. The white slavery and menacing Chinamen are meant as throwbacks to old Hollywood but they do come with difficult baggage. The flat chest jokes are more lighter and easier to fit the comedic tone. The music is a mix of new and old. The Harold Lloyd thrills don't really fit. Then there is the awkward takedown of the white slavery ring. The premise just clashes with a light happy screwball comedy and it's kinda racist.
Universal musical is wildly inconsistent...
AlsExGal20 August 2017
...except in one respect; Elmer Bernstein's Oscar winning score carries the film, from its title song, to Carol Channing's "I'm A Jazz Baby" number, through the film's slow/irritating/self-consciously "Cute" spots.
Director George Roy Hill has to be given credit; he attempted a spoof of early silent movies, with effects like wipes, title cards, and visuals like using pastels for most of the colors, especially Mary Tyler Moore's outfits. He does an extended riff on Harold Lloyd's "Safety Last" (1923), which is funny and effective. Sometimes he is off by a decade or so, though. For example, when the secondary pair of lovers first meet, they duet to "Ah, Sweet Mystery of Life", which is amusing, but thirteen years early (film is set in 1922). Each character spoofs a type.
Julie Andrews is the perky heroine. Her parody is right on target, and her singing and dancing are also near perfect. I found Mary Tyler Moore irritatingly helpless, until I recognized her type was the helpless rich girl who never does anything for herself. Then, I was able to appreciate her performance. James Fox was enjoyable in his role; I didn't know he could sing. John Gavin, as Millie's boss, must have been directed to act as wooden as humanly possible; again, I didn't know he could sing.
This was one of the last 1960's "Roadshow" musicals to make a profit. It has a wonderful musical score, but an uneven script and too many "cutesy" moments offset that strength. Still, it is more than worth seeing if it comes your way.
Director George Roy Hill has to be given credit; he attempted a spoof of early silent movies, with effects like wipes, title cards, and visuals like using pastels for most of the colors, especially Mary Tyler Moore's outfits. He does an extended riff on Harold Lloyd's "Safety Last" (1923), which is funny and effective. Sometimes he is off by a decade or so, though. For example, when the secondary pair of lovers first meet, they duet to "Ah, Sweet Mystery of Life", which is amusing, but thirteen years early (film is set in 1922). Each character spoofs a type.
Julie Andrews is the perky heroine. Her parody is right on target, and her singing and dancing are also near perfect. I found Mary Tyler Moore irritatingly helpless, until I recognized her type was the helpless rich girl who never does anything for herself. Then, I was able to appreciate her performance. James Fox was enjoyable in his role; I didn't know he could sing. John Gavin, as Millie's boss, must have been directed to act as wooden as humanly possible; again, I didn't know he could sing.
This was one of the last 1960's "Roadshow" musicals to make a profit. It has a wonderful musical score, but an uneven script and too many "cutesy" moments offset that strength. Still, it is more than worth seeing if it comes your way.
Fun fun fun
rps-225 January 2013
This is one my favourite movies of all time so I was DEE-lighted to see that Turner Classic had programmed it. I had my DVD recorder churning away and my eyes glued to my flat screen TV. 1967 is a long time ago. There were no flat screen TV's or DVD's in those days. Not even any Turner Classic Movies or home satellite dishes. Yet this movie is as relevant and as much fun now as it was then. Silly, extravagant, over the top and who cares that some of the buildings and the cars in the shots were wrong because Julie Andrews, Mary Tyler Moore and Jamie Fox are so right! As were Beatrice Lillie and Carol Channing. Whadda cast!!! There is a boisterous, tongue in cheek, satirical,refreshing energy that pervades every scene. Even the nasty business of white slavery is made a basic part of the plot without in any way trivializing the problem although I wonder if the producers would get away with their oriental stereotypes had the film been made today. No message, No serious stuff. No humping scenes or gun battles.Not even any F words! Just a lot of laughs and a lot of great toe tapping twenties music.
lovely
Kirpianuscus8 March 2017
a spectacular film. for each performance. for seductive story. for the old fashion mix of comedy, romance and crime. for the young and charming James Fox, for adorable Carol Channing and Beatrice Lillie, for the work of John Gavin and, sure, for Jilie Andrews. a film who has the great virtue to be an oasis. because it preserves the flavors of periods and the joy to see a kind of cinema who seems be, for decades, lost. a sunny cinema, charming, seductive, using cultural references - the apple of Mrs M . as simple example -, with actors who use a form of aura in acting , remembering legends and transforming the viewer in part of story. a film out of political correctness rules. and fresh , yet. again and again.
Thoroughly Darling Film
gkeith_16 October 2016
Warning: Spoilers
Spoilers ahead:
I am giving this film a 10. It is totally delightful. I feel that all of the actors did excellent jobs. I always love song and dance movies, as you well know.
Some of my observations: I thought Jimmy with his red roadster would really be the owner of the insurance company. That did not quite happen. He wasn't really into paper clips so much as being an executive of a steel company. He was even the stepson of Muzzy, that madcap character portrayed by that wonderful Carol Channing.
Beatrice Lillie did an excellent job. She had perfect timing. I especially liked her old fashioned shoes, as well as her quirky hairstyle. I was wondering who would get even with her near the end, and it was none other than Muzzy with her rope tricks.
Julie Andrews and Mary Tyler Moore were excellent, in their costuming as well as their dancing in the elevator.
James Fox and John Gavin were wonderful. They did great acting jobs in this film, in my opinion.
10/10
Applause.
Smashing. Wonderful.
I am giving this film a 10. It is totally delightful. I feel that all of the actors did excellent jobs. I always love song and dance movies, as you well know.
Some of my observations: I thought Jimmy with his red roadster would really be the owner of the insurance company. That did not quite happen. He wasn't really into paper clips so much as being an executive of a steel company. He was even the stepson of Muzzy, that madcap character portrayed by that wonderful Carol Channing.
Beatrice Lillie did an excellent job. She had perfect timing. I especially liked her old fashioned shoes, as well as her quirky hairstyle. I was wondering who would get even with her near the end, and it was none other than Muzzy with her rope tricks.
Julie Andrews and Mary Tyler Moore were excellent, in their costuming as well as their dancing in the elevator.
James Fox and John Gavin were wonderful. They did great acting jobs in this film, in my opinion.
10/10
Applause.
Smashing. Wonderful.
What A Funny Movie
Guitar-830 May 2005
Sad to learn that this was Beatrice Lillie's final movie. But her henchman assistants had better things ahead. Oriental #1 would go on to the 12th Precinct (Jack Soo-Barney Miller) while Oriental #2 would go on to own Arnold's in Milwaukee and help Daniel LaRusso become a karate kid (Pat Morita).
One of my favorite running gags of the movie is the elevator where you have to dance to get it going. Julie Andrews, Mary Tyler Moore and Beatrice Lillie had to dance. Even Pat Morita and Jack Soo danced to the tune of "Japanese Sandman". The last time I ever heard "Japanese Sandman" was the theme to an old local TV farm report show in Houston, Texas (Dewey Compton).
One of my favorite running gags of the movie is the elevator where you have to dance to get it going. Julie Andrews, Mary Tyler Moore and Beatrice Lillie had to dance. Even Pat Morita and Jack Soo danced to the tune of "Japanese Sandman". The last time I ever heard "Japanese Sandman" was the theme to an old local TV farm report show in Houston, Texas (Dewey Compton).
Depiction of an era long gone!!
dmorse26 January 2005
I remember seeing this movie in college, and was impressed with it at the time; I bought the DVD recently and find it is a wonderful presentation; the colors are vibrant again and the music is well preserved and very listenable especially in surround sound....this version includes a musical intro. intermission music and exit music; unfortunately not any extras, other than the original trailer, but all in all a good package for the price....The twenties era is well portrayed, with the many fashions and fads brought into play and interwoven into the plot of the movie. The leads are all very good, with the exception of Mary Tyler Moore, whose acting is not very on key...Carol Channing is exceptional in the comic part of Muzzy, and there is a twist ending that involves her, which I won't give away to anyone who has not seen the movie....again the music and dancing make the movie with old standards such as Baby Face, Poor Butterfly, Do it again, and on and on with a few new ditties thrown in, by Elmer Bernstein and Andre Previn....this movie was nominated for several awards and one one for music...Enjoy!!
Julie Andrews and Mary Tyler Moore in a blast from the past.
TxMike8 December 2005
Warning: Spoilers
It was the roaring 20s and young, single girls from all corners of the USA came to town to begin their careers. It was the modern woman, able and willing to compete on a man's turf. Julie Andrews stars as Millie Dillmount , recent business school graduate who starts interviewing bosses tomorrow ('I can touch type 40 words per minute and there's a big demand for that.') Her plan is simple -- get a good job and marry her boss, whoever he turns out to be.
As Millie gets to town, she realizes her appearance is thoroughly outdated, with long curly hair, long dresses, and lace-up boots. So she gets a short hair cut, modern shoes, knee length dress, and beads around her neck that won't quite hang right, because her chest is a bit too well-developed. She becomes thoroughly modern, the meaning of the movie's title.
The subplot is revealed at the very beginning, as we see the house mother Mrs Meers, in this hotel for fine single girls, unlocking a room and using chloroform to subdue and kidnap a young tenant, who happens to not have any other family. Meers is part of a scheme to sell young girls into the white slavery market. One of her assistants is a young Pat Morita (who recently died) as a Chinaman. Millie will not suffer such a fate, because we learn early that she has a great extended family and she gets mail every day, so kidnapping her would be too big a risk.
Not so for orphan Miss Dorothy Brown (Mary Tyler Moore), who moves in as the movie begins. Millie and Dorothy become fast friends and the movie develops with parallel plots -- the girls getting into their work lives and love lives, while helping to expose the white slavery ring. The movie also features Carol Channing at the height of her career.
I had seen this movie many years ago (maybe 35??) and the only thing I had remembered, and it stuck in my head, was the scene where Millie and Dorothy had to tap dance in the old elevator to keep it moving all the way up to their 12th floor rooms. There is just something very charming about that, every time they get into the elevator they knew that they had to tap dance their way to the top.
As Millie gets to town, she realizes her appearance is thoroughly outdated, with long curly hair, long dresses, and lace-up boots. So she gets a short hair cut, modern shoes, knee length dress, and beads around her neck that won't quite hang right, because her chest is a bit too well-developed. She becomes thoroughly modern, the meaning of the movie's title.
The subplot is revealed at the very beginning, as we see the house mother Mrs Meers, in this hotel for fine single girls, unlocking a room and using chloroform to subdue and kidnap a young tenant, who happens to not have any other family. Meers is part of a scheme to sell young girls into the white slavery market. One of her assistants is a young Pat Morita (who recently died) as a Chinaman. Millie will not suffer such a fate, because we learn early that she has a great extended family and she gets mail every day, so kidnapping her would be too big a risk.
Not so for orphan Miss Dorothy Brown (Mary Tyler Moore), who moves in as the movie begins. Millie and Dorothy become fast friends and the movie develops with parallel plots -- the girls getting into their work lives and love lives, while helping to expose the white slavery ring. The movie also features Carol Channing at the height of her career.
I had seen this movie many years ago (maybe 35??) and the only thing I had remembered, and it stuck in my head, was the scene where Millie and Dorothy had to tap dance in the old elevator to keep it moving all the way up to their 12th floor rooms. There is just something very charming about that, every time they get into the elevator they knew that they had to tap dance their way to the top.
Watch it for Dame Julie if nothing else.
adamjohns-4257526 June 2021
I do like this film, it is good fun, the type that only Dame Julie can bring. It doesn't wow me and it doesn't stand out as such, because films like 'Mary Poppins', 'Snow White & The Seven Dwarves' and others of that time just have that one more X Factor.
Julie is superb in her role of course and so effortless in her timing and performance. I was surprised to realise though that Jimmy was played by James Fox. I'd never have thought that at all until I read it on IMDB this time around. He does a good job too and I can see what she meant about his eyes, but I'm definitely more of a John Gavin kind of guy. What a man.
Also, I've always thought that Carol Channing's character was a young man in drag. She's great fun, but very boy-ish.
The story is a bit long winded and I did find myself reaching for the games apps on my phone at times, but there are also some moments of pure genius in this film.
I love the cutaways to the silent movie placards and the lift scenes were brilliant. It's not a bad tale, just a bit timely.
Full of enjoyable moments and jokes and John Gavin's beautiful smile. It's definitely worth a watch every now and then.
Julie is superb in her role of course and so effortless in her timing and performance. I was surprised to realise though that Jimmy was played by James Fox. I'd never have thought that at all until I read it on IMDB this time around. He does a good job too and I can see what she meant about his eyes, but I'm definitely more of a John Gavin kind of guy. What a man.
Also, I've always thought that Carol Channing's character was a young man in drag. She's great fun, but very boy-ish.
The story is a bit long winded and I did find myself reaching for the games apps on my phone at times, but there are also some moments of pure genius in this film.
I love the cutaways to the silent movie placards and the lift scenes were brilliant. It's not a bad tale, just a bit timely.
Full of enjoyable moments and jokes and John Gavin's beautiful smile. It's definitely worth a watch every now and then.
Watch out for that laundry basket!
moonspinner5528 October 2017
Roaring '20s musical is a fun, eager-to-please live-action cartoon with satire and slapstick. Julie Andrews plays a small town lass who has moved to New York City to land a steno job with an unmarried boss for her to conquer; Mary Tyler Moore is her timid new friend at the all-girl boarding house; Beatrice Lillie is their shady housemother; and Carol Channing (in an outrageous performance that must be seen to be believed) is a wealthy, swinging do-gooder. Tongue-in-cheek production from Ross Hunter and director George Roy Hill, inspired by the Broadway show "The Boy Friend", offers Julie Andrews one of her best film roles; whether dancing like a trouper to keep her elevator in motion or addressing the camera à la the silent movie era, Andrews is so loose and charming she even gets laughs crossing the street. There are a few slip-ups: the Jewish wedding sequence sticks out as an artifice, Moore's listlessly girlish performance is all on one note, and the Harold Lloyd-inspired comic ballet (with Julie falling out of a high-rise window) is too broad and silly. Nominated for seven Academy Awards, "Millie" picked up one Oscar for Elmer Bernstein's score (the smashing costume designs by Jean Louis probably should have won also). Overlong, and with a drab Universal backlot appearance, the film is nevertheless "delish!" Engaging, high-spirited fluff. *** from ****
This Is What They Make You Watch in Hell
evanston_dad29 April 2005
I was going to give this movie 1 star until I realized that I gave "Moulin Rouge" that ranking, and I can't possibly hate a movie as much as that one. You might think from my ratings of these two movie musicals that I don't like movie musicals. Not so. I like GOOD movie musicals, not stinky ones like this. I wish I could have been a fly on the wall when the powers that be sat around the table planning this one. There must have been a lot of acid in that conference room.
If this movie had ended at intermission, it wouldn't have been so bad. As it is, this one is deadly, and it doesn't help that it comes in at a ass-numbing 2 1/2 hours. No one, but no one comes out the better for having been involved with this movie. Let's just start with Julie Andrews, since she is the star of the show. She's completely miscast, and about 15 years too old for the part. She does her best to make something of this mess, but too frequently simply gives up and resorts to playing her part like Maria from "The Sound of Music" (a movie musical I liked, by the way).
James Fox, who plays her love interest, is almost unbearably mannered in his performance, with a full repertoire of facial contortions and nervous tics that will send you to the kitchen for countless refills of popcorn, long after the popcorn is gone.
Mary Tyler Moore is simply dreadful in the most thankless role ever put to screen. I was going to chalk her disastrous performance up to being a novice, but then I remembered that she had already been in the "Dick Van Dyke Show" and was starring in "The Mary Tyler Moore Show" even as this film was released, so she has no excuse for being rotten.
Beatrice Lillie as the villianess might have been funny if she was given anything funny to do.
Carol Channing is Carol Channing, weird and hyper. However, she alone of the cast seems to know what the hell she's doing, and any scene involving her ends up being a highlight of the film.
I don't know why they decided to make this a musical. Musicals were gasping for breath by 1967 anyway; for every "My Fair Lady" or "The Sound of Music," there was a "Doctor Dolittle" and "Camelot." The music in "Millie" seems added on as an afterthought, since hardly any of the songs have anything to do with the plot, and director George Roy Hill couldn't direct a musical number if his life depended on it.
Speaking of Hill, I'll save my last comments for him. He's all wrong for this film. I'm assuming the movie was intended to be a satirical send-up of 20's silent melodramas, since it comes complete with reaction shots aimed directly at the camera and title cards elaborating on characters' emotions. But if that's so, why does Hill set everything to such a plodding pace? The thing staggers along like a rabid dog before finally collapsing under the weight of its inanity. One wishes Atticus Finch would emerge from behind a tree and put this particular rabid dog (and the audience) out of its misery.
You know what the most memorable thing about this movie is? The title song. You'll be singing it for days and days and days and days afterwards. Enjoy.
Grade: D- (because only "Moulin Rouge" is entitled to a grade of F)
If this movie had ended at intermission, it wouldn't have been so bad. As it is, this one is deadly, and it doesn't help that it comes in at a ass-numbing 2 1/2 hours. No one, but no one comes out the better for having been involved with this movie. Let's just start with Julie Andrews, since she is the star of the show. She's completely miscast, and about 15 years too old for the part. She does her best to make something of this mess, but too frequently simply gives up and resorts to playing her part like Maria from "The Sound of Music" (a movie musical I liked, by the way).
James Fox, who plays her love interest, is almost unbearably mannered in his performance, with a full repertoire of facial contortions and nervous tics that will send you to the kitchen for countless refills of popcorn, long after the popcorn is gone.
Mary Tyler Moore is simply dreadful in the most thankless role ever put to screen. I was going to chalk her disastrous performance up to being a novice, but then I remembered that she had already been in the "Dick Van Dyke Show" and was starring in "The Mary Tyler Moore Show" even as this film was released, so she has no excuse for being rotten.
Beatrice Lillie as the villianess might have been funny if she was given anything funny to do.
Carol Channing is Carol Channing, weird and hyper. However, she alone of the cast seems to know what the hell she's doing, and any scene involving her ends up being a highlight of the film.
I don't know why they decided to make this a musical. Musicals were gasping for breath by 1967 anyway; for every "My Fair Lady" or "The Sound of Music," there was a "Doctor Dolittle" and "Camelot." The music in "Millie" seems added on as an afterthought, since hardly any of the songs have anything to do with the plot, and director George Roy Hill couldn't direct a musical number if his life depended on it.
Speaking of Hill, I'll save my last comments for him. He's all wrong for this film. I'm assuming the movie was intended to be a satirical send-up of 20's silent melodramas, since it comes complete with reaction shots aimed directly at the camera and title cards elaborating on characters' emotions. But if that's so, why does Hill set everything to such a plodding pace? The thing staggers along like a rabid dog before finally collapsing under the weight of its inanity. One wishes Atticus Finch would emerge from behind a tree and put this particular rabid dog (and the audience) out of its misery.
You know what the most memorable thing about this movie is? The title song. You'll be singing it for days and days and days and days afterwards. Enjoy.
Grade: D- (because only "Moulin Rouge" is entitled to a grade of F)
Just horrendous
preppy-326 February 2010
This "musiclal" takes place in 1922. Millie (Julie Andrews) comes to the big city to meet a man and get married. She runs into beautiful if feather-brained Dorothy (Mary Tyler Moore--seriously), a strange landlady (Beatrice Lillie), the "charming" Jimmy Smith (James Fox), her dashing boss (John Gavin) and rich Muzzy (Carol Channing) who yells "rasberries" for no apparent reason. Trust me, it's even worse than it sounds!
Now I like everybody in the cast and the film looks great in terms of fashion and set design...but it's a chore to sit through. I was "lucky" enough to see the 153 minute roadshow version and I had trouble staying awake! The script is virtually nonexistent and throws in everything they can think of...including white slavery! The acting varies. Andrews is good but Moore seems bewildered, Fox looks desperate, Gavin is wooden (to say the least) and Channing is so ON she's downright frightening. There are far too many songs and dances and not one of them is memorable. For no particular reason there's an elevator in this movie that won't operate...until people tap dance! This leads to a llooonnnnggg number where Andrews and Moore have to tap dance to get to their floor! To make things worse these "amusing" cards pop up (like in silent movies) to tell us what Millie is thinking. Too bad that none of them are fun. The final nail was the script. It's full of horrible lines and "jokes" that are just downright painful to listen to! I rolled my eyes and groaned more than once. I had to struggle to stay awake through this one. The bad lines, acting and musical numbers are deadening. This only gets a 2 because I like Andrews and Moore and Andrews puts her all into the singing numbers that are far beneath her talents. If you must watch have your finger close to the fast forward! Just dreadful.
Now I like everybody in the cast and the film looks great in terms of fashion and set design...but it's a chore to sit through. I was "lucky" enough to see the 153 minute roadshow version and I had trouble staying awake! The script is virtually nonexistent and throws in everything they can think of...including white slavery! The acting varies. Andrews is good but Moore seems bewildered, Fox looks desperate, Gavin is wooden (to say the least) and Channing is so ON she's downright frightening. There are far too many songs and dances and not one of them is memorable. For no particular reason there's an elevator in this movie that won't operate...until people tap dance! This leads to a llooonnnnggg number where Andrews and Moore have to tap dance to get to their floor! To make things worse these "amusing" cards pop up (like in silent movies) to tell us what Millie is thinking. Too bad that none of them are fun. The final nail was the script. It's full of horrible lines and "jokes" that are just downright painful to listen to! I rolled my eyes and groaned more than once. I had to struggle to stay awake through this one. The bad lines, acting and musical numbers are deadening. This only gets a 2 because I like Andrews and Moore and Andrews puts her all into the singing numbers that are far beneath her talents. If you must watch have your finger close to the fast forward! Just dreadful.
Thoroughly Muddled Millie!
brefane13 March 2009
Along with Star!(68 and Darling Lili(70) this elephantine musical spoof was the death knell for movie musicals and Julie Anndrews' film career. Though Andrews is charming, looks great and is in good voice, the rest of the cast works too hard to little effect, and the leading men recede into the background. In addition, Mary Tyler Moore seems uncomfortable; her smile seems pained and forced, and she and Andrews are a bit too mature for their roles. Carol Channing is a raving, grinning albino who appears ready to devour everyone and everything in sight. She should have devoured the film and crapped out a better one. Channing received an Osacr nod for supporting actress. The script is a bizarre mishmash seemingly written by someone suffering from ADD. George Roy Hill who directed the excellent and undervalued Slaughterhouse-Fine(72) as well as the overrated Butch Cassidy and the Sundance Kid(69) and The Sting(73)seems out of his element here though no one could really do much with what he had to work with. 1967 produced two other expensive musical duds: Dr. Dolittle and Camelot. How to Succeed in Business without Really Trying released the same year is far more diverting. Watch that instead.
one hundred percent sap
onepotato211 May 2008
Warning: Spoilers
If you need proof that the universe is screwy, Rotten Tomatoes ranks this with one hundred percent favorable reviews. Let me further inform you that 'Casablanca' and '2001' don't even get one hundred percent! But somehow this silly, creaky, antiquated piece of cornball receives all raves..? Anyone with sense organs (or taste, technically it's rotten) will not be able to endure this twee movie, let alone recommend it. It's an over-produced trifle which is underwritten, but it hands twenty minutes at a time over to very tired gags. You can see that any scene that wasn't sufficiently cute was dumped. This resistance to anything but shallow, teflon conceits becomes quite off-putting, and you can feel your brain slowly dying from lack of use. Before the halfway point, it's awful, and then Carol Channing arrives and takes the endeavor to the upper levels of annoyance. Andrews has never been my cup of tea.
This is god-awful sap. All copies of it should be stockpiled and fired from cannons at the enemy.
This is god-awful sap. All copies of it should be stockpiled and fired from cannons at the enemy.
Lots of fun
BandSAboutMovies31 July 2021
Warning: Spoilers
Millie Dillmount (Julie Andrews) has a goal. Work as a stenographer to a rich man and become his wife. She becomes friends with the naive Miss Dorothy Brown (Mary Tyler Moore) as she checks into the Priscilla Hotel, which has a secret: the house mother Mrs. Meers (Beatrice Lillie) find girls with no family or friends and then sells them into servitude.
Yes, this is a musical romantic comedy.
One night at the Friendship Dance in the Dining Hall, Millie makes the acquaintance of paper clip salesman Jimmy Smith (James Fox, who somehow is in both this movie and Performance). Sure, he seems nice, but she has a plan to be Mrs. Trevor Graydon (John Gavin). There's some tension because Millie thinks Jimmy is in love with Miss Dorothy, but she doesn't know the whole story. And she's even more hurt with Trevor marries Miss Dorothy leaving her all alone.
Before Trevor can marry his love, she's kidnapped by Jack Soo and Pat Morita, who play Chinese white slavers*, which again seems way too dark for a bubbly musical that has Carol Channing as an eccentric rich woman. But it's Channing who saves the day, rescuing everyone before she reveals that - spoiler warning for a 54 year old movie - Jimmy and Miss Dorothy are actually millionaire siblings and that she's their stepmother. She's sent them off to find people who love them for who they are, not how rich they are.
This is probably Becca's favorite movie of all time. I asked her for a quote and she said, "One of the greatest movies of our times."
*They're Japanese, but it would take this entire website to explain how racist Hollywood was. And is, to be perfectly honest.
Yes, this is a musical romantic comedy.
One night at the Friendship Dance in the Dining Hall, Millie makes the acquaintance of paper clip salesman Jimmy Smith (James Fox, who somehow is in both this movie and Performance). Sure, he seems nice, but she has a plan to be Mrs. Trevor Graydon (John Gavin). There's some tension because Millie thinks Jimmy is in love with Miss Dorothy, but she doesn't know the whole story. And she's even more hurt with Trevor marries Miss Dorothy leaving her all alone.
Before Trevor can marry his love, she's kidnapped by Jack Soo and Pat Morita, who play Chinese white slavers*, which again seems way too dark for a bubbly musical that has Carol Channing as an eccentric rich woman. But it's Channing who saves the day, rescuing everyone before she reveals that - spoiler warning for a 54 year old movie - Jimmy and Miss Dorothy are actually millionaire siblings and that she's their stepmother. She's sent them off to find people who love them for who they are, not how rich they are.
This is probably Becca's favorite movie of all time. I asked her for a quote and she said, "One of the greatest movies of our times."
*They're Japanese, but it would take this entire website to explain how racist Hollywood was. And is, to be perfectly honest.
Good fun
grantss10 February 2024
1922. Millie Dillmount moves to New York with two aims: getting a job as a stenographer and marrying her boss (whoever that may turn out to be). She sharpens up her image to look more "modern". In her hotel she gets a new neighbour, Miss Dorothy Brown, an aspiring actress. She also meets a man, Jimmy Smith, but their relationship is clearly doomed as she intends to marry her boss. Meanwhile, young, single women are being kidnapped and Miss Dorothy is the next target.
A musical comedy directed by George Roy Hill (The Sting, Butch Cassidy and the Sundance Kid, Slap Shot) and starring Julie Andrews (well, it is a 60s musical so that casting was inevitable). It's quite farcical, but in a good way.
The plot is fairly basic - the romantic machinations and complexities of Millie, her boss, Dorothy and Jimmy - and the attempts of the hotel landlady to kidnap Dorothy. However, the individual scenes and sub-plots are great fun in a random, slapstick sort of way. Moreover, there's a great pace and consistent lack of seriousness to the film, making it far from dull.
Julie Andrews is great as Millie and does get to demonstrate her singing talents. She is ably supported by Mary Tyler Moore as Miss Dorothy, James Fox as Jimmy and John Gavin as Millie's boss.
Stealing the show, however, is Carol Channing as uber-wealthy widow Muzzy Van Hossmere. She absolutely lights up the screen and her scenes lift the fun and frivolity to the next level. Channing deservedly received a Best Supporting Actress Oscar nomination for her efforts.
A musical comedy directed by George Roy Hill (The Sting, Butch Cassidy and the Sundance Kid, Slap Shot) and starring Julie Andrews (well, it is a 60s musical so that casting was inevitable). It's quite farcical, but in a good way.
The plot is fairly basic - the romantic machinations and complexities of Millie, her boss, Dorothy and Jimmy - and the attempts of the hotel landlady to kidnap Dorothy. However, the individual scenes and sub-plots are great fun in a random, slapstick sort of way. Moreover, there's a great pace and consistent lack of seriousness to the film, making it far from dull.
Julie Andrews is great as Millie and does get to demonstrate her singing talents. She is ably supported by Mary Tyler Moore as Miss Dorothy, James Fox as Jimmy and John Gavin as Millie's boss.
Stealing the show, however, is Carol Channing as uber-wealthy widow Muzzy Van Hossmere. She absolutely lights up the screen and her scenes lift the fun and frivolity to the next level. Channing deservedly received a Best Supporting Actress Oscar nomination for her efforts.
Carol Channing Steals the Entire Movie
A_Different_Drummer13 October 2014
Just had a chance to re-watch beginning to end.
What a difference a half-century makes! First Carol Channing steals the whole film, more or less playing the image or persona of Carol Channing that she herself created. She was 46 at the time and shows the energy of someone half her age. She won various awards and nominations and deservedly so. Her performance may be the only thing memorable here.
Reviewers like to talk about whether a film holds up over time? This one most assuredly does not. Lots of star power wasted on a horrendous too-cute-for-words script that goes nowhere.
In the 60s Julie Andrews could do no wrong. In fact, if her entire resume consisted of nothing but Sound of Music and Mary Poppins, she could rest on those laurels. She is wasted here, never connects with the character, and having her boss call her "John" is a weak joke that wears out fast and starts to grate.
Mary Tyler Moore was between the DVD show and her own hit show. Into this lull comes an enormously forgettable performance. "Miss Dorothy" is less than one dimensional, almost a transparent character.
It is sad that the second Act degenerates into a slapstick about (ugh!) white slavery. That detracts from little goodwill was established in the first Act.
What a difference a half-century makes! First Carol Channing steals the whole film, more or less playing the image or persona of Carol Channing that she herself created. She was 46 at the time and shows the energy of someone half her age. She won various awards and nominations and deservedly so. Her performance may be the only thing memorable here.
Reviewers like to talk about whether a film holds up over time? This one most assuredly does not. Lots of star power wasted on a horrendous too-cute-for-words script that goes nowhere.
In the 60s Julie Andrews could do no wrong. In fact, if her entire resume consisted of nothing but Sound of Music and Mary Poppins, she could rest on those laurels. She is wasted here, never connects with the character, and having her boss call her "John" is a weak joke that wears out fast and starts to grate.
Mary Tyler Moore was between the DVD show and her own hit show. Into this lull comes an enormously forgettable performance. "Miss Dorothy" is less than one dimensional, almost a transparent character.
It is sad that the second Act degenerates into a slapstick about (ugh!) white slavery. That detracts from little goodwill was established in the first Act.
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