This 1959 production of "Meet Me in St. Louis" was an MGM film made for a special TV showing on CBS. I have seen the 1944 MGM color original a couple times, but didn't remember having seen or even knowing about this TV film until recently. Because of the cast, I got a DVD. I was interested especially to see Jane Powell, Jeanne Crain, Myrna Loy and Walter Pidgeon in their roles. Even though most of this cast were past their peak years, this film had more star power than the 1944 film had in its day.
Well, this film was just about as good as the original. In some ways it is better, because it's a more realistic picture and feel of family life. The 1944 film was intended to be an extravaganza, so it's more lush in the sets, scenery, musical productions, etc. I like both films, so these remarks will just be to make some more comparisons. Modern audiences are more apt always to go with color, and the splash of the 1944 original is entertaining. The 1959 TV film is somewhat more subdued and seemingly down to earth, and therefore able to be identified with more closely.
This TV film was made with Tab Hunter in the male lead - a popular rising star among the young set. But I don't think his singing is anything special, and his acting isn't any better than Tom Drake's in the original. Judy Garland was 22 for the 1944 film, and at her best and steady singing voice. Jane Powell, on the other hand, was 30 and had matured and changed her looks quite a bit since the string of very good musicals she had made as a teen and younger adult since 1944 through the early 1950s. This story doesn't have an operatic number for Powell to sing, so her singing is in popular style. And, the mature edge in her voice change makes it a bit older for a teenage girl. Judy Garland's voice nails that superbly. Powell also is a little more serious - connoting maturity, in her role, but she also is less childlike.
Mary Astor played many supporting and second lead roles in her long career, and she was quite good as the mother, Mrs. Anna Smith. But I think Myrna Loy has a clear edge on her, and it was a delight to see this actress who had entertained so much with comedies and dramas over the years, now in a combined role of a believable and wise mother and wife. I also liked Walter Pidgeon as the father and husband, Alonzo Smith, and think he may have put a little more spark of conflict in the character than did Leon Ames - who nevertheless, was very good. But Pidgeon's older age, which is more apparent than for many actors, makes him appear many years older than his wife, and a father of a child as young as Tootie.
Two of the cast in the original are unbeatable for the types of characters they play. Harry Davenport as a feisty grandpa was always a delight in any movie he was in. And Marjorie Main, in whatever housekeeper role she had, was always perky and very good with lines to suit her persona. Ed Wynn as grandpa, and Reta Shaw as the maid, Katey, are good in their respective roles in the 1959 TV film - but somewhat less than the originators of the roles.
Esther's sisters were about equal except for the roles of Rose and Tootie Smith. Jeanne Crain's Rose is better in the TV film than was Lucille Bremmer in 1944. And, although the original film had one of the most popular child actors in Hollywood history, seven-year-old Margaret O'Brien in the role of Tootie Smith, I think she was thoroughly topped by Patty Duke in the 1959 film. Duke was 12 at the time, and with her small frame was able to play down to a young girl of 8 or 9 superbly. It may have been as much a flavor of the times too, where Margaret O'Brien plays a somewhat sweeter, more gentle role. But Duke's Tootie is more feisty and probably identifiable to more audiences. Two scenes of hers are especially notable. The first is when she is crying as Esther holds her, and the next is after she has cut her lip and told a fib about how she was hurt.
This remake of the story for a TV special was filmed and broadcast in black and white. Color might have boosted it some, especially by 1959. And the close cropping when people move off the center, especially outside, gives it the somewhat stagy feeling. It does appear to be as it is, a staged play. However good it is, that does impede one's enjoyment of seeing a picture that he or she can imagine being a part of.
Overall, the original film with its color and vibrant musical production has a one-notch advantage over this TV remake. But movie buffs who like many of the stars of the past will also enjoy this later film, and seeing Myrna Loy, Walter Pidgeon, Ed Wynn and Jane Powell in their more matured years.
Here are some fun lines from this film.
Esther Smith, "Grandpa, you know what's so nice about being a part of this family? You!"
Esther, "John, I'm sorry if I hurt you." John Truett, "It's perfectly all right. It's no worse than football practice. Except it's better with a girl."
Esther, "It's very grown of you to accept my apology." John, "Well, if you're not busy tomorrow night could you come over and beat me up again?"
Mrs. Anna Smith, "Come away from the mirror, dear. Nothing's changed since this morning."
Esther, "Grandpa, you're the first human being I've danced with all evening."
Well, this film was just about as good as the original. In some ways it is better, because it's a more realistic picture and feel of family life. The 1944 film was intended to be an extravaganza, so it's more lush in the sets, scenery, musical productions, etc. I like both films, so these remarks will just be to make some more comparisons. Modern audiences are more apt always to go with color, and the splash of the 1944 original is entertaining. The 1959 TV film is somewhat more subdued and seemingly down to earth, and therefore able to be identified with more closely.
This TV film was made with Tab Hunter in the male lead - a popular rising star among the young set. But I don't think his singing is anything special, and his acting isn't any better than Tom Drake's in the original. Judy Garland was 22 for the 1944 film, and at her best and steady singing voice. Jane Powell, on the other hand, was 30 and had matured and changed her looks quite a bit since the string of very good musicals she had made as a teen and younger adult since 1944 through the early 1950s. This story doesn't have an operatic number for Powell to sing, so her singing is in popular style. And, the mature edge in her voice change makes it a bit older for a teenage girl. Judy Garland's voice nails that superbly. Powell also is a little more serious - connoting maturity, in her role, but she also is less childlike.
Mary Astor played many supporting and second lead roles in her long career, and she was quite good as the mother, Mrs. Anna Smith. But I think Myrna Loy has a clear edge on her, and it was a delight to see this actress who had entertained so much with comedies and dramas over the years, now in a combined role of a believable and wise mother and wife. I also liked Walter Pidgeon as the father and husband, Alonzo Smith, and think he may have put a little more spark of conflict in the character than did Leon Ames - who nevertheless, was very good. But Pidgeon's older age, which is more apparent than for many actors, makes him appear many years older than his wife, and a father of a child as young as Tootie.
Two of the cast in the original are unbeatable for the types of characters they play. Harry Davenport as a feisty grandpa was always a delight in any movie he was in. And Marjorie Main, in whatever housekeeper role she had, was always perky and very good with lines to suit her persona. Ed Wynn as grandpa, and Reta Shaw as the maid, Katey, are good in their respective roles in the 1959 TV film - but somewhat less than the originators of the roles.
Esther's sisters were about equal except for the roles of Rose and Tootie Smith. Jeanne Crain's Rose is better in the TV film than was Lucille Bremmer in 1944. And, although the original film had one of the most popular child actors in Hollywood history, seven-year-old Margaret O'Brien in the role of Tootie Smith, I think she was thoroughly topped by Patty Duke in the 1959 film. Duke was 12 at the time, and with her small frame was able to play down to a young girl of 8 or 9 superbly. It may have been as much a flavor of the times too, where Margaret O'Brien plays a somewhat sweeter, more gentle role. But Duke's Tootie is more feisty and probably identifiable to more audiences. Two scenes of hers are especially notable. The first is when she is crying as Esther holds her, and the next is after she has cut her lip and told a fib about how she was hurt.
This remake of the story for a TV special was filmed and broadcast in black and white. Color might have boosted it some, especially by 1959. And the close cropping when people move off the center, especially outside, gives it the somewhat stagy feeling. It does appear to be as it is, a staged play. However good it is, that does impede one's enjoyment of seeing a picture that he or she can imagine being a part of.
Overall, the original film with its color and vibrant musical production has a one-notch advantage over this TV remake. But movie buffs who like many of the stars of the past will also enjoy this later film, and seeing Myrna Loy, Walter Pidgeon, Ed Wynn and Jane Powell in their more matured years.
Here are some fun lines from this film.
Esther Smith, "Grandpa, you know what's so nice about being a part of this family? You!"
Esther, "John, I'm sorry if I hurt you." John Truett, "It's perfectly all right. It's no worse than football practice. Except it's better with a girl."
Esther, "It's very grown of you to accept my apology." John, "Well, if you're not busy tomorrow night could you come over and beat me up again?"
Mrs. Anna Smith, "Come away from the mirror, dear. Nothing's changed since this morning."
Esther, "Grandpa, you're the first human being I've danced with all evening."