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124minutes Australia 6,2 of 10 Star Star=Essie Davis Writed by=Shaun Grant 2489 votes. No creo que pueda tragar esto! 8= 3. He looks so tired here. Im so pissed off about the grudge. Like leave the damn movie alone. it's taking it away from it's urban legend. just like they did with the slender man urban legend. like good lord. Good to see another high quality Australian film. We really do have a pretty decent, if underrated, film industry here. Dear Hollywood, please stop casting Charlie Hunnam. Yall a bunch of cynics, these dont look half bad. Some better than others definitely but the old “all modern movies SUUUUUCK” trope is edgelord bull.

 

Is it the boy from eastenders bens brother. Love George <3.

 

Someone give her a salt block. I mean shes not putting on all that makeup for her health give her something to swallow man.

This type of films are boring lol

I just watched it and it was actually pretty good. To be honest. Hilarious cant wait to watch it😂❤. Would the colony have had an Aussie accent at that point in history. Jesus this guy is painful. Finally someone who really know how to Swallow.

Omg, he did a brilliant job in this movie! Blew me away with his acting. Color Out of Space should have been filmed in Black and White. Is she related to Jennifer Lawrence. Director : ok listen. My Strange Addiction : The Movie IFC : holy shit. I watched this movie and it was amazing. Its about a women who tries to gain control over her life. Nah, She just had iron deficiency anemia. Nicholas Cage actually made me laugh more than anything.

It is extremely hard to take a horror movie trailer seriously if it has “7 Rings” all over it. Badger better hope theres a Breaking Bad reboot because I dont think his comedy movie career is going to takeoff. Oof that was hard to watch. As a fellow Australian, his Australian accent was literally spot on. Wiz Khalifa discography Khalifa performing at the Under the Influence of Music Tour 2012 in Toronto on July 29, 2012 Studio albums 6 Music videos 82 EPs 2 Singles 69 Soundtrack albums 1 Mixtapes 17 Promotional singles 16 Compilation albums 1 Collaborative albums 2 American rapper Wiz Khalifa has released six studio albums, one compilation album, one soundtrack album, two extended play (EP), two collaborative albums, 69 singles (including 37 as a featured artist), sixteen promotional singles, seventeen mixtapes, and 82 music videos. After signing to independent record label Rostrum Records at a young age, Khalifa released his first mixtape Prince of the City: Welcome to Pistolvania, and his first studio album, Show and Prove (2006). [1] Following the release of Show and Prove, Warner Bros. Records signed Khalifa in 2007 as part of a joint deal with Rostrum. At Warner, Khalifa released the singles "Youngin' on His Grind" and " Say Yeah ". The latter became his first song to appear on a Billboard chart, peaking at number 20 on the US Hot Rap Songs. [1] Disagreements with Warner over the release of a purported major-label debut album led Khalifa to departed from the label, and release his second studio album Deal or No Deal in 2009 on Rostrum Records alone. [1] In April 2010, Khalifa released a mixtape, Kush & Orange Juice, which acquired widespread attention after topping Google 's Hot Search Trends list: this brought Khalifa to the attention of Atlantic Records, who promptly signed him. [1] Khalifa's first single for the label, " Black and Yellow ", achieved significant commercial success in the United States, peaking at number one on the US Billboard Hot 100 and also peaking in the top ten of both the Canadian and United Kingdom singles charts. [2] [3] [4] The song was later certified 6x platinum by the Recording Industry Association of America (RIAA) for digital download shipments exceeding 6, 000, 000 copies. [5] The International Hit "Black and Yellow" appeared on Khalifa's first studio album for Atlantic (and third overall), Rolling Papers, which peaked at number two on the US Billboard 200 and was certified gold by the RIAA. [5] Three further singles from Rolling Papers, Billboard Singles " Roll Up ", " On My Level " – a collaboration with fellow rapper Too Short – and " No Sleep " also charted in the United States. [2] In 2011, Khalifa recorded many collaborations with other artists that proved to be commercially successful, including " 5 O'Clock " with T-Pain and Lily Allen, and " Young, Wild & Free " with Snoop Dogg. Both of these songs reached the top 10 of the Billboard Hot 100. [2] In 2012, Khalifa's fourth studio album, O. N. I. F. C., was preceded by the release of the singles " Work Hard, Play Hard " and " Remember You ", which both charted in the top 75 of the Billboard Hot 100. [2] Several other songs from O. C. also charted upon the album's release. "Let It Go" featuring Akon debuted and peaked at number 87 on the Billboard Hot 100. [2] Following the release of "Work Hard, Play Hard", Khalifa collaborated with pop rock band Maroon 5 on the single " Payphone ", which reached number two on the Billboard Hot 100 [2] and entered the top ten of many other national charts, including those of Australia, [6] New Zealand [7] and Switzerland. [8] "Payphone" was particularly successful on the UK Singles Chart, where it became Khalifa's first single to top the chart. [4] Following its release in the United States on December 4, 2012, [9] O. charted at number two on the Billboard 200 and topped both the Top R&B/Hip-Hop Albums and Top Rap Albums charts. [10] [11] [12] Blacc Hollywood followed in 2014 and included the single " We Dem Boyz ", which peaked at number 43 on the Billboard Hot 100. [2] Khalifa, a compilation album composed of songs from 2009 onwards, was released on February 5, 2016 and contained the newly recorded moderate hit single " Bake Sale ". Albums [ edit] Studio albums [ edit] Compilation albums [ edit] Collaborative albums [ edit] Soundtracks [ edit] Mixtapes [ edit] Extended plays [ edit] Singles [ edit] As lead artist [ edit] As featured artist [ edit] Promotional singles [ edit] Other charted songs [ edit] Guest appearances [ edit] Music videos [ edit] Notes [ edit] ^ "Say Yeah" did not enter the Billboard Hot 100, but peaked at number 11 on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "Say Yeah" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number 12 on the Hot R&B/Hip-Hop Songs chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "King of Everything" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number two on the Hot R&B/Hip-Hop Songs chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "Pull Up" did not enter the Billboard Hot 100, but peaked at number 20 on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "Gang Up" did not enter the Billboard Hot 100, but peaked at number 13 on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "Gang Up" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number four on the Bubbling Under R&B/Hip-Hop Singles chart. [50] ^ "Real Rich" did not enter the Billboard Hot 100, but peaked at number 10 on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "Real Rich" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number four on the Bubbling Under R&B/Hip-Hop Singles chart. [50] ^ "Best Night of My Life" did not enter the Billboard Hot 100, but peaked at number eight on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "Till I Die" did not enter the Billboard Hot 100, but peaked at number one on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "Hate Bein' Sober" did not enter the Billboard Hot 100, but peaked at number nine on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "NBA" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number six on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "Reason to Hate" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number eight on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "Party Girls" did not enter the Billboard Hot 100, but peaked at number 13 on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "Taylor Gang" did not enter the Billboard Hot 100, but peaked at number 22 on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "Taylor Gang" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number 18 on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "Fly Solo" did not enter the Billboard Hot 100, but peaked at number 24 on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "Yoko" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number three on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "Smokin' On" did not enter the Billboard Hot 100, but peaked at number 17 on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "Paperbond" did not enter the Billboard Hot 100, but peaked at number 22 on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "The Bluff" did not enter the Billboard Hot 100, but peaked at number five on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "It's Nothin" did not enter the Billboard Hot 100, but peaked at number seven on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "Initiation" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number three on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "Up in It" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number nine on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "The Plan" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number four on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "Bout Me" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number two on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "I'm Still" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number four on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "True Colors" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number nine on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "Hope" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number four on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "Ass Drop" did not enter the Billboard Hot 100, but peaked at number 6 on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "Raw" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number nine on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "iSay" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number two on the Bubbling Under R&B/Hip-Hop Singles chart, which acts as an extension to the Hot R&B/Hip-Hop Songs chart. [50] ^ "Hot Now" did not enter the Billboard Hot 100, but peaked at number four on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100. [49] ^ "Hot Now" did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number one on the Bubbling Under R&B/Hip-Hop Singles chart. [50] References [ edit] ^ a b c d "Wiz Khalifa – Overview". AllMusic. Retrieved July 27, 2012. ^ a b c d e f g h i j k "Wiz Khalifa – Chart History: Hot 100". Billboard. Retrieved July 24, 2018. ^ a b c d e "Wiz Khalifa – Chart History: Billboard Canadian Hot 100". Retrieved July 24, 2018. ^ a b c d Peak chart positions for singles in the United Kingdom: All except "Work Hard, Play Hard", "Remember You", "23" and "Think About It": "Wiz Khalifa" (select "Singles" tab). Official Charts Company. Retrieved May 9, 2012. "Work Hard, Play Hard": Zywietz, Tobias. "Chart Log UK: New Entries Update – 15. 09. 2012 (wk36)".. Tobias Zywietz. Retrieved September 21, 2012. "Remember You": Zywietz, Tobias. 12. 2012 (wk49)".. Retrieved December 15, 2012. "Think About It": "Official Singles Chart UK Top 100 – 7th December 2013". Archived from the original on December 7, 2013. Retrieved December 7, 2013. "Fuck Apologies": "CHART: CLUK Update 06. 08. 2016 (wk31)".. Retrieved August 13, 2016. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af "Gold & Platinum: Wiz Khalifa". Recording Industry Association of America. Retrieved August 25, 2012. ^ a b c Peak chart positions for singles in Australia: All except noted: "Discography Wiz Khalifa".. Hung Medien. Retrieved July 27, 2011. "Roll Up": "The ARIA Report: Issue 1109 (Week Commencing 30 May 2011)" (PDF). Australian Recording Industry Association. p. 2. Retrieved October 11, 2013. "Work Hard, Play Hard": "The ARIA Report: Issue 1164 (Week Commencing 18 June 2012)" (PDF). Retrieved October 11, 2013. "Go Hard or Go Home": Ryan, Gavin (April 18, 2015). "ARIA Singles: Wiz Khalifa and Charlie Puth Remain On Top". Noise11. Retrieved April 18, 2015. ^ a b c "Discography Wiz Khalifa".. Retrieved July 27, 2011. ^ a b c d e "Discography Wiz Khalifa".. Retrieved July 26, 2011. ^ a b Thomas, Fred. " O. – Wiz Khalifa > Overview". Retrieved December 13, 2012. ^ a b c d e f "Wiz Khalifa – Chart History: Billboard 200". Retrieved February 20, 2019. ^ a b c d e f "Wiz Khalifa – Chart History: R&B/Hip-Hop Albums". Retrieved February 20, 2019. ^ a b c d e f "Wiz Khalifa – Chart History: Rap Albums". Retrieved February 20, 2019. ^ a b Peak chart positions for albums in Australia: Rolling Papers: "The ARIA Report: Issue 1106 (Week Commencing 9 May 2011)" (PDF). Retrieved May 20, 2013. O. : "The ARIA Report: Issue 1190 (Week Commencing 17 December 2012)" (PDF). Retrieved May 20, 2013. Blacc Hollywood: "Discography Wiz Khalifa".. Retrieved September 4, 2014. Rolling Papers 2: "ARIA Chart Watch #482". auspOp. July 21, 2018. Retrieved July 21, 2018. ^ a b c "Wiz Khalifa – Chart History: Canadian Albums". Retrieved July 24, 2018. ^ a b c "Discographie Wiz Khalifa". (in French). Retrieved July 26, 2011. ^ a b "Chartverfolgung / Wiz Khalifa / Longplay". (in German). GfK Entertainment. Archived from the original on 2014-12-05. Retrieved December 20, 2012. ^ a b "Discografie Wiz Khalifa". (in Dutch). Retrieved July 26, 2011. ^ a b Peak chart positions for albums in the United Kingdom: All except noted: "Wiz Khalifa" (select "Albums" tab). Retrieved July 21, 2018. O. : Zywietz, Tobias. Retrieved December 15, 2012. ^ a b " Show and Prove – Wiz Khalifa > Overview". Retrieved July 25, 2012. ^ " Deal Or No Deal – Wiz Khalifa > Overview". Retrieved September 25, 2012. ^ Jeffries, David. " Rolling Papers – Wiz Khalifa > Overview". Retrieved September 25, 2012. ^ a b c d e f g h "Gold and Platinum Search (Wiz Khalifa)". Music Canada. Retrieved April 28, 2016. ^ Jeffries, David. " Blacc Hollywood – Wiz Khalifa > Overview". Retrieved August 24, 2014. ^ Jeffries, David. " Mac and Devin Go to High School [Original Motion Picture Soundtrack] – Snoop Dogg, Wiz Khalifa > Overview". Retrieved September 25, 2012. ^ a b Prince of the City: Welcome to Pistolvania (Media notes). Wiz Khalifa. Rostrum Records. 2005. CS1 maint: others ( link) ^ a b Grow Season (Media notes). 2007. CS1 maint: others ( link) ^ a b " Prince of the City 2 – Wiz Khalifa > Overview". Retrieved July 25, 2012. ^ a b Star Power (Media notes). 2008. CS1 maint: others ( link) ^ a b " Flight School – Wiz Khalifa > Overview". Retrieved July 25, 2012. ^ a b Markman, Rob (July 19, 2012). "Curren$y And Wiz Khalifa Celebrate Anniversary With Live In Concert ". MTV News. MTV Networks. Retrieved July 25, 2012. ^ a b Burn After Rolling (Media notes). 2009. CS1 maint: others ( link) ^ a b Roberts, Steven (April 14, 2010). "Wiz Khalifa's Kush And Orange Juice Hits Big On The Internet". Retrieved July 25, 2012. ^ a b "New Music: Wiz Khalifa – 'Cabin Fever' [Mixtape]". Rap-Up. Devin Lazerine. February 17, 2012. Retrieved July 25, 2012. ^ a b "New Music: Wiz Khalifa – 'Taylor Allerdice' [Mixtape]". March 13, 2012. Retrieved July 25, 2012. ^ a b Horowitz, Steven J. (October 15, 2012). "Wiz Khalifa "Cabin Fever" Tracklist & Cover Art". HipHopDX. Cheri Media Group. Archived from the original on October 18, 2012. Retrieved October 15, 2012. ^ Frydenlund, Zach (May 25, 2014). "Stream and Download Wiz Khalifa's "28 Grams" Mixtape". Complex. Complex Media. Retrieved August 24, 2014. ^ Goddard, Kevin (June 3, 2017). "Wiz Khalifa - Pre-Rolleds (Prod. By Sledgren)". HotNewHipHop. Retrieved July 7, 2017. ^ Goddard, Kevin (June 24, 2017). "Wiz Khalifa - Bong Rips EP". Retrieved July 7, 2017. ^ "Wiz Khalifa Laugh Now, Fly Later mixtape". Retrieved October 21, 2017. ^ "Live In Concert – EP by Wiz Khalifa & Curren$y". iTunes Store. Retrieved April 19, 2013. ^ ^ a b c "Wiz Khalifa – Chart History: R&B/Hip-Hop Songs". Retrieved July 24, 2018. ^ a b c "Wiz Khalifa – Chart History: Rap Songs". Retrieved July 24, 2018. ^ a b "Wiz Khalifa (Single)". Retrieved June 3, 2013. ^ a b "Discography Wiz Khalifa".. Retrieved July 27, 2011. ^ "All In My Blood (Pittsburgh Sound) – Single by Wiz Khalifa". Retrieved June 21, 2012. ^ "Youngin On His Grind – Single by Wiz Khalifa". Retrieved June 21, 2012. ^ "Make It Hot – Single by Wiz Khalifa". Retrieved June 21, 2012. ^ a b c d e f g h i j k l m n o "Wiz Khalifa – Chart History: Bubbling Under Hot 100". Retrieved July 24, 2018. ^ a b c d e f g h i j k l m n o p q r s "Wiz Khalifa – Chart History: Bubbling Under R&B/Hip-Hop Songs". Retrieved July 24, 2018. ^ "Ink My Whole Body – Single by Wiz Khalifa". Retrieved June 21, 2012. ^ "Get Sum – Single by Wiz Khalifa". Retrieved July 27, 2012. ^ "Mesmerized – Single by Wiz Khalifa". Retrieved July 27, 2012. ^ a b "ARIA Charts – Accreditations – 2011 Singles". 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" Finally Famous – Big Sean > Overview". Retrieved June 21, 2012. ^ " The White Album – Berner > Overview". Retrieved June 21, 2012. ^ "Game – DJ Skee & Mars Present: Hoodmorning [No Typo]: Candy Coronas". August 1, 2011. Archived from the original on January 25, 2012. Retrieved June 21, 2012. ^ Moore, Jacob (September 28, 2011). "Listen: Neako f/ Wiz Khalifa "Scanners " ". Retrieved June 21, 2012. ^ " Blue Dream & Lean – Juicy J > Overview". Retrieved June 21, 2012. ^ a b "Locke High 2 by Terrace Martin". " Live from the Kitchen – Yo Gotti > Overview". Retrieved June 21, 2012. ^ "Say Hello to Forever (Deluxe Version) by Masspike Miles". Archived from the original on June 15, 2012. " The Stoned Immaculate – Curren$y > Overview". Retrieved June 21, 2012. ^ "Chevy Woods f. Wiz Khalifa & Juicy J – Vice [Prod. Lex Luger]". June 7, 2012. Archived from the original on June 10, 2012. Lola Monroe and Wiz Khalifa – Shine [Prod. Rob Holladay]". June 8, 2012. Archived from the original on June 11, 2012. Wiz Khalifa – Mf'er [Prod. Sonny Digital]". June 9, 2012. Wiz Khalifa – Homerun [Prod. Sledgren]". " Maybach Music Group Presents Self Made, Vol. 2: The Untouchable Empire – Various Artists > Overview". " H. 3 – Prodigy > Overview". Retrieved June 30, 2012. ^ Jeffries, David. " Kiss the Ring – DJ Khaled > Overview". Retrieved August 8, 2012. ^ "Planet VI Drops New Mixtape, The American Nightmare". XXL. Harris Publications. August 28, 2012. Retrieved September 14, 2012. ^ Horowitz, Steven J. (September 6, 2012). "Big Sean "Detroit" Mixtape Download, Stream & Tracklist". Archived from the original on September 7, 2012. Retrieved September 7, 2012. ^ "Boaz f. Wiz Khalifa – Gettin After That Money". September 24, 2012. Archived from the original on October 30, 2013. Retrieved October 29, 2013. ^ Jeffries, David. " Quality Street Music – DJ Drama > Overview". Retrieved September 16, 2012. ^ a b Bustard, Andy (October 2, 2012). "Berner: 'Urban Farmer' (Mixtape)". Prefix Magazine. Retrieved October 6, 2012. ^ a b Thomas, Fred. " Napalm – Xzibit > Overview". Retrieved October 6, 2012. ^ Jeffries, David. " The Man with the Iron Fists [Original Motion Picture Soundtrack] – Original Soundtrack > Overview". Retrieved October 26, 2012. ^ "Tuki Carter f. Wiz Khalifa – Like The Pack". October 26, 2012. Archived from the original on November 8, 2012. Retrieved October 26, 2012. ^ a b Atlantafornication (track listing). Tuki Carter. Taylor Gang Records. 2012. CS1 maint: others ( link) ^ " History: Function Music – E-40, Too Short > Overview". Retrieved October 26, 2012. ^ Guddaville 3 (track listing). Gudda Gudda. Young Money Entertainment. CS1 maint: others ( link) ^ "Juicy J f. Wiz Khalifa – Know Betta". November 2, 2012. Archived from the original on November 4, 2012. Retrieved November 2, 2012. ^ "Juicy J f. Wiz Khalifa, B. B, Lola Monroe & French Montana – Bandz A Make Her Dance Remix". November 14, 2012. Retrieved November 14, 2012. ^ "Iamsu! f. Wiz Khalifa – Goin' Up". Archived from the original on November 16, 2012. Retrieved November 14, 2012. ^ Menace 2 Society Vol. 2 (track listing). Compton Menace. CS1 maint: others ( link) ^ "Ke$ha f. Juicy J, Wiz Khalifa & Becky G – Die Young Remix". November 16, 2012. Archived from the original on November 20, 2012. Retrieved November 14, 2012. ^ Martin, Andrew (November 19, 2012). "Listen: Fashawn f/ Wiz Khalifa "Medicine Man (Drug Free) " ". Retrieved February 9, 2013. ^ Jeffries, David. " Finally Rich – Chief Keef > Overview". Retrieved February 9, 2013. ^ Moore, Jacob (November 19, 2012). "Mixtape Premiere: The Madden Brothers "Before Volume One " ". Retrieved November 11, 2012. ^ Donaldson, Erich (December 30, 2012). "Listen: Berner f/ Wiz Khalifa "Paradise " ". Retrieved December 30, 2012. ^ "Juicy J f. Wiz Khalifa – In the Stars". January 8, 2013. Archived from the original on January 1, 2013. Retrieved January 12, 2013. ^ Horowitz, Steven J. (January 14, 2013). "Project Pat "Cheez N Dope" Mixtape Download & Stream". Archived from the original on January 12, 2013. Retrieved January 9, 2013. ^ Kuperstein, Slava (January 14, 2013). "Juelz Santana "God Will'n" Mixtape Download & Stream". Archived from the original on January 16, 2013. Retrieved January 14, 2013. ^ Horowitz, Steven J. (January 21, 2013). "YG "Just Re'd Up 2" Mixtape Download & Stream". Retrieved January 21, 2013. ^ "Curren$y f. Wiz Khalifa & Rick Ross – Choosin ' ". January 29, 2013. Retrieved January 29, 2013. [ permanent dead link] ^ "Lil Durk f. Wiz Khalifa – Molly Girl Remix". February 6, 2013. Archived from the original on April 11, 2013. Retrieved February 6, 2013. ^ "Gucci Mane & Wiz Khalifa – Nothin On Ya". December 27, 2012. Retrieved January 12, 2013. ^ Gleckman, Alexander (March 10, 2013). "Listen: Compton Menace f/ Wiz Khalifa and The Game "Ain't No Changing Me (Remix)". Retrieved March 10, 2013. ^ "New Music: Fat Joe f/ Wiz Khalifa & Teyana Taylor – 'Ballin ' ". March 18, 2013. Retrieved March 18, 2013. ^ Jeffries, David. " Hotel California – Tyga > Overview". Retrieved April 11, 2013. ^ "Cassie f. Wiz Khalifa – "Paradise " ". April 10, 2013. Archived from the original on May 27, 2013. Retrieved May 14, 2013. ^ Paine, Jake (April 10, 2013). "Big K. "King Remembered In Time" Stream & Download Link". Archived from the original on October 12, 2014. Retrieved April 11, 2013. ^ X, Dharmic (April 20, 2013). "Listen: King Los f/ Wiz Khalifa & Mickey Shiloh "Burn Slow " ". Retrieved May 14, 2013. ^ "King Los f. Wiz Khalifa & Cassie – Weak". April 26, 2013. Archived from the original on May 1, 2013. Retrieved May 14, 2013. ^ "Tuki Carter ft. Wiz Khalifa – She Said". The DJBooth, LLC. May 3, 2013. Retrieved May 14, 2013. ^ Jeffries, David. " Saaab Stories – Action Bronson > Overview". Retrieved June 28, 2013. ^ Kellman, Andy. " Talk a Good Game – Kelly Rowland > Overview". Retrieved June 28, 2013. ^ Jeffries, David. " The Gifted – Wale > Overview". Retrieved June 28, 2013. ^ Ortiz, Edwin (June 12, 2013). "Listen: Rockie Fresh f/ Wiz Khalifa "Kush Do (Remix) " ". Retrieved June 28, 2013. ^ Astillero, Diamante (June 26, 2013). "Problem "The Separation" Mixtape Tracklist, Cover Art". Archived from the original on June 16, 2013. Retrieved June 13, 2013. ^ "Problem f. Wiz Khalifa, Chris Brown, Tyga & Master P – Like Whaaat Remix". June 21, 2013. Archived from the original on June 27, 2013. Retrieved June 28, 2013. ^ "Tech N9ne f. B. B & Wiz Khalifa – See Me". June 26, 2013. Archived from the original on February 21, 2014. Retrieved June 28, 2013. ^ Attia, Amir (June 26, 2013). "Machine Gun Kelly "Black Flag" Tracklist, Download & Mixtape Stream". Archived from the original on June 30, 2013. Retrieved June 28, 2013. ^ Attia, Amir (July 3, 2013). "Ty Dolla $ign "Beach House 2" Cover Art, Tracklist, Download & Mixtape Stream". Archived from the original on July 5, 2013. Retrieved July 6, 2013. ^ "Stranger Than Fiction by Kevin Gates". Retrieved June 28, 2013. ^ "Juicy J f. Wiz Khalifa – Shootin ' ". July 10, 2013. Archived from the original on July 24, 2013. Retrieved August 1, 2013. ^ Attia, Amir (July 17, 2013). "Cory Gunz "Datz WTF I'm Talkin Bout" Tracklist, Download & Mixtape Stream". Archived from the original on July 23, 2013. Retrieved August 1, 2013. ^ "Mally Mall f. Wiz Khalifa, Tyga & Fresh – Bands On It". July 29, 2013. Archived from the original on August 23, 2013. Retrieved August 1, 2013. ^ a b c Jeffries, David. " Stay Trippy [Best Buy Exclusive] – Juicy J > Overview". Retrieved August 1, 2013. ^ "3ChordFold by Terrace Martin". Retrieved August 7, 2013. ^ "Vali f. Wiz Khalifa – Dimes". August 17, 2013. Archived from the original on September 22, 2013. Retrieved September 21, 2013. ^ "Project Pat f. Wiz Khalifa – Chiefin". August 28, 2013. Retrieved September 21, 2013. ^ "DJ Holiday f. Waka Flocka Flame & Wiz Khalifa – Miley". September 3, 2013. Retrieved September 21, 2013. ^ Jeffries, David. " M. – Nelly > Overview". Retrieved October 29, 2013. ^ "Chief Keef f. Wiz Khalifa – Rider [Prod. Young Chop]". October 7, 2013. Archived from the original on November 1, 2013. Retrieved October 29, 2013. ^ "Listen To Grafh & Wiz Khalifa's New Joint "Like Me " ". The Source. L. Londell McMillan. October 11, 2013. Retrieved October 29, 2013. ^ "Trae Tha Truth f. Lil Boss, Wiz Khalifa & Jadakiss – 1 Up". Archived from the original on October 16, 2013. " Suffering from Success – DJ Khaled > Overview". Retrieved October 29, 2013. ^ X, Dharmic (October 22, 2013). "Mixtape: DJ Bay Bay "Bay Bay Day 2013 " ". Retrieved October 29, 2013. ^ Vernon Coleman, C. (October 24, 2013). "Chevy Woods Releases 'Gangland 2' Mixtape". Retrieved October 29, 2013. ^ a b "DJ Whoo Kid Calls On A$AP Ferg, Wiz Khalifa & Problem For "More Champagne " ". November 6, 2013. Retrieved February 16, 2014. ^ a b "Drugstore Cowboy (Deluxe Edition) by Berner". Retrieved February 16, 2014. ^ "Juicy J f. Wiz Khalifa & Trey Songz – Bounce It (Remix)". Cheri Media Grouo. November 21, 2013. Retrieved February 16, 2014. ^ "Dorrough Music f. Wiz Khalifa – La La La". December 2, 2013. Archived from the original on February 1, 2014. Retrieved February 16, 2014. ^ Diep, Eric (December 2, 2013). "Jhené Aiko Featuring Wiz Khalifa "The Vapors (Remix) " ". Retrieved February 16, 2014. ^ Baker, Soren (December 23, 2013). "Mill WiLL Made-It "#MikeWiLLBeenTrill" Cover Art, Tracklist, Download & Mixtape Stream". Archived from the original on May 11, 2015. Retrieved February 16, 2014. ^ "French Montana f. Lana Del Rey, Snoop Dogg & Wiz Khalifa – All For You". December 31, 2013. Archived from the original on January 2, 2014. Retrieved January 2, 2014. ^ "B. B f. Wiz Khalifa – High As Hell". April 1, 2014. Archived from the original on April 26, 2014. Retrieved April 25, 2014. ^ "Kurupt f. B-Real & Wiz Khalifa – Hydroponic". April 21, 2014. Archived from the original on April 24, 2014. Retrieved April 25, 2014. ^ Jeffries, David. " Honest – Future > Overview". Retrieved April 25, 2014. ^ Cole, Christopher (August 11, 2014). "DJ Mustard "10 Summers" Release Date, Cover Art, Tracklist & Free Album Link". Archived from the original on August 11, 2014. Retrieved August 12, 2014. ^ Jeffries, David. " The Dark Horse – Twista > Overview". Retrieved August 12, 2014. ^ " " GTTM: Goin Thru the Motions" by PnB Rock on iTunes". iTunes. Retrieved December 12, 2016. ^ "Youngin' On His Grind | Wiz Khalifa | Music Video". MTV. Viacom Media Networks. Retrieved July 25, 2012. ^ "Say Yeah | Wiz Khalifa | Music Video". Retrieved July 25, 2012. ^ "This Plane | Wiz Khalifa | Music Video". Retrieved July 25, 2012. ^ "Black And Yellow | Wiz Khalifa | Music Video". Retrieved July 25, 2012. ^ "Video: Wiz Khalifa – 'In the Cut ' ". September 5, 2011. Retrieved July 25, 2012. ^ "Mezmorized | Wiz Khalifa | Music Video". Retrieved July 25, 2012. ^ "Roll Up | Wiz Khalifa | Music Video". Retrieved July 25, 2012. ^ "On My Level | Wiz Khalifa | Music Video". Retrieved July 25, 2012. ^ "Video: Wiz Khalifa – 'No Sleep ' ". August 12, 2011. Retrieved July 25, 2012. ^ "Taylor Gang | Wiz Khalifa | Music Video". Retrieved July 25, 2012. ^ "Black and Yellow (Remix) | Wiz Khalifa | Music Video". Retrieved July 25, 2012. ^ "Young, Wild and Free | Wiz Khalifa | Music Video". Archived from the original on July 4, 2012. Retrieved July 25, 2012. ^ "Video: Wiz Khalifa – 'Dessert ' ". November 18, 2011. Retrieved July 25, 2012. ^ "Video: Wiz Khalifa – 'California ' ". December 17, 2011. Retrieved July 25, 2012. ^ "Work Hard, Play Hard | Wiz Khalifa | Music Video". Retrieved July 25, 2012. ^ "It's Nothin' featuring 2 Chainz | Wiz Khalifa | Music Video". Retrieved October 14, 2012. ^ Weiss, Sam (October 19, 2012). "Video: Wiz Khalifa "STU". Retrieved November 1, 2012. ^ Lynch, Sean (November 1, 2012). "Video: Wiz Khalifa – Tweak Is Heavy". Archived from the original on February 4, 2013. Retrieved November 1, 2012. ^ "Remember You featuring The Weeknd | Wiz Khalifa | Music Video". Retrieved July 6, 2013. ^ Frydenlund, Zach (November 26, 2012). "Video: Wiz Khalfia f/ Cam'ron "The Bluff " ". Retrieved November 26, 2012. ^ Stevens, Kaitlin (January 18, 2013). "Video: Wiz Khalifa – 100 Bottles". Archived from the original on February 16, 2013. Retrieved January 18, 2013. ^ "Let It Go ft. Akon | Wiz Khalifa | Music Video". Retrieved July 6, 2013. ^ "Bout Me | Wiz Khalifa | Music Video". Retrieved July 6, 2013. ^ "New Video: Wiz Khalifa, 'Paperbond' (NSFW) (Video)". June 12, 2013. Retrieved July 6, 2013. ^ "Wiz Khalifa Smoke DZA Old Chanel". 2013-06-24. Retrieved 2013-07-04. ^ "Video: Wiz Khalifa f/ Juicy J – 'The Plan ' ". 2010-10-18. Retrieved 2013-11-14. ^ "We Dem Boyz | Wiz Khalifa | Music Video". Retrieved June 21, 2014. ^ "Oh My | DJ Drama | Music Videoo". Retrieved October 29, 2013. ^ French Montana (performer); Rick Ross (performer); Wiz Khalifa (performer); Morocco Vaughn (director) (2011). "Choppa Choppa Down" (Remix) (music video). ^ "Bright Lights, Bigger City Remix Featuring Wiz Khalifa | Cee Lo Green | Music Video". Retrieved July 25, 2012. ^ "Till I'm Gone | Tinie Tempah | Music Video". Retrieved July 25, 2012. ^ Berner (performer); Chris Brown (performer); Big K. (performer); Wiz Khalifa (performer); Tha Razor (director); Godfrey Tabarez (director) (2011). "Yoko" (music video). ^ "5 o'clock featuring Wiz Khalifa and Lily Allen | T-Pain | Music Video". Retrieved July 25, 2012. ^ Terrace Martin (performer); Kendrick Lamar (performer); Wiz Khalifa (performer); Fredo Tovar (director); Scott Fleishman (director) (2011). "Do It Again" (music video). ^ "Video: Trae Tha Truth "I'm On" f/ MDMA, Lupe Fiasco, Big Boi, Wale & Wiz Khalifa". Okayplayer. January 9, 2012. Retrieved September 1, 2012. ^ "Payphone featuring Wiz Khalifa | Wiz Khalifa | Music Video". Retrieved July 25, 2012. ^ a b c d e f g h i j k l m "Wiz Khalifa". Vevo. Retrieved July 6, 2013. ^ "Celebration | Game | Music Video". Archived from the original on July 27, 2013. Retrieved July 6, 2013. ^ Diep, Eric (September 18, 2012). "Video: Curren$y f/ Wiz Khalifa And Big K. "Jet Life " ". Retrieved September 19, 2012. ^ Krastz, Roger (December 5, 2012). "Video: E-40 and Too Short Ft. Wiz Khalifa – Say I". Retrieved December 5, 2012. ^ Juelz Santana (performer); Wiz Khalifa (performer); Bucksy Luciano (performer); Propa TV (director) (2013). "Everything Is Good" (music video). ^ "M'fer ft. Wiz Khalifa | Chevy Woods | Music Video". Retrieved July 6, 2013. ^ "Nothin On Ya featuring Wiz Khalifa | Gucci Mane | Music Video". Retrieved July 6, 2013. ^ Tardio, Andres (July 21, 2014). "Snoop Dogg b& Wiz Khalifa Announce "Mac + Devin Go To High School" Part 2 | Get The Latest Hip Hop News, Rap News & Hip Hop Album Sales". HipHop DX. Archived from the original on July 25, 2014. Retrieved August 18, 2014. ^ Diep, Eric (May 9, 2013). "Watch Iamsu And Wiz Khalifa's "Goin' Up" Video (Directed By Kreayshawn)". Retrieved July 6, 2013. ^ "Flatline ft. Wiz Khalifa | Masspike Miles | Music Video". Retrieved July 6, 2013. ^ "Ain't No Changing Me (Featuring Wiz Khalifa) | Menace | Music Video". Retrieved July 6, 2013. ^ "Reason To Hate ft. Ne-Yo, Tyga & Wiz Khalifa | DJ Felli Fel | Music Video". Retrieved July 6, 2013. ^ Ortiz, Edwin (October 8, 2013). "Video: Boaz f/ Wiz Khalifa "Gettin' After That Money " ". Retrieved October 29, 2013. ^ Tierney, Luke (June 2, 2014). "Scooter ft Wiz Khalifa 'Bigroom Blitz' by Paul Gerwien". Promo News. Retrieved October 28, 2015. External links [ edit] Official website Wiz Khalifa at AllMusic Wiz Khalifa at Discogs.

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Writer 管線工 David
Resume: 廢推居多,偶爾哭一下動畫工程日常 VFX Pipeline Developer

genre: Drama

creator: Levan Akin

tomatometers: 8,3 / 10

Release Year: 2019

Countries: Georgia, France



如果編舞老師真的瞭解這首歌簡單的中文詞韻,應不致於發展出這麼讓人難以仿作的舞譜.那句重複的「往音樂的裡面跳」,應該要有更符字意與loop的重複躍進動作才好.建議阿妹在現場演唱時,再帶動大家另一套親民,甚至是適合舞廳排舞的舞蹈,讓這首催眠舞曲隨著暗示全場一致跳躍與舞動.

我是福樂國小的. I enjoyed. Good luck guys. Kisses from Georgia / Batumi. Free Watch 燃燒å³å­çš„c.a.l.m. And Then We Danced was a masterpiece! I love when I can empathize with a film through and through. Free Watch 李察æœå¨çˆ¾äº‹à louer. 我也要跳進來囉 O. Free watch 然後我們跳了舞曲. This is Amei choreographer Cameron. I'm happy so many of you enjoy the MV. I love Amei she is so great to work with. a true professional and an amazing artist. 好爛 跳的人不是本尊. Free Watch 李察æœå¨çˆ¾äº‹à jour. 有机会去做群众演员,没去.没想到这就上映啦!. Free Watch 李察æœå¨çˆ¾äº‹à vendre dans le quartier. Fascinating. I love Classical Georgian dance. And the filmmaking looks good.

Looks good. Similar theme: finding your own path. When they cannot make a film about the ' Battle of Didgori' then they make low-level films about Georgians. 中間這位黑人老師的影片 請問哪裡還有?. 我是桃園的莊敬國小我已經訂閱了. 終於能看到強迫症的姜叔了w. Levan Gelbakhiani's performance pierced through my heart more than most I've seen in my life. Free Watch 李察æœå¨çˆ¾äº‹à bloglines. Perfect amount of sensuality and drama (grab a tissue - for both reasons, lol... Đôi nhay rất đẹp. 凱薩琳 伊亞 操.

The song is Johnny Boy by kite if anyone is looking. 那個老師整個都在發光. Priocsiiall. 我的眼睛只Focus中間那位外國舞者. 我觉得《姜子牙》不可能像《哪吒》那么大热了!. 这叫什么舞步?.

Perfect acting and proper humor (just the right amount of laughs, and they're not forced

I loved the choice of ending even if it wasn't the happiest, it was smart especially the metaphor at the very end, also very realistic. 姜子牙没成神,成神要斩三尸,斩恶念,斩善念,斩自我,他没斩掉.

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Este preâmbulo pode nortear o espectador quando assistir “E Então Nós Dançamos”, que nos mostra uma jornada existencial de transcender a própria orientação sexual, despertada como gatilho em uma Georgia ainda preconceituosa com a homossexualidade, gerando assim o imaginário popular de que todo e qualquer homem após fazer sexo com outro homem adentra no submundo abandonado e depreciativo da prostituição. Sim, a atmosfera do filme é exatamente essa. “E Então Nós Dançamos” tentar fugir da estrutura de ser apenas mais uma obra gay, com suas questões universais reverberadas pela unicidade do pessoal que precisa lidar com as convenções sociais, e, principalmente, em foco aqui, com a tradição do Balé Nacional da Georgia, baseado na masculinidade. “É mais que tradição, é o espírito da Nação, não só perfeição”, diz-se sobre a importância da arte de representar a dança. O que a obra aqui também faz é semear a contradição pela ideia de que bailarinos mais sensíveis são a “cara” de um povo “machista”. Nosso protagonista, Merab, “dança” conforme a música, seguindo passo-a-passo todas as regras impostas de conduta (“começou a dançar quando começou a andar”). Mas é “suave e alegre demais”. Ele precisa ser um “prego” para traduzir e transmitir “pureza virginal sem sexo”. “Não é lambada”, exaspera o professor rude e perfeccionista à moda de “ Anna ”, de Heitor Dhalia; “ Cisne Negro ”, de Darren Aronofsky; e “ Whiplash: Em Busca da Perfeição ”, de Damien Chazelle. Com câmera próxima e em close que quer revelar a verdade por trás dos olhos e das expressões. O longa-metragem simboliza uma jornada existencial. De crescimento de fracos em corajosos. Que nos apresenta um elemento nacionalista histórico do balé gregoriano clássico (com suas antigas imagens de arquivo) como base indicativa a fim de nos imergir em um comportamental crônica intimista sobre o quão é difícil sobreviver com a realidade do sonho projetado. “E Então Nós Dançamos” é ingênuo em sua construção, porque abordar a descoberta sexual também soa inocente, por transpassar exatamente as mesmas provas, dúvidas, culpas, medos e desejos sexuais. Incluindo ser garçom para pagar as contas. Merab conhece Irakli, primeiro fica ameaçado, depois entra em competição defensiva na dança (adequação e exibição), sente-se vulnerável e adentra nas turbulências do amor (quando a conquista os une) ainda imaturo. E assim, “sofre de globalização”. Sim, é a mesma história escrita em outra geografia. Há muito de “ Me Chame Pelo Seu Nome ”, de Luca Guadagnino, e “O Segredo de Brokeback Mountain”, de Ang Lee. Mas também há um pouco de todas as características utilizadas em todo e qualquer filme LGBTQIA+. Merab, pragmático, cuida de toda família, incluindo de seu irmão “ovelha negra rebelde”. Só que aqui, o ator Levan Gelbakhiani imprime em seu Merab um olhar de desejo contido e desconfiado. E é nessas sutilezas (como a primeira parte o cigarro compartilhado e na próxima cada um com um cigarro) que “E Então Nós Dançamos” ganha ritmo e novidade, apesar de comprovar o mais do mesmo. Entre técnica, superação, empenho, cemitério armênio, a família que passa necessidades básicas, a fofoca dos vizinhos intolerantes após cenas constrangedoras da mãe na rua, o sentimento passional de abandono, o pai “desistente”, Merab aceita tudo, até mesmo entender em seu futuro a percepção de que ser “bailarino é ter uma vida de cão” e “praticar o tempo todo”. “E Então Nós Dançamos” busca simplificar sua narrativa com a estrutura de uma novela, com o intuito de ficar mais palatável ao grande público. É um filme “algo do gênero” de arte adaptado à massa. É a odisseia de uma vida do “suave ao pesado” em uma Georgia ultraconservadora que pune os homossexuais, fazendo com que seja necessário um esforço máxima para não parecer gay, tampouco apaixonado. E “louco”. E com hesitações por falta de vivência da própria vida. Só há liberdade entre amigos, com Abba e tudo. Merab embrenha-se no desconhecido. Sua vida vira de cabeça para baixo. E a mensagem fabular é a de que o Universo ajuda com o que “tem na mão”. Assim, ele foi precisou cortar zonas de conforto e ser obrigado a embarcar na aventura de sua própria existência, entre altos e baixos emocionais e a falta de visão das expectativas já definidas e definitivas. Sim, é diferente, contudo é exatamente igual a qualquer filme que trata os primeiros impulsos orientados sexualmente.

 

 

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Abstract St. Louis 1903. The well-off Smith family has four beautiful daughters, including Esther and little Tootie. 17-year old Esther has fallen in love with the boy next door who has just moved in, John. He however barely notices her at first. The family is shocked when Mr. Smith reveals that he has been transfered to a nice position in New York, which means that the family has to leave St. Louis and the St. Louis Fair Runtime 113 m year 1944 tomatometer 8 of 10 Star score 19304 Votes.

 


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Meet Me in St. Louis Broadway promotional poster Music Hugh Martin Ralph Blane Lyrics Hugh Martin Ralph Blane Book Hugh Wheeler Basis 1944 film Meet Me in St. Louis Productions 1989 Broadway 2004 Off-Broadway 2006 Off-Broadway revival 2009 St. Louis, Missouri 2013 London Meet Me in St. Louis is a 1989 musical based on the 1944 film of the same title, about a family living in St. Louis, Missouri on the eve of the 1904 World's Fair. The musical varied from the film with additional songs and some additional character development; the focus is not primarily on the character of Esther, as in the film. The musical ran on Broadway in 1989. Productions [ edit] Dancers in a stage production of the musical The musical opened on Broadway at the George Gershwin Theatre on November 2, 1989 and closed on June 10, 1990, after 252 performances. [1] It was directed by Louis Burke with choreography by Joan Brickhill. [2] The show was performed Off-Broadway by the Irish Repertory Theater in December 2006 through February 2007, with direction by Charlotte Moore (the mother in the Broadway production), choreography by Barry McNabb and sets by Tony Straiges. The cast featured George S. Irving as Grandpa Prophater. [3] The musical has been produced by Musicals Tonight! (New York), in October 2004 [4] the Paper Mill Playhouse Millburn, New Jersey in November to December 2007, with Brynn O'Malley as Esther, Gregg Edelman as Alonso Smith, and Donna English as Anna Smith, [5] and The Muny, St. Louis in July 2009, with Lewis J. Stadlen as Grandpa Prophater, Brynn O'Malley as Esther Smith, Max von Essen as John Truitt and Stephen Bogardus as Mr. Alonzo Smith. [6] The musical has also had its UK professional premiere at the Landor Theatre, in Clapham, London. The show ran from 11 December 2013 to 18 January 2014. Plot [ edit] The musical opens in the summer of 1903. The family is going about their daily businesses – Tootie is playing with her dolls, Agnes is practicing her stilt walking, Esther is playing tennis, Rose is relaxing, Lon received his Princeton catalog in the mail, Mrs. Smith and Katie, their maid, went shopping, Grandpa is playing with Agnes, and Mr. Smith was at work ("Opening" / "Meet Me in St. Louis"). Upon request from Esther, Katie asks Mrs. Smith if they could have dinner an hour earlier because her sister is having trouble with her husband. We soon learn that the real reason is that Warren Sheffield, a Yale scholar and heir to a grand fortune, is calling Rose long-distance at 6:30, when they usually eat dinner. Esther was trying to get dinner to be an hour earlier so the family would be out of the room when he called. Soon Rose enters and tells Esther that John Truitt, their neighbor and the boy that Esther has a crush on, is outside with his friend. They pretend to want to go to the pool, and try to attract the boys' attention. However, Agnes enters looking for her cat, and John leaves, causing Esther to lament about how John Truitt never notices her ("The Boy Next Door"). A little later that day, Mr. Smith comes home in a bad mood, because he lost his case. He refuses to eat an hour earlier and storms offstage to go take his cool bath. Meanwhile, Tootie and Agnes begin to fight over a doll, causing the older siblings to have to break them up and remind them that they're all friends (Whenever I'm With You). Everyone exits except for Ester and Mrs. Smith. Esther asks if she is too young to fall in love, and her mother is shocked by the question. She proceeds to tell of how she fell in love with Mr. Smith ("You'll Hear a Bell"). Dinner is approaching, and by now everyone in the family knows about Warren's telephone call except for Mr. When he joins the family at the dinner table, everyone gulps down their food so they can leave before Warren calls. Unfortunately, they are not fast enough, and the telephone rings. Mr. Smith answers, but is confused when the operators tell him that someone is calling from New York. He hangs up, and Esther accidentally tells him everything out of anger. He soon figures out that he was the only one who didn't know about the call, and tries to put his foot down, but when the phone rings again he tells Rose to answer it. Her phone call turns out to be less than successful, because he was only calling to ask how she was, and he said if his parents knew he was calling, they would kill him. Katie tries to lighten the mood ("Meet Me in St. Louis" (Reprise)). A few months later, we are at Lon's going-away party, right before he leaves for Princeton. Warren tries to apologize to Rose, but she refuses to accept ("Raving Beauty"). At the party, Esther is formally introduced to John Truitt, pretending not to know who he is. She takes his hat and hides it in the piano. The guests then participate in a square dance called by Lon and Warren ("Skip to My Lou"). Agnes and Tootie have crept to the landing to see what was going on, and after being caught, perform a dance they do with Esther ("Under the Bamboo Tree"). Afterwards the guests leave, but Esther asks John if he would like to come with them to the Fairgrounds on Friday. He agrees, and then she asks him if he will help her turn off the lights, because she's afraid of the dark ("Over the Bannister"). He leaves, leaving Esther slightly disappointed. On Friday, they get on the trolley to the fairgrounds, where John Truitt just barely makes it on ("The Trolley Song"). Act II opens on Halloween, where Tootie and Agnes are getting ready to go trick or treating. After they leave, Katie asks the older sisters why they won't go out to the Halloween Social. They both respond that men are too bothersome and they'd rather not. Katie gives them some advice ("Touch of the Irish"). Immediately following the number, a scream is heard offstage. Tootie comes in with a bloody lip, saying John Truitt hit her. When he comes by to ask if she's alright, Esther beats him up for hurting her little sister. Agnes enters soon after, telling what happened. They stuffed one of Katie's dresses so it looked like a body, then put it on the trolley tracks so when the motorman had to put on the brakes, the trolley would come off the tracks. Tootie then reveals that it was not John who hurt her, but she fell. Esther is ashamed and goes to apologize to John. He forgives her ("The Boy Next Door" (Reprise)). Mr. Smith comes home and breaks the news to the family that they are moving to New York. He thought the family would be happy, but they all are shocked and upset. He tries to convince them that it will be fun, but it doesn't work ("A Day in New York"). They all exit, leaving Mr. and Mrs. Smith alone. Mrs. Smith tries to comfort him, reminding him that as long as they are together, they can be happy ("You'll Hear a Bell" (Reprise) / "Wasn't It Fun"). Now it is winter and their last Christmas in St. Louis is fast approaching. Both Rose and Warren are left without dates. Rose didn't respond to Warren's proposal to the dance, so he decided to go with Lucille Ballard who is Lon's girlfriend. Esther and Katie persuade them to go with each other, and Rose and Esther make a plan to fill out Lucille's dance card with the worst people imaginable. Unfortunately, John Truitt comes by and tells Esther that he can't take her to the dance because his tuxedo is locked up in the tailor's. Grandpa comes to the rescue, inviting Esther to the dance with him. At the ball, Lucille suggests that Warren and Rose and she and Lon be partners for the evening. Esther doesn't realize that, and ends up taking Lucille's dances. Lon leads everyone in a dance he learned at college ("The Banjo"). John comes, in his tuxedo, after calling every Jones in St. Louis until he found who ran the shop. After the dance, John proposes to Esther, but she feels bad about it because he would have to give up going to college to be with her in New York ("You Are for Loving"). Esther enters the house to find Tootie sitting on the couch. She's upset about leaving St. Louis, and has been waiting for Santa to come so she can tell him that they're moving. Esther tries to convince Tootie that New York will be fun ("Have Yourself a Merry Little Christmas"). Smith sees how upset Tootie is and decides that they can't move to New York. After hearing the good news, the family goes to the fair and everything works out well ("Trolley Song" (Reprise) / "Meet Me in St. Louis" (Reprise II) / "Finale"). Characters and Original cast [ edit] Character Broadway production Esther Smith Donna Kane John Truitt Jason Workman Mr. Alonzo Smith George Hearn Mrs. Anna Smith Charlotte Moore Sarah Mahala Redway "Tootie" Smith Courtney Peldon Katie the Maid Betty Garrett Alonzo "Lon" Smith Jr. Michael O'Steen / David Gunderman Rose Smith Juliet Lambert Grandpa Prophater Milo O'Shea Agnes Smith Rachael Graham Warren Sheffield Peter Reardon The Broadway production also included Tony Award winner Rachel Bay Jones in the ensemble. It was her Broadway debut. Songs [ edit] Act I "Meet Me in St. Louis" "Be Anything But a Girl" " The Boy Next Door " * "Skip to My Lou" * "Under the Bamboo Tree" * "Banjos" "Ghosties and Ghoulies and Things That Go Bump in the Night" "Halloween Ballet" "Wasn't It Fun" " The Trolley Song " * Act II "Ice" "Raving Beauty" "A Touch of the Irish" "You Are for Loving" "A Day in New York" "The Ball" "Diamonds in the Starlight" " Have Yourself a Merry Little Christmas " * "Paging Mr. Sousa" * Songs from the film also in the stage version As of the late 90's the order of songs was changed, some were removed and some added. The current version is as follows: "Overture" – Instrumental "Meet Me in St. Louis" – Ensemble and Smith Family Octet "The Boy Next Door" – Esther "Meet Me in St. Louis" (Reprise) – Tootie, Agnes, Esther, Rose and Grandpa "Whenever I'm with You" – Smith Family Octet "You'll Hear a Bell" – Mrs. Smith "Meet Me in St. Louis" (Reprise) – Smith Family Octet and Ensemble "A Raving Beauty" – Warren and Rose "Skip to My Lou" – Lon, Warren, Rose and Ensemble "Drunk Song" – Tootie "Under the Bamboo Tree" – Esther, Tootie and Agnes "Over the Banister" – John "The Trolley Song" – Esther and Ensemble "Entr'acte" – Instrumental "Touch of the Irish" – Katie, Rose and Esther "Boy Next Door" (Reprise) – John and Esther "A Day in New York" – Smith Family Octet "You'll Hear a Bell" (Reprise) – Mrs. Smith "Wasn't It Fun? " – Mr. Smith "Christmas Waltz" – Instrumental "The Banjo" – Ensemble "Auld Lang Syne" – Instrumental "You Are for Loving" – John and Esther "Have Yourself a Merry Little Christmas" – Esther "Trolley Song" (Reprise) – Ensemble "Meet Me in St. Louis" (Reprise) – All Note The Smith Family Octet – Tootie, Agnes, Rose, Esther, Lon, Mrs. Smith, Katie and Grandpa Awards and nominations [ edit] Original Broadway production [ edit] Year Award Category Nominee Result 1990 Tony Award Best Musical Nominated Best Book of a Musical Hugh Wheeler Best Original Score Hugh Martin and Ralph Blane Best Choreography Joan Brickhill Theatre World Award Won References [ edit] ^ "IBDB Entry". Retrieved 16 March 2012. ^ Rich, Frank. "Review/Theater; 'Meet Me in St. Louis': Movie Brought to Stage" New York Times (abstract), November 3, 1989 ^ Suskin, Steven. "Legit Review: Meet Me In ST. Louis", " Variety, December 25, 2006 - December 31, 2006, p. 26 ^ "'Meet Me In St. Louis' listing" Archived 2011-07-23 at the Wayback Machine, accessed April 19, 2011 ^ Gans, Andrew. "Paper Mill's Meet 'Me in St. Louis' Begins Nov. 6; Theatre Names New Executive Director" Archived 2012-10-20 at the Wayback Machine, November 7, 2007 ^ Gans, Andrew. "'Meet Me in St. Louis' Plays St. Louis' Muny Beginning July 6", July 6, 2009 External links [ edit] Meet Me in St. Louis at the Internet Broadway Database Meet Me in St. Louis at the Internet Off-Broadway Database Tams-Witmark plot synopsis Meet Me in St. Louis Internet Theatre Database Synopsis, Songs and Scenes at Meet Me in St. Louis at.

This truly hurts me. Even though the song doesnt mean anything to me but it means a lot to my teacher. My Teacher got a phone call to this song hearing her mom had died... RIP. Movie meet me in st louis music.

These gurls coming up with terrible roasts and they be like: 💯 👌🏻🤯🤪

Meet me in st louis musical. Meet me in st louis 1944 full movie. Movie. meet me in st louis. actor names. Thanks for posting this. how about posting the rest of it - what really happened, and Esther's apology to John. It is hard to think of anyone in Hollywood who started in the 1930s, worked constantly through the 1940s, who had a Washington press corp career in the 1950s, who worked in television in the 1950s, the 1960s, the 1970s, the 1980s, the 1990s, and into the 21st century, plus public relations press work at NASA, but there is June Lockhart, with glamour to spare. Love the commercials. Meet me in st louis sheet music. You think? it's very obvious. Meet me in st. louis song judy garland. I don't know about you guys, but I think we just saw a textbook example of sexual tension. I swear, they were two seconds away from a hot make-out and angry sex.

Meet me in st. louis cast of movie. Movie meet me in st louis. Why can I not find our anything about the son "You And I" sung, or dubbed for the parents, the night the Father announces they are moving. I have been searching for many months. I did finally find that it was written just for the movie by Arthur Freed and Nacio Herb Brown. I have written Sheet MUSIC Magazine and Michael Feinstein to no avail. I enjoy this movie every time it is played on TV. The younger generation is missing a great deal in not being able to see such innocent,and lovely movies of the Thirties, Forties and early Fifties. They were were much more romantic than the current movies. An imagination of some of the action in the old movies was far more romantic than seeing it all played out in the open. That takes no imagination on the part of the viewer.

Meet me in st louis review. I fell in love with this movie and could watch it for hours. each actor and actress performed their roles sublimely. I especially became enchanted with Lucille Bremer as Rose AND Mary Astor as the mother. Judy Garland was totally a young woman preparing for her first tryst with a young man. i am sure she impressed Vincent Minelle with her high stepping dancing at the party. truly, Judy was showing that she was no longer a child but ready for more mature rolls. Mary Astor showed that she could handle her husband and the family adroitly. Lucille Bremer made Rose out to be redheaded vixen when it came to keeping Warren Sheffield. i totally enjoy myself watching the machinations of the Smith women.

 

Meet me in st. louis movie 2019. Meet me in st louis. I've seen the woman in blue (next to Judy) in several old movies, she also danced. Don't know her name, but she was a featured background player. Had a nice smile. As a Boricua my mom made me watch this movie so that I understood her experience as a young lady from Puerto Rico and the culture clash. Click here to read about author Sally Benson and the origins of the story. MGM purchased the screen rights to Sally Benson's "Kensington Stories" for $25, 000. 00 on March 1, 1942. Right away, the story went through the screen writing process at MGM. Several screen writers and authors took a stab at it. Sally Benson herself worked on what became a 198 page treatment written with Doris Gilbert between March 30 and May 9, 1942. Between April and October 1942, other writers worked on the project, including the husband-and-wife team of Victor Heerman & Sarah Y. Mason (Oscar winners for their 1933 adaptation of Little Women) and William Ludwig, who had written for the Andy Hardy series and also Margaret O'Brien's Journey For Margaret (1943). None of these treatments seemed to work, and finally Irving Brecher & Fred Finklehoffe were given the assignment. Finklehoffe had written for several Judy Garland musicals, and Brecher had written for the Marx Brothers, which seemed at first an odd choice to write a delicate family story. Finklehoffe and Brecher wisely decided that the bulk of the story should take place in the Smith family home and it's surrounding area of St. Louis. It was Finklehoffe and Brecher who expanded the "Warren Sheffield telephone call from New York" scene by making Mr. Smith ignorant to the goings on and having him hang up the phone when it first rings. They also took out scenes at Princeton University and a Smith family visit to their grandparents in Manitowoc, Wisconsin. Some other changes made were: Moving Mr. Smith's decision NOT to move the family to New York from immediately after the family's objections to the night before the planned move(Christmas Eve) heightening the tension; Removing a romance between Rose and Colonel Andrews (renamed Darly in the final film) -only a small scene remains that hints of Rose's attraction to him;Removing an announcement by Tootie that she did not want to go to the fair; Changing the hair color of Rose and Esther from blonde and black to both being auburn; Removing a blackmail subplot involving Esther and finally, they divided the film into four segments representing the four seasons of the year (Sally Benson's book had been 12 chapters, one for each month of the year). Name changes were made too, sometimes for legal reasons. Sally Benson wanted Lucille Ballard's name to be either Picard or Dorsey. John Truett began life as John "Bluett, " then for legal reasons became Collins, then Truett (Ms. Benson objected to "Truett"). "Bluett" stayed as the reference name of the house on MGM's "St. Louis Street" even after the backlot was torn down. Warren Sheffield originally was named Warren Sheppard, and for legal reasons the Waughops became the Braukoffs. The real life name of the maid was indeed Katie, and the real-life Katie was alive and well and provided a signed release to the MGM legal department, giving the "ok" to use her name. Finally, here are some interesting additions, changes, and/or deletions from the original book: The ketchup tasting scene that opens the film is an very expanded version of a simple paragraph in the book; In the book Rose gets mixed up with a middle-aged man; Mrs. Smith loses her temper; Tootie's ride on the ice wagon was originally a ride on a water-sprinkler; The cakewalk scene is danced in the book by Agnes, in a man's hat (Sally Benson based the Agnes character on herself); The Halloween sequence is in the book although it's Agnes who takes on the Braukoffs (or Waughops); A slight reference in the March segment of the book to a trolley gave birth to the entire "Trolley Song" sequence; The scene of Tootie and Agnes coming down the stairs during Lon's farewell party and Tootie singing "I Was Drunk Last Night" also comes from the book; Mr. Smith's decision to move the family to New York, and the subsequent tension it creates for the final half of the film, is from a small three-page episode in the book; and finally, it's Agnes who ends the book by saying "I can't believe it. right here where we live. Right here in St. Louis". With the script in place, producer Arthur Freed turned to Hugh Martin and Ralph Blane to compose the original songs for the film. At the time, Martin and Blane had enjoyed moderate success with their successful Broadway show "Best Foot Forward" property was bought by MGM, so Martin and Blane, along with stars Nancy Walker, Tommy Dix and Gil Stratton, were brought out to MGM to adapt the show for the screen. Martin and Blane also contributed to other films including "Three Cheers For The Yanks" to For Me And My Gal (1942) starring Judy Garland. Still, they hadn't obtained the success they wanted so Meet Me In St. Louis was their big chance. Freed felt strongly enough about their abilities to ask them to write new songs for Meet Me In St. Louis, to help complement the use standards of the day. They would end up providing four songs for the film, three of which would be the best of their careers and have since become classic standards ("The Boy Next Door", "The Trolley Song", and "Have Yourself A Merry Little Christmas"). Freed also took a chance on hiring Vincente Minnelli to direct. At first Minnelli seemed like an odd choice to helm such a costly and risky project. Although to Freed, it probably seemed like the logical choice. Known for his use of composition and his unusual flair for design, Minnelli was an inspired choice. Minnelli had directed I Dood It (1942) starring Red Skelton, and most notably Cabin In The Sky (1943) starring Ethel Waters and Lena Horne. Click here for a biography of Vincente Minnelli. Many at the studio felt the story had not plot and that the film would be a flop. It was even referred to by some as "Freed's Folly". But Freed stood by his choices and went about the tasks of pre-production on the film, including the casting of the major roles. When Judy Garland first discovered that MGM was going to cast her in their new musical film entitled Meet Me In St. Louis she was not happy. She feared, and with good reason, that the film would set her career back. She had finally been allowed to grow up on the screen. In For Me And My Gal (1942) she was given a real romantic lead in newcomer Gene Kelly, and she was the undisputed star of the film, with her name alone above the title for the first time. After that she appeared in Presenting Lily Mars which was the first time the studio made a real effort to make her look glamorous, even if it was mainly for the finale at the end of the picture. She was seen for the first time with her hair up and looking quite beautiful. True, she had also just completed Girl Crazy (1943) as well, but even in that, her final complete film with Mickey Rooney, she was a completely different character than in all of the other Garland/Rooney pictures. In this film, Mickey chased Judy rather than the other way around, and she was portrayed not as a teenager deep in puppy love, but as a lovely young woman. Now, after reading the St. Louis script, it appeared as though the studio wanted her to revert back to playing a high school girl with a crush on the boy next door. Judy was dating Joe Mankiewicz at the time, and he was also instrumental in allowing her to see herself as not just a little girl with a big voice, but a desirable woman. At 22 years of age, Mankiewicz reasoned, Judy Garland had the talent and ability to graduate to more adult roles. And Judy not only agreed with it, but with Mankiewicz in her corner, for the first time she summoned up the strength to actually resist the studio for her own benefit. Judy went to L. B. Mayer and complained, and for once he sided with her. He went to producer Arthur Freed to discuss the matter, but was effectively swayed in the other direction by Freed, director Vincent Minnelli, and most importantly the reigning studio storyteller Lillie Messinger. Once Lillie got a hold of a story, no one was immune. She was able to effectively point out the charms and magic of the story. Mr. Mayer loved a good sentimental "all-American" story and this had everything he loved. Next Judy went to see Minnelli on her own, thinking that she might be able to persuade him, since she was one of MGM's biggest stars, and he was a novice director. Minnelli had directed only two films before, neither was a big financial success. The best of the two, Cabin In The Sky, although a beautiful film that critics liked, was an all-black film and in 1943 that meant a limited audience. Judy was sure that not only would St. Louis be a mistake but that she could persuade Minnelli that it really wasn't very good! In his memoirs, Minnelli reports what happened when Judy came to see him about the film: "She looked at me as if we were planning an armed robbery against the American public. She later told me that she'd come to see me thinking I would see it her way. " Per Minnelli, Garland says "It's not very good, is it? " to which Minnelli responded with "I think it's fine. I see a lot of great things in it. In fact, it's magical. "Whether years later the exact words of the conversation are remember by Minnelli is immaterial. Judy may have been going on an early draft of the screenplay which was, according to most accounts, not very good. But it was shaped up by the time rehearsals began. And since Mayer switched and sided with Freed, and Freed stood behind Minnelli, Judy had no choice but to acquiesce. Rehearsals began on November 11, 1943 and Judy did not exactly throw herself into the role. She was used to the more contemporary, "wise cracking" dialog. When filming began almost a month later on December 7, 1943 things weren't much better. In fact, it's reported that when Minnelli was away from the set, Judy would sometimes entertain the cast and crew with a devilishly satire of Minnelli centered around his "perfectionism. " This skit would entail her acting out the part of an MGM bit actor who is paid his set fee to say one line in every film in production: "I think it may rain today. " The bit actor comes to the Minnelli set fully expecting to say his line, collect his pay, and leave. But Minnelli (again acted by Judy) has other things in mind and suggests the actor try saying his lines with a different inflection. Taken aback, the actor tries it that way. The Minnelli suggests a different way, then another and yet another until finally the bit actor is reduced to tears of frustration and confusion. This story illustrates how funny Judy could be when she wanted to be (her wit is legendary in Hollywood and she was known as the perfect mimic). This could also be seen as her way of dealing with a situation of which she had no control and was not happy about. Judy had a practically photographic memory when it came to lyrics and script, and she resented Minnelli's constant rehearsals and multiple usually got her lines and hit her marks perfect the first time. But with Minnelli, not only was he insisting that she rehearse and endure long, multiple takes (he didn't like the idea of using the stand-in for much of this), but he was breaking down her confidence. He was exacting but in a quiet way. Her frustration grew as she began to question her merits as an actress, feeling like she wasn't doing anything right. She went to Freed to complain, who told her to bide her time and give him a chance. She also reportedly complained to Mary Astor, who flatly said to Judy: "Just go along with it, he knows what he's doing. " Things got a little better, but didn't really get on track until Judy began to see herself on film. Suddenly, under his direction, Judy not only looked more beautiful and vibrant than ever before, but Minnelli was getting a beautifully realized understated performance from her. And whatever qualms she had about being a "teenager" or lost in the ensemble were put to rest as well. Soon Judy was entrusting Minnelli with her trust. But that trust came with a price. Judy would be absent from the set of St. Louis for close to 3 weeks. Initially this was due to a lack of interest in the project. But aside from that, Judy was beginning to show signs of the strain that the previous years of overwork, malnutrition, and medications had caused. She was going through the ups and downs that addicts begin to experience when the drugs begin to take over. Judy was never a morning person, having been raised in a Vaudeville atmosphere of late nights and late mornings. But at MGM, she was expected to be at the studio usually at 5 or 6am. And she had other commitments as well: Radio appearances; Personal appearances for the war effort; and making records for Decca Records. All of this, added to her fragile psyche and her low self esteem, created a time bomb ticking away just waiting for the time to explode. Mankiewicz saw this and suggested she go to therapy to help solve her deep emotional issues and restore her self worth. She agreed and went. But when the studio found out, they put a stop to it - not believing that one of their stars was "crazy" (the world of psychoanalysis in the 1940's was still considered suspect and charlatan by nature). In a few short years the studio would find themselves paying for Judy to continue treatment. Beginning in 1943 and ending in 1947, Judy Garland changed from a nervous insecure young lady to a glowing, confidant woman in command of her talent and happily exploring and learning all avenues of that talent, then back again to an insecure young lady. The rise in happiness can be partly attributed to Minnelli, Meet Me In St. Louis, Kay Thompson and the rest of the legendary "Freed Unit. " Everything that made the "Freed Unit" so special first burgeoned with Meet Me In St. Louis. Arthur Freed had been assembling a platoon of personnel, mostly from Broadway, to populate his little kingdom. These people were bright, young and talented individuals who would change the look and style of the movie musical forever. For Judy Garland, being in this atmosphere was exciting and exhilarating. She was allowed to flourish and experiment with all aspects of her performing. Minnelli was perfect at this time to help guide her into his world of savvy, articulate and witty people. She loved it. And she would do some of her best work during this time and was, for the most part, quite happy. Judy and Minnelli began dating towards the end of production of Meet Me In St. Louis, and although many people thought the union was all wrong, for Judy it was the right man at the right time. At least as far as her career goes. Kay Thompson was a new addition to the Freed Unit, one of the many transplants from Broadway. Kay would take Judy under her wing and develop her singing style even further than her mentor, Roger Edens had. This would be Judy's closest friendship to any woman in her entire life. Kay had a sophistication and style that was classy, brassy, and highly stylized. Judy thrived. The affair with Joe Mankiewicz over (he had evidently gone to the studio to argue that Judy needed professional psychiatric help and ended up walking out on his contract because Mayer and Judy's Mom wouldn't listen), Judy put all of her energies into St. Louis and her relationship with Minnelli. The end result is several wonderful performances given by Judy, most of them under Minnelli's direction. Judy Garland wasn't the only performer on the set causing problems. If you look at the timeline to this site, you'll see in great detail the constant barrage the company was under due to one illness or accident after another. As with so many films, accidents happen. St. Louis was no March 31, 1944 one of the extras suffered a hit on the head by one of the light standards ( Click here to read about it). A cameraman was hit on the head with a piece of carbon. Joan Carroll had to be sent back to wardrobe (which on a lot the size of MGM could amount to a long trek) because she was given two right shoes to wear. Harry Davenport was 77 and was doing double duty on the set of Kismet so was ill and/or away from the set frequently. One memo states: "Wait for Margaret's hair to be dressed - wrong hair-do because script clerk did not give right hair change to hairdresser. " Both Margaret and Joan Carroll (Agnes) were underage so had to be schooled for 3 hours with 1 hour of "recreation. " This was California law, MGM would get around it as best they could. Their teacher, who was on the set at all times, was reportedly a formidable woman who had no qualms stopping the production because either Margaret should go home or in on instance, that it was simply too late for Joan Carroll to continue working. Mary Jo Ellis, one of the cast members, had to be taken home due to veral cast members would be sick at one point or another. It should be pointed out that on a sound stage such as they had at MGM in the 40's, and before good air conditioning, a balmy set would be a breeding place for cold/flu germs to hop from one person to the next. Especially since half their time was sitting around waiting for the director to set everything up for a few takes. They would entertain themselves as best they could. But those were the least of the problems that seemed to plague the set of Meet Me In St. This film seemed to be the "sickest" film on the lot - with practically everyone coming down with some sort of illness - real or imagined. Real: Joan Carroll's appendectomy. On February 2, 1944 shooting is halted as Joan is rushed to the hospital. The "ever so caring" studio places Joan on suspension - even though Arthur Freed sends her flowers and she sends him a "thank you" note. seemingly callous treatment may have been caused by recent events with the OTHER child actress on the set - Margaret O'Brien. Margaret's mother is convinced that the studio is working her daughter way too hard. So on January 31, 1944 a two week period began without Margaret. Her mother feigned illness as the cause, originally. But as you will see in this letter from Margaret's mother, her absence was really a mother protecting her child, not illness: Click here to read the "apology" from Margaret's mother which arrived some time after their departure. Margaret's mother had decided (with justification) that the studio had been working her daughter too hard - so she took it upon herself to take the child away from the studio for a few weeks. Naturally this caused quite a stir at the studio - upset the production schedule, and added thousands of dollars to the budget ( click here to read memo by Dave Friedman dated this day which begins the "layoff" of the company due to Margaret O'Brien's unscheduled absence which last through early February and click here to read related memo). The children weren't the only ones causing delays due to illness, Mary Astor and Harry Davenport were both ill as well - and as noted on the previous page, many delays were caused by accidents (which was normal for any film). And there you have it - Minnelli's first chance to show what he can do as a director - which he does to meticulous detail! Minnelli's use of color and movement in the film is nothing short of genius. In an interview, he stated "You have to have great discipline in what you do. I spent a great deal of time in research, and finding the right things for it. I feel that a picture that stays with you is made up of a hundred or more hidden things. " This is apparent upon repeated viewings of the film. There are so many little things filling out the backgrounds - yet they blend in naturally so as not to look to over done. Take Grandpa's room. Now here is a "man's" room of the time. Filled with muted colors and all kinds of masculine brick-a-brack. Minnelli raided the MGM props and costume departments, looking for just the right things with which to clothe them and surround them. He also worked closely with art director Jack Martin Smith; set decorators Edwin B. Willis & Paul Huldchinsky; costume designers Sharaff and Irene; as well as Jack Dawn on make-up and of course George Folsey on photography. In fact, Minnelli was such a perfectionist that he drove practically everyone crazy! He would take hours making sure the set was perfect, the camera angles/movements were perfect - THEN get to the actors. At which time he would rehearse and rehearse with them until he found everything to be perfect, then filming would finally begin. was especially maddening for Judy. Judy had just this side of a photographic memory. People still speak with awe about the way in which she could read a script for the first time and speak it like she had rehearsed it for same with music. She would hear a song once or twice on the piano, then sing it right back to the composer. A TRUE natural talent. So, just like the kid in school who's to "fast" for the class, so Judy was too "fast" for Minnelli. And it drove her crazy. She would try to get out of the studio, only to be stopped at the studio gate by Minnelli and summoned back to the set for more rehearsals. Although it seems that the production was mired in chaos, there were wonderful times too. Once Judy saw herself in the dailies she realized that not only was Minnelli making her the most beautiful she had ever been, but he was also making a beautiful and touching film. The credit for Judy's new appearance doesn't belong solely to Minnelli. The bulk of the credit goes to "Dottie" Ponedel. Minnelli had specifically asked for "Dot" to be Judy's make-up artists. This was a first at the time. Up to this time, all of the major make-up artists who worked on the stars were men. Sure, there were women assistants, but never before had one woman been given the task of making up a star of Garland's caliber. It was Dottie who was responsible for Judy's beautiful new look as shown for the first time in Meet Me In St. Louis. Dottie was a "no nonsense" type of person, and it's been reported several times that if there were no cup of water around, Dottie would simply dip her make-up brush in the nearest cup of coffee and continue! Meet Me In St. Louis was the first time Judy and Dottie worked together. Dottie reportedly looked at Judy's inserts for her nose and said "What are those? " When Judy told her, Dottie said "Throw them out, you don't need all that junk, you're a pretty girl. " It was Dottie who gave Judy the new look that would last the rest of her career. From this moment on, Judy insisted that only Dottie would do her make-up in all of her subsequent films. As Judy's appearance blossomed so did her acting. Although still a high school girl, the role of Esther Smith is light years away from the characters Judy had previously played. Instead of a peppy "teen" or "juvenile", Esther Smith is a young lady on the verge of womanhood. And Judy plays her with a subtleness and a sort of softness that effectively makes you believe that this character is real. That her emotions are real. Even though the film is a "musical" there are many wonderful scenes that rely on Judy's incredible comic timing. Once again, very subtle and never once forced. This is the film in which Judy completes her transition to mature leading lady. From here on out, Judy would always be presented as a beautiful and desirable woman. Meet Me In St. Louis has a look and feel all its own. Minnelli and his crew took great care in creating this singular palette. For the scene in which Esther and John go through the house turning out the lights, Minnelli went to great pains in creating just the right mood. To achieve the right multiple lighting effects when Esther and John turn out the lights, Minnelli had the technicians use everything from conventional dimmers to actual window blinds. The scene is beautifully effective in showing the deepening of Esther and John's romance as the rooms slowly darken. A very happy accident occurred when filming the lights from the kitchen beaming onto the nighttime snow. The scene is Esther and Tootie looking out the window on Christmas Eve, just before Esther sings "Have Yourself A Merry Little Christmas", and there is a quick shot of the back yard. This beautiful shot actually was an accident. When it was filmed by the Assistant Director, the word came back from the lab that film wasn't exposed properly. Happily, the beauty of the scene remained intact. Meet Me In St. Louis had it's first preview on June 5, 1944 and a second on July 3, 1944. And that's when more heartache came in. Some executives at the studio wanted the entire Halloween sequence cut - they thought it slowed down the picture and didn't have anything to do with the plot. In a sequence of events reminiscent of "Over The Rainbow" in The Wizard Of Oz, Minnelli and Freed fought to keep the sequence in. Arguing, as Minnelli would state later, that the sequence actually underlined the entire crux of the story - the reason WHY this family would want to stay in St. Louis - it was their HOME. No argument came of the cutting of "Boys And Girls Like You And Me. " It was decided that either that or "The Boy Next Door" should be cut - and since "The Boy Next Door" advanced the plot, whereas "Boys And Girls" really didn't, there was no contest. Martin and Blaine were pleased, fearing that the Rodgers & Hammerstein "Boys And Girls" would get all of the attention, leaving the songs by the "relatively unknown" songwriters in the background. Luckily, this wasn't to be. The film had it's official premiere in St. Louis, Missouri on November 22, 1944. Running 113 minutes, it was a smash! No one objected to the Halloween Sequence, and audiences everywhere fell in love with the Smiths of S. Garland's status went from "star" to "superstar" - and there was no denying that while Margaret O'Brien was cute and funny and quite the scene stealer - the REAL star of the picture was Judy. Now, in her first color film since The Wizard Of Oz (and one song in Thousands Cheer in 1943), Judy Garland blossomed into a beautiful, talented young woman - the epitome of what young girls everywhere wanted to be - and what the boys overseas were fighting for. When it was released in 1944, Meet Me In St. Louis became an instant hit, and was MGM's biggest grossing film to date after Gone With The Wind. However it must be noted that Gone With The Wind was actually a David O. Selznick production that MGM owned the release rights to, and would eventually own the entire film. Meet Me In St. Louis was 100% an MGM production. The film would go on to be nominated for 4 Academy Awards: Color Cinematography -- George Folsey; Scoring of a Musical Picture -- Georgie Stoll; Song "The Trolley Song" -- Music and Lyrics by Ralph Blane and Hugh Martin; and Screenplay -- Irving Brecher, Fred F. Finkelhoffe. It wouldn't win any Oscars, but it did win a lasting fame and place in film history that few films of 1944 would be able to achieve. Among other things, the film has one of Judy Garland's three best film performances (the other two being The Wizard of Oz and A Star Is Born). It's also considered one of, or THE, best efforts of many of the people involved. It's the film that launched Vincent Minnelli on his stellar directing career as the greatest director of film musicals. It broke new ground as an "integrated" musical - and in doing so, paved the way for further experimentation and freedom for Arthur Freed and the "Freed Unit" - this unit at the studio would be responsible for practically ALL of the great musicals of the 1940's & 1950's. Both Judy and Margaret O'Brien would reprise their roles in a radio version of the film for CBS Radio in 1946 - and in 1947 Judy would join the AFRS (Armed Forces Radio Show) Show Time Players in performing a version of Meet Me In St. Louis for the "Show Time" radio program. The film would inspire imitations - Summer Holiday (another Freed effort in 1948); On Moonlight Bay & By The Light Of The Silvery Moon (both Doris Day vehicles atWarner Bros and both with Leon Ames as the father, and a cast of characters almost identical to St. Louis) charming as those film are, none have that special magic that Meet Me In St. Louis has. Like all great cornerstone films of any genre, Meet Me In St. Louis was the right people in the right place at the right time making the right film. Two Broadway versions of the film, in 1960 and 1988, would be popular - as are the various touring companies that have brought the film to the stage - but in all cases, the film is so indelible that comparisons are always made (and usually not in favor of the stage version! ). Now, more than 50 years after its release, Meet Me In St. Louis continues to work it's magic on audiences of all ages. Over the years, Meet Me In St. Louis has remained one of the best film musicals ever made. Gene Kelly would always call it "my favorite musical". Today, the film still has resonance and power. This is due to its simple themes of family and home. Made during a time when America was embroiled in World War Two, and so many families didn't know if their loved ones would come home, the film gave them hope in lovingly looking back to an era that even then was a distant memory. Now, 100 years after the era it portrays, Meet Me In St. Louis still grabs us and makes us believe in the idealized world of the Smith family of St. Louis, Missouri. And even today there are precious few films that can so expertly give us that special warm feeling that Meet Me In St. Louis still gives. A true American classic that will last as long as people want to see good, quality entertainment. DATE EVENT 06/14/1941 "The New Yorker" magazine runs part one of eventually 8 installments of short stories written by Sally Benson entitled "5135 Kensington" the eighth and final installment appears May 23, 1942. 01/06/1942 Lily Messenger provides an initial screen treatment of the stories to MGM Studios boss Louis B. Mayer. Ms. Messenger is instrumental in getting Mayer to support the making of the film. People at the studio balked that there was no plot, but after "MGM's Scheherazade" (Lily) vividly described the story, Mayer was enchanted. 03/01/1942 MGM purchases the screen rights (as well as the radio and, interestingly enough, the television rights) to the "Kensington Stories" for $25, 000. 00. The purchase date could be much earlier, in May of 1941 as some reports give Arthur Freed credit with reading the stories provided to him by Fred Finklehoffe while in the office of Leland Hayward (the famous show business agent) BEFORE publication in "The New Yorker" magazine. According to the legend, Freed is so taken with the stories, that he immediately gets on the phone and negotiates their purchase. (date is approximate) 3/30/42 thru 5/9/42 Author Sally Benson, collaborating with Doris Gilbert, produces a 198 page screen treatment of the stories, followed by additional supplemental material. During this time, Ms. Benson takes the original stories, adds 4 more chapters so each chapter represents one month of the year from January - December, 1903 and 1904 - and then publishes them as a book by Random House as "Meet Me In St. Louis" - this is the first time the title of the film is associated with the stories. MGM of course has the rights to the book as well. April thru October 1942 Screenwriters who work on the script during this time include: Husband & wife team of Victor Heerman & Sarah Y. Mason (who jointly won the 1933 screenplay Oscar for "Little Women"), William Ludwig (who wrote the screenplay to Margaret O'Brien's immensely popular "Journey for Margaret") and even director George Cukor, who after a few months of work starting from scratch, was drafted into the Army and so the project was shelved, temporarily. 04/30/1943 Irving Brecher & Fred Finklehoffe provide a "rough continuity outline" of the screenplay followed by a draft of the screenplay. 05/22/1943 Arthur Freed signs the final shooting script as "complete". 06/10/1943 Judy Garland's 21st Birthday - this is important because Garland did not want to play Esther. In her previous few films, she was finally being allowed to "grow up" a little on screen, and playing the teenage Esther, in her eyes and those of many around her, would be a backwards step for her career. Her reluctance would cause a rocky start once rehearsals and production begins. 07/16/1943 Brecher worked on the script alone adding additional supplemental material, the final screenplay is completed. Total cost to MGM for all the work on the script is: $86, 616. 67 07/30/1943 Letter dated 7/29/43 is delivered to MGM from Joseph I. Breen of the Hays Censor Office. Click here to read the memo. 11/03/1943 Freed and singer Denny Markas pre-record "You and I" for Leon Ames & Mary Astor to lip sync to. 11/11/1943 Rehearsals begin. Meet Me In St. Louis goes into production as Production No. 1317. It is budgeted at $1, 536, 971. 93 with a shooting schedule of 58 days. Included in the budget are the following: $151, 575 to build the new "St. Louis Street" $62, 225 for the lower floor of the Smith home $16, 625 for the miniature of the exterior of the World's Fair $15, 625 for the trolley depot $5, 091 for the trolley tracks 12/01/1943 & cast pre-record "Meet Me In St. Louis". 12/02/1943 At 8:45pm, Judy & chorus and 41-man band pre-record "The Trolley Song" (which is Scene 90 in the shooting script). 12/03/1943 & Lucille Bremer pre-record "Meet Me In St. Louis" (duet version). & cast pre-record "Skip To My Lou". 12/04/1943 pre-records "The Boy Next Door". pre-records "Have Yourself A Merry Little Christmas". 12/06/1943 An "R. Monta" sends a memo to Arthur Freed relaying some story changes suggested by author Sally Benson. Click here to read the memo. 12/07/1943 Principle photography begins. 12/11/1943 a memo, Arthur Freed gives final approval for the following name changes Lucille Ballard (was to be surname of Picard or Dorsey) John Truett (was to be Bluett or Carson - author Benson objects to "Truett") Warren Sheffield (was to be Sheppard) Mr. & Mrs. Braukoff (was to be Waughop) Note: The Smith's real-life maid Katie gives her approval to MGM to use her name! 12/17/1943 & Margaret O'Brien pre-record "Under The Bamboo Tree. " 12/18/1943 arrives late for St. Louis filming, meets with producer Arthur Freed, then leaves at approximately 10:30 am not feeling well. Click here to read memo. 12/30/1943 absent from filming of St. Louis due to illness - Memo reads "Judy Garland is still ill, and Company worked around her until 12 noon today. The balance of the day was spent in rehearsing musical number. " 01/12/1944 absent from filming of St. Louis due to illness. Click here to read memo. 01/20/1944 1:20pm - Margaret O'Brien's dental plate comes loose and she's sent to the dentist. Click here to read the previous memo detailed the beginnings of Margaret's dental problems and absences from the set. 01/24/1944 "Under The Anheuser Bush" instrumental recorded (this is to be part of the underscoring of the "Christmas Party" sequence). 01/28/1944 Click here to read memo detailing Mary Astor's bouts with the flu. 01/31/1944 Click here to read memo by Dave Friedman dated this day which begins the "layoff" of the company due to Margaret O'Brien's unscheduled absence which last through early February. Click here to read related memo. Click here to read the "apology" from Margaret's mother which arrived some time after their departure. 02/02/1944 Shooting is stopped for several days due to Joan Carroll (Agnes) being rushed to the hospital on this day for an emergency appendectomy. MGM callously suspends her salary during the time she is away from the set. However, Arthur Freed sends her flowers and "well brought up young lady" that she is, she sends him a "thank you" note! Click here to read memo. 02/14/1944 Click here to read from daily production log of this date detailing Judy Garland's frequent lateness & absence. 02/15/1944 "Margaret O'Brien was available for work today" is reported in a memo - shooting resumes. 02/29/1944 Click here to read memo detailing Joan Carroll's bout with the sore throat and flu that seemed to be "popular" amongst the cast. 03/01/1944 absent from filming of St. Louis due to illness - Click here to read memo (Due to this and Joan Carroll's absence, the company is laid off again). 03/03/1944 Beginning at 8:43pm, the "Halloween Sequence" is filmed. A lunch from 11:45pm - 12:45am is reported. From 11pm through 11:32pm there is a break in filming for Minnelli to discuss "change in set up to give more eerie effect. " The filming finally finishes early 3/4/43 at 4:55am. 03/09/1944 03/20/1944 Company waits for "Perfume bottle (special container with satin lining asked for by Director)" (from daily production log) - the company waits until 3/26/44 for the bottle. This is a perfect example of Minnelli's quest for perfection. 03/23/1944 03/31/1944 Report by Assistant Director Dave Friedman tells of one of many accidents to happen during filming. Click here to read memo. 04/01/1944 date detailing more of Judy Garland's frequent lateness & absence. signs new three year contract with Decca Records. Click here to read entries from the daily production log detailing Minnelli's perfection in the composition of a scene - one that never makes it to the final print! 04/07/1944 Filming is completed and the production is closed. Total cost: $1, 707, 561. 14 ($170, 589. 21 over budget) Filming lasts an actual 70 days (12 days over schedule). 04/20/1944 records "Boys And Girls Like You And Me" for Decca records. records "Have Yourself A Merry Little Christmas" for Decca Records. records "The Boy Next Door" for Decca Records. 04/21/1944 records "Meet Me In St. Louis" for Decca Records. records "Skip To My Lou" for Decca Records. records "The Trolley Song" for Decca Records. 05/17/1944 sings "The Trolley Song" on the "Mail Call" (#91) radio program. 05/25/1944 Underscoring for the film begins with Conrad Salinger conducting. Some of the sections recorded on this day are: The "Main Title" (w/the MGM Studio Chorus); The Halloween Sequence; & the "I Hate Basketball" scene. 05/26/1944 pre-records "Over The Banister". for the film continues with Conrad Salinger conducting. "Getting Ready for the Party" scene; scene with Esther & John turning out the lights (including Judy's vocal of "Over The Banister"; "Tootie's Music Box"; "Tootie's Grief"; & the "Finale". 05/27/1944 Some of the sections recorded on this day are: Opening of the Winter section; Esther's acceptance of John's proposal after the Christmas Party. 06/04/1944 sings "The Trolley Song" on the "The Bakers of America Salute to the Armed Forces" radio program. 06/05/1944 First preview. 06/10/1944 Garland's 22nd Birthday. 06/25/1944 sings "The Boy Next Door" on "The Chase and Sanborn Hour" radio program. 07/03/1944 Second preview - cuts were made after this, including the deletion of "Boys And Girls Like You And Me. " 07/14/1944 Freed writes a letter to Rodgers & Hammerstein about the deletion of their song "Boys And Girls Like You And Me" - Mr. Freed states "The entire sequence the song was part of was eliminated after the preview on account of its length. " 10/08/1944 sings "The Trolley Song" on the "Hollywood Democratic Committee Dinner" radio program. 11/02/1944 Decca Records releases the " Meet Me In St. Louis Original Cast Album " (it would be another 50 years before an official complete soundtrack album of the film is released). 11/22/1944 Me In St. Louis premieres in St. Louis, Missouri - the running time of the film is 113 minutes. 12/17/1944 performs "The Trolley Song" & "Have Yourself A Merry Little Christmas, " for Philco Radio Hall Of Fame. 04/23/1945 Garland and Kay Thompson are recorded in the MGM Recording Studios singing an impromptu duet of "In The Valley When The Evening Sun Goes Down" (Judy's opening number to The Harvey Girls). This is the only know recording of these two great friends singing together. 03/01/1945 Grauman's Chinese Theater in Hollywood, Meet Me In St. Loui s is up for 4 Oscars in the 17th annual Academy Awards presentation: Cinematography (Color)-George Folsey; Music (Scoring of a Musical Picture)-Georgie Stoll; Music (Song "The Trolley Song")-Ralph Blane & Hugh Martin; Writing (Screenplay)-Irving Brecher & Fred F. It would win none. 09/17/1945 marries Vincent Minnelli - studio boss Louis B. Mayer gives the bride away. Vincent would direct Judy in her guest appearances for "Ziegfeld Follies, " and "Till The Clouds Roll By, " as well as the films "The Clock" and "The Pirate. " Although Vincent was scheduled to direct Judy in "Easter Parade" he was replaced with Charles Walters because, by this time, Judy's troubles at the studio had escalated to the point that Vincent (as both her husband and studio director) would be seen as and adversary and studio ally - thus aggravating her already fragile psyche. 12/02/1946 & Margaret O'Brien appear in "The Lux Radio Theatre" radio show version of Meet Me In St. Louis. 08/12/1947 and the AFRS (Armed Forces Radio Show) Show Time Players perform a version of Meet Me In St. Loui s for the "Show Time" radio program. Judy sings "Meet Me In St. Louis, Louis, " "The Boy Next Door, " "Skip To My Lou, " and "The Trolley Song. " 04/16/1948 "Summer Holiday" is released. Produced by Arthur Freed and directed by Rouben Mamoulian, it is a musical adaptation of Eugene O'Neill's "Ah Wilderness" starring Mickey Rooney & Gloria DeHaven. Actually filmed in 1946 the film goes through numerous revisions and is shelved for 2 years. It's an unsuccessful attempt by Freed to re-capture the magic and success of "St. Louis. " 03/01/1952 Records releases the "Judy At The Palace" which is one of the first Garland "compilation" albums & includes the Decca versions of "The Trolley Song" & "Meet Me In St. Louis, Louis". 04/26/1959 CBS airs a T. V. version - complete with the original score - starring Jane Powell, Jeanne Crain, Tab Hunter, Walter Pidgeon, Myrna Loy, Patty Duke, & Ed Wynn. Throughout the 1950's and 1960's Judy would perform songs from Meet Me In St. Louis in concert, on the radio, and on television literally dozens (if not more) times. "The Boy Next Door" and "The Trolley Song" were a part of her medley of film songs which began with her Palace concert in 1951. After a few years, "The Boy Next Door" would be dropped from the medley, and Judy would seldom perform it on it's own. Her most notable performances of the songs would come from her concerts and t. v. series. The most well know or significant are included in this timeline, but since Judy performed in concert hundreds of times, it would be futile to try and list each and every single performance of each song. 09/26/1955 Capitol Records releases it's first Judy Garland long playing LP "Miss Show Business. " Included in the song line up is Judy's first studio recording of her original medley of "You Made Me Love You/For Me And My Gal/The Boy Next Door/The Trolley Song" (recorded in August of 1955). 08/06/1958 first legitimate concert recording of the newly trimmed "Judy Medley" which drops "The Boy Next Door" from the lineup, and would remain as "You Made Me Love You/For Me And My Gal/The Trolley Song" - released by Capitol Records as "Garland At The Grove" (the Coconut Grove in Los Angeles, CA) 06/09/1960 "official" stage version of the film, with additional songs, is premiered at the St. Louis Municipal Opera (in St. Louis, MO) - this is the version that has since been produced by numerous local and summer stock companies, as well as a full scale Broadway edition. 08/05/1960 London, Judy records the second studio version of her medley, by this time "The Boy Next Door" had been dropped from the medley, and it would remain "You Made Me Love You/For Me And My Gal/The Trolley Song". 04/23/1961 legendary Carnegie Hall concert, which of course includes the "Judy Medley" of "You Made Me Love You/For Me And My Gal/The Trolley Song". 10/04/1963 Episode #9 of "The Judy Garland Show" Judy sings "The Trolley Song" as part of her medley of "You Made Me Love You/For Me and My Gal/The Trolley Song". 11/08/1963 #13 of "The Judy Garland Show" Judy and Peggy Lee sing "Under The Bamboo Tree" as part of the "Judy Garland-Peggy Lee Medley". 12/06/1963 #15 of "The Judy Garland Show" Judy sings "Have Yourself A Merry Little Christmas" (this is also known as "The Judy Garland Christmas Show"). 01/14/1964 #18 of "The Judy Garland Show" Judy sings "The Boy Next Door" in a rock arrangement as part of the "Hit Parade 1964 Medley". 01/31/1964 #21 of "The Judy Garland Show" Judy & Mel Torme sing a "duet" version of "The Trolley Song" with Mel singing a counterpart to Judy's lyrics from the "boy next door's" point of view in that fateful trolley ride! 02/21/1964 #23 of "The Judy Garland Show" Judy sings "The Boy Next Door". 07/23/1964 #4 of "The Judy Garland Show" Judy and Lena Horne sing "The Trolley Song" as part of the "Judy Sings Lena Sings Judy Medley". 1964 Records releases "The Judy Garland Story - Vol 2 The Hollywood Years! " - which include the first ever official release on record of the original soundtrack (taken directly from the soundtrack of the film) versions of "The Boy Next Door" & "The Trolley 1974 MCA Records releases the two record set of the soundtrack of That's Entertainment! The only "St. Louis" song included is the first ever official release on record of the soundtrack version of "Under The Bamboo Tree. " 1976 Records releases the single record soundtrack of That's Entertainment Part Two. This is the first ever official release on record of the soundtrack version of "Have Yourself A Merry Little Christmas". Unfortunately, since MGM Records saw fit to use the highly abridged versions as seen in the film, the song is missing the first verse. 1981 new home entertainment revolution begins with the advent of VCRs and Video Disc players. Meet Me In St. Louis is released by MGM Video on VHS and Beta tape as well as by RCA on "SelectAvision VideoDiscs" (precursors to the LaserDisc). Since that time, Meet Me In St. Louis has been re-released several times on both VHS & Laser Disc with each new improvement in the technology. Also in this year, the first "real" soundtrack album of the complete soundtrack appears on "Hollywood Soundstage" records. This is a bootleg company that made soundtrack albums of varying sound quality directly from the film soundtracks themselves. 1986 Dunhill releases the very first Judy Garland compact disc. It is produced by Sid Luft and co-produced by Judy's son Joey Luft. The medley of "You Made Me Love You/For Me And My Gal/The Trolley Song" is included. Some tracks are capitol studio recordings mixed with applause and the live tracks to make the entire CD sound as thought it were one concert. For several years, this would be confusing to Garland fans, not being able to tell (due to the mix) what versions some of the songs were or whether they were previously unreleased recordings (they're not). It has since been re-released by DCC Compact Classics with the exact same mix & track lineup. Also at this time, the Decca versions of the St. Louis songs pop up on a multitude of official and budget CDs. 1987 Records releases the CD "The Best Of Judy Garland from MGM Classic Films". For some strange reason, the label uses the Decca version of "The Trolley Song" (and the other pre-1946 MGM songs) on some pressings and the soundtrack version on others, with no explanation or indication in the liner notes as to which version is included. 11/02/1989 Broadway version opens at the Gershwin Theatre and runs for 253 performances. It closed on June 10, 1990. Donna Kane plays Esther, Betty Garret plays Katie, & George Hearn (who played Albin in "La Cage Aux Folles" in 1983 and Max in "Sunset Boulevard" in 1994) plays Mr. Smith (Alonzo). The show is popular although many critics state it is over produced and the additional songs are not as memorable as the originals from the film. Hugh Martin & Ralph Blane provide the additional songs, the same as were in the 1960 version. It was nominated for 4 Tony Awards, including Best Musical, but didn't win any. Interesting since the film was nominated for 4 Oscars and didn't win any. Click here for a "review" of the show. Meet Me In St. Louis is one of the few movie musicals to originate as a musical FIRST on the screen and SECOND as a Broadway adaptation. Oddly enough, three notable exceptions: "Singin In The Rain" (Broadway 1985), "Seven Brides For Seven Brothers" (Broadway 1982), & "Gigi" (Broadway 1973) were also originally MGM mega-hit Musicals - and Gigi (the film) was directed by Minnelli and the film for which he won his only Oscar for Best Director (the film won a total of 8 Oscars including Best Picture). 1990 Records releases a series of MGM original soundtrack recordings on CD. These are the complete soundtracks recorded directly from the film soundtracks themselves and are varying in sound quality. CBS did not do a soundtrack of Meet Me In St. Louis, nor did they do a version of That's Entertainment, but they DID do a double disc of That's Entertainment Part Two which included the first ever official release of the complete soundtrack version of "Have Yourself A Merry Little Christmas". 1991 Records releases "The One And Only" - a 3 CD deluxe box set of studio recordings, live performances, and the never (completely) released in the US "The London Sessions" which include the "Judy Medley" of "You Made Me Love You/For Me And My Gal/The Trolley Song" recorded on 8-5-60. The following year, due to the success of the box set, Capitol releases a single CD entitled "The London Sessions". 1994 Spanish company "Blue Moon" releases the CD "Judy Garland The Hollywood Years" which is a poor quality sounding copy of the MGM records versions (probably recorded directly from the old records themselves) of Judy's MGM songs. However, this is the first CD release of the soundtrack versions (aside from the confusing MCA 1987 release) of "The Trolley Song" and the first ever of "The Boy Next Door". Records releases a 4 CD deluxe box set of all of Judy's Decca recordings "The Complete Decca Masters - Plus, " which includes all of the Decca versions of the songs from St. Louis. Dec Turner Entertainment, & MGM Records release the 50th anniversary edition of Meet Me In St. Louis on video, laser disc, & CD. The film's soundtrack is remastered into true stereo, and it's the first legitimate release of the complete soundtrack in audio form (all in one place) and the last title released under the old "MGM Records" label. The restored film has since been re-released on VHS once by Turner and once by Warners (who now owns the distribution rights to the Turner/MGM film catalog). NOTE: Until the DVD edition is released, the Laser Disc is the only place to hear the entire background score, isolated and in true stereo, as well as alternate takes of many of the songs including "Have Yourself A Merry Little Christmas, " "The Boy Next Door, " and "Over The Banister". 1995 Rhino Records obtains the rights to all of the MGM pre-recording sessions. This allows them to produce MGM soundtracks of the highest sound quality - many in true stereo for the first time - of many of the studio's classic musicals. Louis is one of the first soundtracks to be released, with all the songs and part of the background score as well as the outtake of "Boys And Girls Like You And Me" being released in pristine quality for the first time. Rhino has since included songs from Meet Me In St. Louis on many of their compilation CDs (including their Christmas compilation CDs). Now the public can enjoy the film and its soundtrack as it was meant to be seen and heard. Click here to go to The Judy Garland Online Discography Meet Me In St. Louis soundtrack pages. 04/06/2004 Warner Home Video restores the film utilizing their new "Ultra Resolution" process. The image is amazingly clear and vibrant, the best the film has ever looked. The restored film is released on a special 2-disc DVD with many great extra features. Click here to see the DVD page. The film is presented a few days earlier on April 4, 2004 at the Director's Guild 60th Anniversary celebration. Liza Minnelli, Lorna Luft, June Lockhart and Margaret O'Brien are in attendance for this special screening of the newly restored film. See the Media Gallery for images from this event. top of page NEW! Expanded complete soundtrack now available, in honor of the film's 75th anniversary! Click on the images above to see Meet Me In St. Louis media (records, sheet music, posters, lobby cards, CDs, DVDs, and more) PRODUCTION No. 1317 Cost: $1, 707, 561. 14 Includes: $208, 275 to build the new "St. Louis Street". $86, 616. 67 for the screen writing process (including early drafts and treatments dating back to 1942) $62, 225 for the lower floor of the Smith home. Fair. $15, 625 for the trolley depot. $5, 091 for the trolley tracks. Premiere: November 22, 1944 Domestic Gross: $7, 566, 000 (as of August 31, 1957 - does not include 16 mm. rentals, double-bill playoffs, or the film's share when sold for television as part of a package and subsequent home video sales) Running Time: 113 minutes (10, 147 ft) CAST: Esther Smith: Judy Garland "Tootie" Smith: Margaret O'Brien Mrs. Anna Smith: Mary Astor Rose Smith: Lucille Bremer Alonzo Smith: Leon Ames John Truett: Tom Drake Katie the maid: Marjorie Main Grandpa: Harry Davenport Lucille Ballard: June Lockhart Lon Smith Jr. : Henry H. Daniels Jr. Agnes Smith: Joan Carroll Colonel Darly: Hugh Marlowe Warren Sheffield: Robert Sully Mr. Neely: Chill Wills Dr. Terry: Donald Curtis Ida Boothby: Mary Jo Ellis Quentin: Ken Wilson Motorman: Robert Emmett O'Connor Johnny Tevis: Darryl Hickman Conductor: Leonard Walker Baggage Man: Victor Killan Mailman: John Phipps Mr. March: Major Sam Harris Mr. Braukoff: Mayo Newhall Mrs. Braukoff: Belle Mitchell Hugo Borvis: Sidney Barnes George: Myron Tobias Driver: Victor Cox Clinton Badgers: Joe Cobbs, Kenneth Donner, Buddy Gorman Girl on Trolley: Helen Gilbert Singing voice of Alonzo Smith: Arthur Freed Singing voice of Anna Smith: Denny Markas PRODUCTION: Producer: Arthur Director: Vincente Minnelli Assistant Director: Wallace Worsley Screenplay: Irving Brecher, Fred F. Finklehoffe from the novel by Sally Benson Uncredited script contributions: Sally Benson, Doris Gilbert, Sarah Y. Mason, Victor Heerman, William Ludwig Photography (Technicolor): George Folsey (uncredited: Harold Rosson for "The Trolley Song" sequence) Technicolor Color Director: Natalie Kalmus Associate Technicolor Color Director: Henri Jaffa Musical Director: George Stoll Uncredited Musical Director: Lennie Hayton Musical Adaptation: Roger Edens Orchestration: Conrad Salinger Songs & Music: "The Trolley Song", "The Boy Next Door", "Skip To My Lou", "Have Yourself A Merry Little Christmas" by Hugh Martin, Ralph Blane; "Under The Bamboo Tree" by Bob Cole, J. Rosamond Johnson; "Meet Me In St. Louis" by Andrews B. Sterling, Kerry Mills; "You And I" by Arthur Freed, Nacio Herb Brown; "I Was Drunk Last Night, " "Over The Banister" (traditional) arranged by Conrad Salinger; "Brighten The Corner" by Charles H. Gabriel Jr. ; "Summer In St. Louis", "The Invitation" by Roger Edens; "All Hallow's Eve", "The Horrible One", "Ah, Love! " by Conrad Salinger, "Good-bye My Lady Love" by Joe Howard; "Under The Anheuser Bush" by Albert von Tilzer, "Little Brown Jug" by R. A. Eastburn, arranged by Lennie Hayton, "The Fair" by Lennie Hayton, "Boys And Girls Like You And Me" (recorded and filmed but deleted prior to release) by Richard Rodgers, Oscar Hammerstein III Dance Director: Charles Walters Editor: Albert Akst Art Directors: Cedric Gibbons, Lemuel Ayers, Jack Martin Smith Set Decorator: Edwin B. Willis Associate Set Decorator: Paul Huldchinsky Costume Designer: Sharaff Costume Supervisor: Irene Make-up: Jack Dawn Recording Director: Douglas Shearer Sound Recording: Joe Edmondson CREDITS: A special thanks to Eric Hemphill, Jamin Fowler, Simon Tarantelli, Brie Copely, Kim Loeffler, Meredith Ponedel & Mike Siewert for sharing photos of items from their collections for this spotlight. RESEARCH: Meet Me In St. Louis by Gerald Kaufman The World Of Entertainment! Hollywood's Greatest Musicals (subsequently published as The Movie's Greatest Musicals - Produced in Hollywood USA by The Freed Unit and " M-G-M's Greatest Musicals - The Freed Unit) by Hugh Fordin Rainbow - The Stormy Life of Judy Garland by Christopher Finch Judy by Gerald Frank Judy Garland - The World's Greatest Entertainer by John Fricke I Remember It Well by Vincente Minnelli with Hector Arce A special thanks to the late Scott Schechter, author of the fantastic Judy Garland - The Day-By-Day Chronicle of a Legend for his willingness to share the Meet Me In St. Louis portion of his book as added "meat" to the timeline, and for his unwavering support.


Cast of meet me in st. louis movie.

I wonder where those chickens behind her are in life right now.

 

 

 

 

 

Meet Me in St. Louis Rated 3.9 / 5 based on 162 reviews.

parkour futbol

vist

eu vist parkour eu vist futbol pues aixo es parkour+futbol

futbol

a mi mancanta el fotbol fa poc em vaig lesionar

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