Judy garland meet me in st louis the trolley song composer

The Trolley Song - Wikipedia

judy garland meet me in st louis the trolley song composer

Meet Me in St. Louis () SoundTracks on IMDb: Memorable quotes and exchanges from movies, The Trolley Song () Written by Hugh Martin and Ralph Blane Sung by Judy Garland (uncredited) and chorus Composer unknown. MUSIC & WORDS: Hugh Martin, Ralph Blane, others. album by Judy Garland of orig cast, with chorus. "Meet Me in St Louis, Louis," "Skip to My Lou," "The Trolley Song," "Have Yourself a Merry Recordings sung by the composers . Meet Me in St. Louis is pure Americana at its best, a musical that celebrates the values of small town The song was written by Hugh Martin and Ralph Blane.

Louis is pure Americana at its best, a musical that celebrates the values of small town America, a popular theme in MGM musicals.

Many critics consider Meet Me In St. Louis the single finest Hollywood musical of the 20th Century. There are many others I still enjoy watching from Hollywood's golden era of musicals.

judy garland meet me in st louis the trolley song composer

This was just enchantingly beautiful. Was The Trolley Song really written from a children's book? If you have only seen Judy in the Wizard of Oz, you haven't seen Judy. In my opinion, this was some of her best work. Wonderful cast, Lovely settings, magical songs. It is such a remarkable period piece, illustrating a much simpler lifestyle where the telephone and electric lights were new. The song was written by Hugh Martin and Ralph Blane.

Meet Me In St. Louis - A beautiful timeless movie. 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.

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. 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 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.

The Trolley Song

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. 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.

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.

The Trolley Song | Meet Me In St. Louis with Judy Garland.

She was able to effectively point out the charms and magic of the story. 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 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!

judy garland meet me in st louis the trolley song composer

In his memoirs, Minnelli reports what happened when Judy came to see him about the film: She later told me that she'd come to see me thinking I would see it her way. I see a lot of great things in it. In fact, it's magical.

judy garland meet me in st louis the trolley song composer

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, 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, 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.

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 takes. Judy 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 thisbut 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: 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 '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 and ending inJudy 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.

Louis, Kay Thompson and the rest of the legendary "Freed Unit. 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.

And she would do some of her best work during this time and was, for the most part, quite happy. 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.

judy garland meet me in st louis the trolley song composer

Kay had a sophistication and style that was classy, brassy, and highly stylized. 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 listenJudy 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.

Meet Me in St. Louis () - IMDb

As with so many films, accidents happen. Louis was no exception. On March 31, 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. 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 fainting. Several cast members would be sick at one point or another. 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.

On February 2, 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.

Margaret's mother is convinced that the studio is working her daughter way too hard. So on January 31, 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.