1940s, 1950s, actors, directors, Lucky 13 Film Club, movies, musicals

L13FC: Vincente Minnelli

Image result for gene kelly and vincente minnelli
Welcome back to Cindy’s Lucky 13 Film Club where we share comments with one another about a topic in the film industry. This is my lucky day because you are joining me on my birthday! Three cheers to Vincente Minnelli.

He was a costume and set designer in Chicago theater before he moved to New York City and was eventually hired in 1940 by producer Arthur Freed at MGM. Considered an auteur because of his style and creative control of his films, his background in theater and experience with stage sets and the use of color are trademarks of his musicals and dramatic films. According to The Gross: The Hits, The Flops by Peter Bart in 1999, Minnelli’s impact is profound in cinematic history. Vincente Minnelli directed An American in Paris (1951), Brigadoon(1954), Kismet (1955), and Gigi (1958). Other than musicals, he directed comedies and dramas including Madame Bovary (1949), Father of the Bride (1950), The Bad and the Beautiful (1952), and Lust for Life (1956), Designing Woman (1957), and The Courtship of Eddie’s Father (1963). He passed away at the age of 83 in 1986. Nominated several times, he finally won the Best Director Oscar for Gigi in 1958. As a director, he is credited for coaxing several actors (Shirley MacLaine, Spencer Tray, Gloria Grahame, Anthony Quinn, Kirk Douglas, among others) in Oscar-nominated performances. Would anyone disagree that Gene Kelley‘s magical dancing in the fantasy-rich sets of a Minnelli film is the best offering from MGM? I think not.

What’s the allure? It’s his use of color. Vincente used Technicolor better than most directors to shape the visual information much as a theater director does for the stage. Used as a device, he created motifs and incorporated visual imagery and symbols that added a layer of complexity for all to appreciate. Contrast his colorful worlds to the real world pallet of grays, browns, and Army green from the depression and WWII. In the fifties, the battered world needed the whimsical sweetness of a Minnelli film. His films were a tonic, the relief after the hangover of war.

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One example is his decision to use the bold color of fuchsia to signify the loose morals of Shirley MacLaine‘s “easy” character, Ginnie Moorehead in Some Came Running (1958). Walter Plunkett was the Costume Designer and combined with Minnelli’s vision to illustrate the theme of acceptance and the fracture of morality in small-town America in part by use of color, it was a memorable film.

Which sequences in his films have you noticed this theatrical trick to use color to help tell the story?

Since Gene Kelly was in several Minnelli films, take a look at this tribute by Christopher Walken.

actors, Film Spotlight, movies, oscars

What a Way to Go (1964)

Shirley MacLaine is a one-woman show in this goofy, dark comedy about a lady whose four husbands can’t help but make loads of money and then abruptly die. Edith Head had full reign and a limitless budget, it seems, creating exotic, costume ensembles–some of the best of her career. Though she was nominated for an Oscar for Best Costume, I’m surprised one of her eight golden statues wasn’t for this film. Rarely will you find a film where the costumes speak for the character and take on a life of their own. The more outrageous the lifestyle, the more outrageous the outfits and wigs. Whether she went to the bank, lounged at the pool, or wore her furs, Shirley looked fabulous. Love gushing colors and opulent production sets? Love wacky comedy and a cast of Hollywood A-listers that rival the costumes? Then you’d like J. Lee Thompson’s, What a Way to Go. 


Zany films take time to get into them. If you approach it as a Greek Comedy, it is easier to swallow the farce that borders on the absurd. What a Way to Go features stereotypes, the woes of relationships, and should not to be taken seriously. There’s a prologue, five acts, a deus ex machina at the climax for a happy ending. It is in line with the 1960s trend for big budget, sexy, wacky plots that wear thin.

Shirley MacLaine plays Louisa May. She is her own narrator who confesses about her curse to a shrink played by character actor, Robert Cummings.  She has $218,000,000 dollars she is trying to give back to the IRS because she thinks she bewitched and caused the death of four husbands. Always wanting the simple life, she thinks she has found her perfect mate. Unfortunately, they are corrupted by greed and attacked to death by the instruments of their obsession.

There’s a pattern to Louisa’s storytelling. After she gets her husband, there’s a sub-play giving homage to a genre of the film industry. The mega-star matches perfectly with the character he represents. This repetition is clever even if it chops up the story line into bite-sized morsels, and it begins to feel more like a variety show. I think it’s subjective whether you like the format or not. It’s different, and few films can boast of the star power of the cast.  What fun Shirley MacLaine must have had with these gents!


Dick Van Dyke has always been a slap-stick, vaudevillian actor, so he plays the goofy first husband to perfection. Louisa asserts their marriage felt like being in a silent film, and this cues the black and white tribute. Ironically, Love Conquers All is their motto, and it proves fatally wrong.


Paul Newman, as husband # 2, represented the spirited American bohemian in France espousing the definition of the artist with avant-garde approaches to creating real art. Larry Flint and Louisa pay tribute to French cinema. With their vignette, I smiled throughout as camera angles mimicked all that is stereotypical of sexy French cinema. The parody continued with the corruption of Larry Flint when he rubs elbows with the elite of the art world. Andy Warhol said, “Art is anything you can get away with” and it’s relayed here in the ludicrous costumes Louisa wears. They are works of art created by her husband. His demise is fitting, and by this point, I’m buying into the film and enjoying it.

Robert Mitchum played Rod Anderson, Jr., the maple syrup tycoon, who had already earned his fortune, so Louisa thought she couldn’t ruin his life. This segment of the film pokes fun at Old Hollywood’s grand pictures that featured the super-wealthy and their exotic lifestyles. The parody was fantastic, from the couple sleeping in a champagne glass to the arrival of Louisa in another over-the-top ensemble. I loved it. However, nothing compared to the next marriage with her fourth husband, Pinky Benson.


Who knew Shirley MacClaine could dance? She stepped in line with Gene Kelly and looked as graceful as any previous partner. Since the film was a farce in the first place, you can’t really call Shirley MacClaine’s melodramatic performance (whenever she cried) as well acted, but when you consider all she had to do as the central character, I thought she was magnificent. Her dancing really blew me away.  No wonder she was offered a few year’s later with her dancing musical, Sweet Charity (1969).  Gene Kelly–sigh–this was the one act where I thought the male actor acted instead of acting ridiculous. I cared for him as the salt-shuffling clown whose demise was predictable.


Dean Martin plays his iconic self. He’s a playboy with a drunken smirk on his face. Louisa hates Lennie Crawley. It’s a powerful emotion. That’s all I’ll give away in case you haven’t seen this crazy, beautiful film.