- Joined
- Feb 8, 1999
- Messages
- 18,419
- Real Name
- Robert Harris
Meet Me in St. Louis, new on Blu-ray from WB, exists at the top of the Garland/Minnelli/Freed canon.
Everything about it excels in that way that only the great M-G-M films could. No one could touch them.
Produced during-World War II, in Technicolor -- the most expensive and difficult means of creating a motion picture, with the absolute best talent in the industry.
Let's examine the Technicolor aspect.
Generally, only the most major productions went before a Technicolor camera.
1944 saw 27 features produced in the format.
Fox produced the most at 7 films:
Buffalo Bill
Greenwich Village
Home in Indiana
Irish Eyes are Smiling
Pin-up Girl
Something for the Boys
Wilson
Two of those can be considered classics today, and none of the original negatives survive.
M-G-M produced 6:
An American Romance
Bathing Beauty
Broadway Rhythm
Kismet
Meet Me in St. Louis
National Velvet
Three will make the classics list.
RKO come in with 4:
Belle of the Yukon
Princess and the Pirate (Goldwyn)
Three Caballeros (Disney)
Up in Arms (Goldwyn)
Paramount also had 4:
Frenchmen's Creek
Lady in the Dark
Rainbow Island
The Story of Dr. Wassell
Universal had 4:
Ali Baba and the Forty Thieves
Can't Help Singing
The Climax
Gypsy Wildcat
Columbia's single entry was a worthy subject: Cover Girl
In addition, two UK productions, one of which was David Lean's This Happy Breed.
My point in listing these titles, is that three-strip Technicolor was an expensive rarity. And the bottom line is that while a few productions stand out -- Pin-up Girl, Wilson, Kismet, National Velvet and Cover Girl, it is the Meet Me in St. Louis, that has best stood the test of time, in its music, acting, sets, costumes and its overall sense of an almost mythical America as a family in St. Louis prepared for the World's Fair of 1904. Its cinematography by George Folsey is perfection. His Halloween sequence is a notable Technicolor classic. As an aside, he was brought in to shoot the new sequences for That's Entertainment, Part II.
We all know that way the WB treats its three-strip productions, and Meet Me in St. Louis takes it to the highest levels.
Scanned from the original camera negatives, and composited via the proprietary Ultra-resolution process, the resultant element from WB's MPI digital facility is nothing less than breathtaking. One might ask "where did the audio come from?"
In typical fashion, the studio wasn't happy to use the 1/4 magnetic archival audio.
Instead they returned to the original optical stems, and re-created the audio to sound better than it did in prints in 1944. This audio is 67 years old, and amazing.
Meet Me in St. Louis is an extraordinary artifact of Hollywood's Golden Age, brought to Blu-ray with consummate love, care and attention detail.
Is it perfect?
Almost.
I'd have like to have seen the original logotype used for the cover art.
As for the Blu-ray disc, absolutely, positively perfect in every regard.
Very Highly Recommended.
RAH
Everything about it excels in that way that only the great M-G-M films could. No one could touch them.
Produced during-World War II, in Technicolor -- the most expensive and difficult means of creating a motion picture, with the absolute best talent in the industry.
Let's examine the Technicolor aspect.
Generally, only the most major productions went before a Technicolor camera.
1944 saw 27 features produced in the format.
Fox produced the most at 7 films:
Buffalo Bill
Greenwich Village
Home in Indiana
Irish Eyes are Smiling
Pin-up Girl
Something for the Boys
Wilson
Two of those can be considered classics today, and none of the original negatives survive.
M-G-M produced 6:
An American Romance
Bathing Beauty
Broadway Rhythm
Kismet
Meet Me in St. Louis
National Velvet
Three will make the classics list.
RKO come in with 4:
Belle of the Yukon
Princess and the Pirate (Goldwyn)
Three Caballeros (Disney)
Up in Arms (Goldwyn)
Paramount also had 4:
Frenchmen's Creek
Lady in the Dark
Rainbow Island
The Story of Dr. Wassell
Universal had 4:
Ali Baba and the Forty Thieves
Can't Help Singing
The Climax
Gypsy Wildcat
Columbia's single entry was a worthy subject: Cover Girl
In addition, two UK productions, one of which was David Lean's This Happy Breed.
My point in listing these titles, is that three-strip Technicolor was an expensive rarity. And the bottom line is that while a few productions stand out -- Pin-up Girl, Wilson, Kismet, National Velvet and Cover Girl, it is the Meet Me in St. Louis, that has best stood the test of time, in its music, acting, sets, costumes and its overall sense of an almost mythical America as a family in St. Louis prepared for the World's Fair of 1904. Its cinematography by George Folsey is perfection. His Halloween sequence is a notable Technicolor classic. As an aside, he was brought in to shoot the new sequences for That's Entertainment, Part II.
We all know that way the WB treats its three-strip productions, and Meet Me in St. Louis takes it to the highest levels.
Scanned from the original camera negatives, and composited via the proprietary Ultra-resolution process, the resultant element from WB's MPI digital facility is nothing less than breathtaking. One might ask "where did the audio come from?"
In typical fashion, the studio wasn't happy to use the 1/4 magnetic archival audio.
Instead they returned to the original optical stems, and re-created the audio to sound better than it did in prints in 1944. This audio is 67 years old, and amazing.
Meet Me in St. Louis is an extraordinary artifact of Hollywood's Golden Age, brought to Blu-ray with consummate love, care and attention detail.
Is it perfect?
Almost.
I'd have like to have seen the original logotype used for the cover art.
As for the Blu-ray disc, absolutely, positively perfect in every regard.
Very Highly Recommended.
RAH