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Directed by Vincente Minnelli and starring Leslie Caron as the title character, "Gigi" (1958) is nothing short of sweet and delightful. Gigi is a coltish teen in 1900's Paris who lives with her grandmother Madame Alvarez (Hermione Gingold) and who loves to hang out with family friend Gaston Lachaille (Louis Jourdan), an international jet-setter and playboy whose every relationship is documented in the papers. The pseudo-narrator of the film is Henri Lachaille (Maurice Chevalier), Gaston's uncle and a notorious playboy in his own right, who loves to give his nephew relationship advice, solicited or not. Gigi is being bred by her grandmother and aunt to become a refined woman so she can become a mistress for rich and powerful men, so it comes as both a surprise and delight to the women to discover that Gaston may be a suitable candidate. However, Gigi's innocence may not allow this to happen, as she struggles with making the transition between carefree girl to a refined lady with social responsibilities.

Musicals are a rare genre on my "films I adore" list, but "Gigi" has long been a favorite film of mine, despite its sappy moments and sometimes corny jokes. What makes "Gigi" such a good film is its unmitigated Charm with a capital "C"; one can't help but grin a little when Chevalier sings "Thank Heaven for Little Girls" because he doesn't stop flashing that high voltage smile himself. And I cannot get through the scene between Chevalier and Gingold when they sing "I Remember it Well" by the seaside without tearing up because it is just so damn cute. Sure, the revelations and epiphanies are pretty easy and kind of out of nowhere, but considering it is an MGM musical from the 1950's, I would be surprised if there weren't these kinds of things. Everyone in the film looks like they are having a good time (particularly Chevalier), and the great Lerner-Loewe music against the Parisian backdrop is enough to sell me.

"Gigi", while being a 10-time Oscar winner (including Best Picture) has unfortunately been marginalized by some as a typical MGM fluff piece, could be a hard sell, particularly to the jaded Generation Y - and - younger audience. However, since I myself am probably one of the most cynical film-viewers I personally know of, take my word for it – "Gigi" is a lot of fun, and a good way to spend two hours. 8/10 --Shelly

There are some movies one enjoyed years ago that now, in the light of a more progressive culture, seem disturbing. But I found Gigi inherently creepy when I first saw it as a teenager in the '70s. Admittedly some things bother me more now than then, like a middle-aged man singing about how great little girls are because when they're teenagers he'll have sex with them, but the central premise always struck me as deeply disturbing.

This is essentially a movie about a young girl pushed into sex work by her family of sex workers. She does not, at first, understand that's what's happening, but when she figures it out she's not happy about it. And I just don't see how that can be alright. It would be one thing if this were a commentary on a time when most women's only real path to power and fortune was through sex, but that's not what this is. This is a light frothy musical about something really bad.

And it's a shame, because it's full of great songs. Ignoring the sleaziness, Thank Heaven for Little Girls is charming. The Night they Invented Champaign is a fun, amusing number, as is I Remember it Well.

The performances are excellent, particularly Leslie Caron as Gigi. But I can't even watch this movie because I find it so creepy. Gigi's situation is heartbreaking, and while yes, it's a 50s musical that resolves everything pleasantly, Gigi is powerless in the equation.

As a youth I was horrified by a movie about someone my age who's agency had been taken away by "well meaning" relatives. As an adult I find it even more disturbing.

And yeah, a lot of people are just going to say I'm a buzzkill and it's just light froth. But I can't see it that way.

The art decoration and sumptuous costuming designed by Cecil Beaton are truly striking in every respect. The storyline what there is of it is rather weak. The presentation is reminiscent of "My Fair Lady" but lacking in a good story is not half as great.

Maurice Chevalier as Gaston's Uncle Honore steals the show and gives the best performance due mainly to his special French charm and charisma. He lifts every scene. His singing of "Thank Heaven for little girls" sets the spirit of the film as he advises Gaston on the importance of enjoying life. The main ingredients appear to be Paris, Springtime and girls, preferably young ones.

Gigi (Leslie Caron) is taught the social graces and niceties of life by her grandmama and friends such as how to drink a glass of wine and how to choose a good cigar. These scenes I found not particularly funny. Perhaps it was unconvincing because the actor was trying to be very naive and young and inexperienced. Louis Jordan as Gaston the bored millionaire playboy was OK in a romantic role which was relatively undemanding. I particularly liked his rendition of the song "Gigi" when his attitude to life is suddenly changed. "Gigi" happens to be my favourite tune in the whole film.

Paris life is captured in glorious technicolour. Note that it is devoid of all shabbiness and poverty. The film opens near the Bois de Boulogne in 1900 and wanders amongst the skating rink and places of great entertainment where money seems to be the least of their worries. This is escapism de luxe.

Not a great film but quite pleasant to watch. I'll be singing "Gigi" a long time after the film has been forgotten.

The ability to do fine musicals was one of Hollywood's endearing traits. However, in Gigi they produced a GREAT musical that is in a class by itself. The score, the libretto, the costumes, photography et al won Oscars and deserved them.

However, the cast led by Caron and Chevalier all deserved a special Oscar. They were cast perfectly and performed to perfection. Could there be a better Gigi than Caron? Her ability to go from a charming child to a beautiful women is overwhelming. The songs that Chevalier has made into classics, appear to have been written especially for him. Could one visualize any other personality performing these songs?

Jourdan is perfect in his role and so is Gingold. Thank heaven!!! Lastly, I must pay homage to that city on the Seine. It is the ultimate star and should have gotten a special award.

I agree with those readers that have called Gigi the best Hollywood musical; it is really the perfect musical. Thank heaven!!!

.. and maybe it's not such a bad thing.

I have nothing against these old Hollywood Technicolor productions but all the Crayola feast in the world can't make up for monotonous and predictable plots, although I concede that, within its own limited but existent appeal, it was a little more enjoyable than "My Fair Lady..., because it was shorter and there was some believable chemistry between playboy Louis Jourdan and "petit bout de femme" (as they say in French) Leslie Caron. I wish though a less sordid story line would have reunited these two actors.

Indeed, for all its old-fashioned 'charm', "Gigi" is the story of a young and lively girl, cute as a button, a real Gigi (whatever this sassy name evokes) groomed to become a courtesan, a euphemism for 'escort girl' that didn't fool the audiences. But why not? It's actually a provocative premise and the fact that it's adapted from a novella written by Colette could have provided a modern, thought-provoking, touch. But the whole thing is enclosed in a Cinderella structure, where men are not exactly charming princes. On a pedestal of admitted social superiority, they are looking upon these funny little creatures called women (even the really little ones) who are not even seen as potential doctors or engineers, who am I kidding, they're not even seen as potential mothers but only adorable soon-to-be providers for men's luscious thrills.

I guess there wasn't much to seek for women in the Paris of the early 20th Century, "La Belle Epoque" as they say in French, apart from money-driven seduction or seduction-driven wealth. And the (in)famous "Thank Heaven for the Little Girls" has the merit of setting the tone of the film and being clear about its intent. I'll go past the creepiness of an old man staring at younger girls with that little sparkle in the eyes, Maurice Chevalier is actually one of the best things about the film and had another nice romantic scene later in the film. But the whole tone of "Gigi" is quite condescending and patronizing toward women who only seem to exist in order to fulfill men's frivolous recreations or egos in the best case. No wonder the film is compared with "My Fair Lady", Gigi could have been a more independent and appealing version of Eliza Doolittle, but she was wrapped up in a cynical plot and entrapped in the claustrophobic atmosphere of reddish walls and over-furnished rooms.

So, Gigi starts being the mistress of Gaston (Louis Jourdan), the most coveted bachelor of Paris, and it's a matter of time before they fall in love. I refuse to believe that women didn't think of themselves highly even in that time. But I'll make an effort, I'll forgot that the film was older than my mother and I will judge it from its context. So, it's set in 1900: wasn't that a time where Marie Curie was working as a young promising physician in Paris? Where Coco Chanel started modeling? Could a girl as beautiful as Gigi look for a brighter future instead of letting herself at the hands of two old ladies who only see her as men's accompaniments then deciding to belong to Gaston. Leslie Caron exuded such passion and liveliness that I couldn't believe her character wasn't given more substance. She was everything Audrey Hepburn wasn't in "My Fair Lady".

But that's the way it is, it's a film about men and the way they can dispose of women. Gaston doesn't strike as an unlikable character but he's likable by default as his first mistress (Eva Gabor) cheats on him and he takes his revenge causing a suicidal attempt that is supposed to make us chuckle. Indeed, in this (not so) gay Paris, we're supposed to root for him. But I could only root for Gigi and I couldn't accept that she would start her 'platonic friendship' by being a lousy substitute. Some would also say this was the way movies and women were portrayed, but again, let's not forget that in 1958, two progressive movies were made "Cat on a Hot Tin Roof" and "The Defiant Ones", not to mention "Vertigo" or "Touch of Evil" that weren't even nominated.

So "Gigi" feels anachronistic even in its context, when French youth was dancing under the beats of Rock and Roll music and emulating the American idols, old-school Hollywood was still being nostalgic over a not-so-gay Paris that didn't exist anymore. "Gigi", for the sake of being a musical, doesn't try to push its premise a little farther, to spice it up a little, it doesn't even play fair with the genre as there's no particular song or choreography that stands out. This is a film that is not devoid of charming desuetude , but it's rather forgettable, and belongs to that string of mega-Best Picture winners of the 50's and 60's that were instantly forgotten like "The Greatest Show on Earth", "Around the World in Eighty Days" or "Oliver". And "Gigi" winning is a repeat of "An American in Paris" beating "A Streetcar Named Desire" and "A Place in the Sun". I'm happy for Vincente Minnelli but his Best Pictures weren't exactly Hollywood's finest hour.

Speaking of the director, I saw a documentary about the life of Leslie Caron right after "Gigi" and I wish the story of Gigi was half as captivating as Caron's, she didn't have all fond memories of her Hollywood days and I can see why, as she was sort of victim of her beauty and used by Hollywood producers like a puppet, there was something of Gigi in Leslie Caron, something of a missed opportunity. The actress could play and she deserved better than being just the foil or the… 'faire-valoir'... as they say in French.

Having seen this film several times, I definitely have to rate Gigi as one of the most charming musicals ever made. The delightful score, by Lerner & Loewe, includes songs such as "I Remember it Well," "The Night They Invented Champagne," "Thank Heaven For Little Girls," as well as the title track, "Gigi," sung with surprising candor and earnestness by Louis Jourdan. Although reminiscent of their work on My Fair Lady, this score not only stands beautifully on its own but also grows in depth with each viewing.

The three principals, Leslie Caron, Louis Jourdan, and Maurice Chevalier, along with the Paris locales helps maintain a distinctively French flavor, especially in the way the characters relate and interact.

For everyone who has commented on the political incorrectness of the story, a closer look will actually reveal the true feminist perspective of Colette's work which was groundbreaking for its time: 1) the story is a commentary and observation of the limited social and economic options for women outside of marriage during the turn of the century Paris, 2) Although Gigi (Caron) never fully masters her lessons and grooming, she is able to capture Gaston's (Jourdan) heart precisely because of her imperfections, and 3) most importantly, it is Gaston rather than Gigi who is forced to truly transform himself and defy the social conventions of the time to bring the story to its resolution.

Compare this to My Fair Lady, which offers similar social commentary but resolves itself in a more standard way: For example 1) Eliza Dolittle only becomes noticeable and lovable after transforming her outward appearance and speech patterns 2) Although Professor Higgins finally realizes his love for Eliza at the end, it is Eliza who is forced to submit her will by effecting a reconciliation that does nothing to resolve any of the issues raised in the scenes leading up to that point.

Definitely see Gigi and judge for yourself. (By the way, the widescreen version is sooooo much better. This is especially apparent in numbers such as "I Remember It Well" where entire characters are forced to be cut out of the screen.)

Weary of the conventions of Parisian society, a rich playboy (Louis Jourdan) and a youthful courtesan-in-training enjoy a platonic friendship, but it may not stay platonic for long.

This is apparently a film about fashion, because Gigi is all about fancy clothes. When bundled up, she looks very much like Madeleine (which, for all I know, is normal in France). But underneath? Some bold, wild patterns! Gigi is a role that seemed tailor-made for Audrey Hepburn, and I guess that some people wanted her to have it, though Leslie Caron nails it. Is Caron as big a name as Audrey? Goodness, no. But perhaps she ought to be.

A tedious musical about Parisian society around 1900. At the age of 27, Caron was a bit long in the tooth to be playing a teenager. Speaking of young women, Chevalier's appreciation of "leetle gails" is kind of creepy. At least Jordan is honest when he sings, "It's a Bore." Minnelli's Oscar seems to be a belated one for "An American in Paris." Here he does nothing to keep the film from dragging. The songs, in the ludicrous Lerner-Lowe style of half-talking and half-singing, are not particularly good. It's unbelievable that this film won the Best Picture Oscar for a year in which such masterpieces as "Vertigo" and "Touch of Evil" were released.

Although MGM and other studios would continue in the genre for several more years, GIGI is the last great musical of Hollywood's golden age. It is also one of the few titles consistently mentioned when critics dispute which film should be considered the single finest musical ever created by Hollywood, a film that rivals the likes of SINGIN' IN THE RAIN and MEET ME IN ST. LOUIS.

Based on a novella by Colette, GIGI tells the story of a French family of the belle epoch--a family, it seems, of women who have made their living from the favors of famous men. Still something of a gawky schoolgirl, Gigi (Leslie Caron) is being trained to become a courtesan, and when she suddenly blossoms she captures the heart of Paris sophisticate Gaston Lachaille (Louis Jourdan.) But much to her family's horror, when the arrangements are completed Gigi suddenly declines! The cast is absolutely flawless. Caron was born to play Gigi, and is as charming as the awkward youth as she is as the suddenly beautiful young woman; Jordan's appeal as the worldly and world weary Gaston is tremendous. But the real joy of the cast is in its supporting cast, which includes Maurice Chevalier as Gaston's uncle; Hermione Gingold and Isabel Jeans as Gigi's grandmother and great aunt; and Eva Gabor as Gaston's current mistress. Chevalier and Gingold play their roles with precisely the right mixture of charm and severity, and their duet "I Remember It Well" is among the highlights of the film, while Jeans and Gabor give such great comic turns that their small roles become as memorable as the leads.

The Learner & Lowe score is equal their great Broadway success MY FAIR LADY, and offers such enjoyable and memorable songs as "Gigi" and "The Night They Invented Champagne;" the script equals and merges with the music to considerable effect. Filmed largely on location in Paris, the look of the film is incredibly rich, and director Vincent Minnelli maintains a sprightly sense of humor with just enough darkness behind the bubbles to make us aware of the seriousness of the tale. Mixing intimacy with tremendous surface splash, GIGI is a cultural treasure, a film to enjoy and cherish forever and certainly a worthy contender for that disputed title of "Hollywood's finest musical." A personal favorite and highly, highly recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer

Ever since my sister and I were "leetle gerls" as sung by the

wonderful Maurice in the movie we have simply adored this film. There are so few treasures such as this one. Leslie Caron is nothing short of perfection in this role so young, and so beautiful. And too, I must mention the dashing young Louis Jordan as the much desired by all women, Gaston. I cannot tell you how many times I have heard that beautiful song in my head as he has discovered his Gigi is a "woman" now and not a child. My sister and I will forever keep this movie close to our hearts. I suggest anyone who is a romantic or loves musicals to go and rent this one right away!!

Pleasant, mostly charming Lerner & Loewe musical engaging the cream of French talent (Chevalier, Jourdain, Caron and more), prettily placed in front of the camera by maestro musical director Vincente Minelli. Apart from some ugly (in hindsight) travelling process shots early on, Paris is caught in all its effervescent beauty. There's not much to the story, in fact more of the narrative is told in the multitudinous songs which pleasingly pepper the whole, where it must be said, Lerner's lyrics match Lorenz Hart in terms of rhyming invention and Cole Porter for urbanity and cool. The melodies are mostly memorable too combining to deliver a number of standards, well remembered today. The acting is mostly good, Jourdain particularly pleasing in his rich dilettante role, playing his clothes well and much the same can be said for Leslie Caron in the title role, although she does seem to go from girlish games at the start to womanly wiles rather quickly. Maurice Chevalier, I guess, plays a love him or hate him role, as the sly old bachelor uncle forever winking and shrugging his shoulders as he mugs directly to camera (to what end I'm not quite sure) - I tend to the latter view, myself, finding him a bit of an unbearable nuisance. Of course the revolutionary "West Side Story" was waiting just around the corner to blow away this old-fashioned type of musical (excepting the last hurrah that was "The Sound of Music") and I know which style I prefer, but there's little wrong with this overlong but nonetheless attractive and frothy feature.

Stylish MGM musical tells the story of a scruffy French lass in 1890s Paris groomed to be a mistress by her grandmother. "Gigi" is often referred to as the jewel in director Vincente Minnelli's crown, yet the picture is more ornate pomp and circumstance than delicious musical entertainment. This was the second filming of Colette's novel, following the 1949 non-musical French version starring Danièle Delorme (which gave way to the Broadway success starring Audrey Hepburn). Leslie Caron has the title role here and she's charming, as is Louis Jordan as Gaston, though both are in danger of being swallowed up by the over-production. Maurice Chevalier, Hermione Gingold, Eva Gabor make up the hammy supporting cast, while the songs by Alan Jay Lerner (also the screenwriter) and Frederick Loewe contain the clipped wit of Broadway's best--a good thing, since those musical numbers are really the only instances in which the picture lifts off. 'Prestigious' and glossy, the film is big on exuberant trimmings, as it were, but it doesn't linger lovingly in the memory. Nine Oscar nominations with nine wins, including: Best Picture, Best Director, Best Adapted Screenplay, Best Cinematography for Joseph Ruttenberg, Best Art Direction, Best Costume Design for Cecil Beaton, Best Editing, Best Song for "Gigi" composed by Lerner and Loewe, and Best Musical Scoring for Andre Previn. **1/2 from ****

"Gigi" is undoubtedly as good as it is because it was a musical written expressly for the screen (it had been an enormously popular Broadway play starring Audrey Hepburn). Lerner and Loewe were coming off their huge success with "My Fair Lady" on Broadway, and were at the height of their powers when they created the classic songs and screenplay for this film. And although Leslie Caron's vocals were dubbed (thankfully not by Marni Nixon), the rest of the cast acquits themselves with aplomb and a good deal of style, particularly the heartstoppingly suave and beautiful Louis Jourdan (who was much older than he looked at the time, as was Caron -- he was 38, she was 27). The breathtaking Art Nouveau sets and fin de siecle costumes were all designed by Cecil Beaton and are even more gorgeous than those he did for the film version of "My Fair Lady" a few years later.

This film is very faithful to Colette's original short story in both humor and spirit, and while I have no illusions that it is a completely truthful portrait of life in early 20th century Paris, it is a delightful, romantic story, one that is as lovely now as it was in the 1950s, or indeed, at the turn of the century. It really did deserve the Best Picture Oscar.

That was the year I fell in love again, and what a gloriously entertaining musical with Chevalier singing "Thank Heaven For Little Girls" referring to the young girl played by Leslie Caron,etc. who is wooed by Louis Jordan until she grows up to be a lady of fashion in Gay Paree. The music is great, the settings are beautiful, and I remember Hermione Gingold and Chevalier singing together a funny song "I Remember It Well". In my book after seeing it for the umpteenth time, it's still a 9/10. Pure enjoyment!

GIGI (1958) 8.5/10

Vincente Minnelli's GIGI (or should I say Loewe & Lerner's GIGI?) won all the major Academy Awards in 1959, defeating CAT ON A HOT TIN ROOF and AUNTIE MAME (in my opinion, better films, but I love all of them). It's been made into a classic over the years, but nowadays it's a bit overlooked. Not that it matters: even losing in comparison with other Vincente Minnelli films (AN AMERICAN IN PARIS, FATHER OF THE BRIDE) and other Loewe & Lerner musicals put on screen (MY FAIR LADY), GIGI is a real charmer, with very fine songs, gorgeous visuals and the presence of Leslie Caron, Maurice Chevalier, Louis Jordan and Hermione Gingold (THE MUSIC MAN). It's one of the better looking and enchanting musical of the '50s, one of those movies that hypnotize you without a spectacular story or landmark performances (courtesy of Vincente Minnelli). There's only one thing: is it a story about pedophilia? If someone decided to sing "Thank Heaven for Little Girls" on screen nowadays, he would be considered a sick pedophile. But not Maurice Chevalier. The audiences of the '50s didn't have a dirty mind like us, but in my opinion it's clear that Gigi, a teenager, starts a semi-promiscuous relationship with Jordan's character, a thirty-some. Well, it's better to forget this, and you are probably thinking that I am a sick teenager that has nothing else to do. The relationship consists in pedophilia, but the innocence and sweetness of GIGI makes us, audiences of the 21st century, forget that.

Ah, GIGI...those sumptuous Lerner and Loewe songs, the lovely Leslie Caron, the charming Maurice Chevalier, the fantasy-perfect designs...ah, yes, I remember it well.

Problem is, the story makes it one of the most distateful films ever made. A little girl being raised to be a courtesan...gosh, nothing wrong with that. The present-day controversy over the latest Lolita film makes me laugh. Compare the ATTITUDE of _Lolita_ with the approving, even beamingly salacious attitude of _Gigi_. You can dress it up all you want to, but the film still gives a good name to child abuse and near-slavery. And that ruins all the songs, performances, and designs for me.

I'm surprised, and not happy, to find this peak of MGM musical filmmaking commanding a paltry 6.6 on the IMDB. Apparently many onlookers are uncomfortable with Colette's tale of the grooming of a courtesan, and of Maurice Chevalier's singing of "Thank Heaven for Little Girls," the un-salacious meaning of which is, thank heaven for little girls. (If you wish to graft pedophilic interpretations onto it, well, go ahead, but that's not what Honore is saying.) The world of courtesanship was perhaps unsavory by today's standards, but it's the world Colette lived in, and.it's brought to glorious life by Alan Jay Lerner's incomparably witty screenplay and lyrics, and Vincente Minnelli's career-high direction, along with Cecil Beaton's devastating production design. In a flawless cast, may I put in a particular word for Isabel Jeans's Aunt Alicia; she nails every laugh line, and there are many. The justly celebrated Frederick Loewe score is brilliantly conducted by Andre Previn, the wide screen is amply filled, and we shall simply never again see musicals that achieve this level of literacy and sophistication. A visual and aural feast, and a thinking-person's musical, and one of the two or three best things MGM's Freed Unit ever turned out.

A great feel good musical from the golden era of musicals. It might not be up there with Guys and Dolls or South Pacific, but is still wonderfully enchanting with song good songs thrown in. Leslie Caron and Louis Jourdan in the lead roles are great and the direction, cinematography and sets are brilliant. Need something to cheer you up, then watch Gigi.

I love musicals, I really do! I've seen Fiddler, Fair Lady, Hello Dolly, Tommy, Little Shop of Horrors and many more a million times over. So, I just had to check out GIGI - apparently one of the greatest, if not "the greatest" musical of our time(s). I'm sorry, people... but this has to be, without a doubt - one of the all time WORST musicals I've laid my ears and eyes on. The songs, the story, the characters... are so trite, sickeningly sweet and grating that their combined characteristics served to make my VHS display tick backwards! And for a movie titled GIGI, the film is 90% focussed on Gaston Lachaille. And Maurice... and that song - "Ah, I remember it well." It's all so... so... overly-sugarised (if such a term exists). Don't get me wrong - I love a feel good film! I love happy endings, happy beginnings and middles. Bright colours and vivid imagery can be done quite pleasantly as in Allen's EVERYONE SAYS I LOVE YOU. But this film is like a sugar-coated neon-pastel-over-exposed load of worthless film! And the songs themselves just reek of FAIR LADY. I'm not bagging Fair Lady, but the fact that the songs don't have their own 100% flavour seems to serve purely as a reflection on the limitations of the writers and if ever they re-make this film again, I suggest calling it GASTON. But then again... that's all just my opinion.

Enchanting and captivating are two words to describe this wonderful lerner-lowe collaboration. A musical in every sense of the word its happy, charming, emotional and contains some truly brilliant performances, none more so that the wonderful Mr Chevailier who steals this seem with his charming lechery. Although the singing of Miss Caron is dubbed she puts in the performance of a lifetime to be Gigi. I feel those who thought a Certain Miss Hepburn would be better in the role are badly mistaken, for she is sweet and charming, everything the immortal Gigi should be.

Herimone Gingold is wonderful as Grandma and Jourdan is terribly handsome and suave as Gaston. Even a Gabor, the more talented Eva shines in this because there simply is not a bad moment, as for Jaques Bergerac (Mr Ginger Rogers) his role may be small, but he sure is handsome.

The score is 100 percent, The parisians is my personal favourite number, the title number is beautiful, thank heavens for little girls has become a standard, she is not thinking of me is a knockout and the night they invented champagne is wonderful, my only regret? So little dancing for the greatly talented Miss Caron.