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I like this movie because it makes fun of itself. It knows it's silly, irreverant, and totally over the top. That's the point of the movie, and it works. It's completely void of substance-my friend claims to loose brain cells every time she sees it, yet she wants to watch it all the time. It's just plain fun and Julie Andrews (my personal fav) is at her most adorable. Even though in real life she was 31 and the mother of a 4-year-old, she's totally convincing as Millie. It does drag sometimes, but it's still a darling musical that's just full of fun-exactly how it's intended to be.

I will admit the plot is a little confusing at times, and the last half hour or so is rather silly, but putting all that aside it is a hugely enjoyable and extraordinarily delightful musical. I cannot praise enough the splendid songs, the superb choreography and the funny script. Julie Andrews is perfect as Millie, then again there may be a sense of bias because I love her. I love the angelic quality in her voice and her dazzling stage presence. She is also aided by terrific supporting turns from the lovely Mary Tyler Moore and the dashing James Fox. The scene stealers for me though were Beatrice Lillie and Carol Channing, both of whom were hilarious. Plus Pat Morita as one of the henchmen was inspired casting. The direction is good, there are some priceless moments, like the dancing in the elevator to make it work. Thoroughly Modern Millie has its flaws, but I do think it is a delightful film, and an underrated one too. A solid 8/10 from me. Bethany Cox

I do like this film, it is good fun, the type that only Dame Julie can bring. It doesn't wow me and it doesn't stand out as such, because films like 'Mary Poppins', 'Snow White & The Seven Dwarves' and others of that time just have that one more X Factor.

Julie is superb in her role of course and so effortless in her timing and performance. I was surprised to realise though that Jimmy was played by James Fox. I'd never have thought that at all until I read it on IMDB this time around. He does a good job too and I can see what she meant about his eyes, but I'm definitely more of a John Gavin kind of guy. What a man.

Also, I've always thought that Carol Channing's character was a young man in drag. She's great fun, but very boy-ish.

The story is a bit long winded and I did find myself reaching for the games apps on my phone at times, but there are also some moments of pure genius in this film.

I love the cutaways to the silent movie placards and the lift scenes were brilliant. It's not a bad tale, just a bit timely.

Full of enjoyable moments and jokes and John Gavin's beautiful smile. It's definitely worth a watch every now and then.

If you got to see this film when you were six like I did, you pleasantly discover that viewing it at 33 is still a lot of fun. In many ways it's better- contrary to most films you remember enjoying as a kid. Even though my nostalgic memories of this movie included some mildly scary imagery, when I view it now it still has impact but from a more humorous standpoint. I must also add on a more base level that Julie Andrews level of attractiveness is on par with her considerable talent. An interesting observation particularly since I remember being more attracted to Mary Tyler Moore when I was a kid and barely noticed Julie. The director's intention no doubt. Digressions aside, this movie is an ideal choice for a family movie night. Although it has aspects that are not as culturally sensitive as some may like, these details are not intended to be malicious but are included as contrast devices. Particularly for 1967. Do yourself a favor and rent or purchase the DVD. A widescreen treat that will get your feet tapping. The child and the middle aged man in me must both give this film a 9 out of 10.

...except in one respect; Elmer Bernstein's Oscar winning score carries the film, from its title song, to Carol Channing's "I'm A Jazz Baby" number, through the film's slow/irritating/self-consciously "Cute" spots.

Director George Roy Hill has to be given credit; he attempted a spoof of early silent movies, with effects like wipes, title cards, and visuals like using pastels for most of the colors, especially Mary Tyler Moore's outfits. He does an extended riff on Harold Lloyd's "Safety Last" (1923), which is funny and effective. Sometimes he is off by a decade or so, though. For example, when the secondary pair of lovers first meet, they duet to "Ah, Sweet Mystery of Life", which is amusing, but thirteen years early (film is set in 1922). Each character spoofs a type.

Julie Andrews is the perky heroine. Her parody is right on target, and her singing and dancing are also near perfect. I found Mary Tyler Moore irritatingly helpless, until I recognized her type was the helpless rich girl who never does anything for herself. Then, I was able to appreciate her performance. James Fox was enjoyable in his role; I didn't know he could sing. John Gavin, as Millie's boss, must have been directed to act as wooden as humanly possible; again, I didn't know he could sing.

This was one of the last 1960's "Roadshow" musicals to make a profit. It has a wonderful musical score, but an uneven script and too many "cutesy" moments offset that strength. Still, it is more than worth seeing if it comes your way.

Roaring '20s musical is a fun, eager-to-please live-action cartoon with satire and slapstick. Julie Andrews plays a small town lass who has moved to New York City to land a steno job with an unmarried boss for her to conquer; Mary Tyler Moore is her timid new friend at the all-girl boarding house; Beatrice Lillie is their shady housemother; and Carol Channing (in an outrageous performance that must be seen to be believed) is a wealthy, swinging do-gooder. Tongue-in-cheek production from Ross Hunter and director George Roy Hill, inspired by the Broadway show "The Boy Friend", offers Julie Andrews one of her best film roles; whether dancing like a trouper to keep her elevator in motion or addressing the camera à la the silent movie era, Andrews is so loose and charming she even gets laughs crossing the street. There are a few slip-ups: the Jewish wedding sequence sticks out as an artifice, Moore's listlessly girlish performance is all on one note, and the Harold Lloyd-inspired comic ballet (with Julie falling out of a high-rise window) is too broad and silly. Nominated for seven Academy Awards, "Millie" picked up one Oscar for Elmer Bernstein's score (the smashing costume designs by Jean Louis probably should have won also). Overlong, and with a drab Universal backlot appearance, the film is nevertheless "delish!" Engaging, high-spirited fluff. *** from ****

"Thoroughly Modern Millie" is a thoroughly wonderful movie! With stars like Julie Andrews, Carol Channing and Beatrice Lillie, how can you lose?. The answer: You can't! Splendid songs, dances and a sometimes hilarious script blend into top entertainment. Julie Andrews stated she took the role because she didn't have much longer to play ingénue parts. And she couldn't have chosen better. She is perfect as Mllie, the Kansas innocent (with a forgivably British accent) who comes to the Big City (circa 1922) to land a rich husband. At the same time, she meets "Miss" Dorothy Brown (an appealing Mary Tyler Moore), a self-described "rich orphan" out to experience life among the working girls. A chance meeting with Jimmy Smith (James Fox, currently in "Charlie and the Chocolate Factory") leads to a meeting with fabulously wealthy playgirl Muzzy Van Hossmere (Carol Channing) and a series of delightful mishaps. Along the way, Millie becomes enamored of her handsome boss, Trevor Graydon (John Gavin) and learns the REAL occupation of her mysterious landlady, Mrs. Meers (Beatrice Lillie). All of the performers are "just swell", but inevitably, Lillie and Channing (who got an Oscar nomination) stand out, and there is a terrific turn by Cavada Humphrey as a formidable office manager. A typically polished Ross Hunter production, original songs by Sammy Cahn And James Van Heusen, and a musical background of standards by Oscar-winner Elmer Bernstein make this "Thoroughly Irresistible!"

This exhilarating but wildly uneven musical comedy is something of an anomaly in more ways than one: firstly, it deals with the hardly humorous subjects of white slavery and opium dens; it was originally intended as the first starring vehicle for TV star Mary Tyler Moore but then Julie Andrews came on board and the latter was relegated to a major supporting role instead; despite being inspired by an obscure 1956 British stage musical entitled "Chrysanthemum", composer Elmer Bernstein emerged triumphant at the Oscars in the Best Music Score category – while musical directors Andre' Previn and Joseph Gershenson were also nominated in the "Best Music Adaptation" category (since the score makes use of song standards like "Baby Face" and "Ah! Sweet Mystery Of Life"); and the film is a mostly successful throwback to Silent comedy routines like building-climbing and aerial stunts, zany car chases and pratfalls, and even the occasional intertitle! Small wonder therefore that the narrative is indeed set in 1922, that Silent comedienne Beatrice Lillie virtually steals the whole show in her comeback (and last film) role as the Asian villainess, and that this ambitious production from Universal (accorded a lavish Roadshow presentation running for 152 minutes as opposed to the general release print of 138) sports impeccable production design and costumes. Needless to say, during such a long haul, one does get to experience a few bumps: some musical numbers go on too long (James Fox's "The Tapioca"), some are utterly gratuitous (Andrews' "Jewish Wedding Song") and, bafflingly, the film's most acclaimed performance – Broadway star Carol Channing was nominated for an Oscar and won a Golden Globe as ditzy blonde, raspy-voiced, grand dame Muzzy – is tough to stomach at times when other performers are so agreeable: Andrews herself, James Fox (as Andrews' devil-may-care friend), John Gavin (as Andrews' "perfect" bachelor boss), Lisabeth Hush (as bitchy socialite Judith Tremaine) and especially Lillie – who, truthfully, should have gotten the accolades instead of Channing. The flashy direction of George Roy Hill (in his second consecutive film with Andrews and on the verge of the most successful period in his career) amiably glides past the various disparate ingredients to co-ordinate a highly enjoyable if occasionally uncontrolled and frustrating viewing experience. For the record, the film received 7 Oscar nominations in total, including one for its catchy title song which it unaccountably lost to Rex Harrison's recitative "Talk To The Animals" from DOCTOR DOLITTLE (1967).

Julie Andrews really shines in this twisted-up romance. She stars as the young, pretty Millie Dillmount, who came to New York, intent on becoming a "modern" and marrying her boss, as was the 'cool' thing to do. She at last finds the 'perfect' boss, a handsome young man named Trevor Graydon. Despite her attempts to suggest her love to him subtly, he doesn't seem to be taking the hint. Along comes Jimmy, too, an irrepressible, lovable paper-clip salesman, who's got his heart set on Millie. Millie tries to stay away from Jimmy and get Mr. Graydon to notice her, going to drastic measures to do so, and all the time while Millie is chasing Mr. Graydon, Jimmy is chasing Millie, and on top of that, Miss Dorothy, Millie's best friend, appears to be chasing both men. In the end, wild and crazy "jazz baby" Muzzy is needed to clear the air and match up lovers once and for all. With an upbeat air and a peppery score, along with Millie's realistic problems and the strange behavior of the housemother, this is definitely a ten on my list.

It's 1922 New York City. Millie Dillmount (Julie Andrews) decides to start following the thoroughly modern trends. She is staying at the Priscilla Hotel for Single Young Ladies run by Mrs. Meers. Naive new arrival Miss Dorothy Brown (Mary Tyler Moore) is an upper class orphan from California looking to be a stage actress. Meers and her Chinamen are actually white slavers. Her next target is Dorothy. Millie has a fling with paper clip salesman Jimmy Smith. The girls meet Jimmy's friend eccentric widower performer Muzzy Van Hossmere (Carol Channing). Millie gets a job working for Trevor Graydon of the Sincere Trust Insurance Company. Unwilling to pursue the carefree Jimmy, Millie pursues Trevor instead but she's too modern for him. He's looking to marry someone old fashion like Dorothy.

There are issues to overcome. This is a light-hearted spoof musical screwball comedy. The white slavery and menacing Chinamen are meant as throwbacks to old Hollywood but they do come with difficult baggage. The flat chest jokes are more lighter and easier to fit the comedic tone. The music is a mix of new and old. The Harold Lloyd thrills don't really fit. Then there is the awkward takedown of the white slavery ring. The premise just clashes with a light happy screwball comedy and it's kinda racist.

A brilliant musical offering well worth watching. Whether you like it or not all depends on taste; If you're like me and could watch and listen to Julie Andrews forever, it's for you. The rest of the cast is also fantastic, with Mary Tyler Moore as sweet Miss Dorothy and Beatrice Lillie as the hilarious Mrs Meers, and how could we forget Carol Channing as the fabulous Muzzy? Many people seem to have negative views on this movie; To others, it's great. If you're looking for deep, meaningful and heavy stuff, this probably isn't the movie for you. If you're looking for light, fluffy fun, come and bask in the glory of "Thoroughly Modern Millie"!

This film was heavily promoted as being Mary Tyler Moore's big screen debut. In 1967 Moore was regarded as the top TV comic actress, remarkable considering the fact that she had been playing a supporting role in "The Dick Van Dyke Show." She played the supporting part here, too, and I left the theater thinking that the movie was good, but it would have been better had Moore and Andrews switched roles. Julie Andrews has an iron-fist-in-a-velvet-glove persona that grows less sympathetic as a story progresses (yes, the producers of "My Fair Lady" were wise to pass her over in favor of Audrey Hepburn). Moore, on the other hand, is Everywoman; women can empathize with her, men are not intimidated by her. At the end of the picture, the audience would have cared more for "Thoroughly Modern Mary" than "Thoroughly Modern Julie." In an attempt to ensure box-office success, the producers added more star power in the form of Carol Channing. She gave a show-stopping performance, but her role had to be shoehorned into the movie; it had no relation to the main theme.

But the casting was to no avail. The era of the classic Broadway musical had ended a year or two earlier and "Millie" was a relative flop. After one appearance as Elvis's main squeeze (Change of Habit), Mary Tyler Moore returned to the small screen in her eponymous hit comedy of the 1970s.

My overall impression is that the movie is in the style of the British farces that are so popular with amateur and semi-professional theater companies throughout the United States.

And why do I call this film memorable? Because I saw this film only one time--during its initial 1967 release--and I remember enough about it to write a review in 2005!!

Following the success in 1965, of "The Sound of Music", "Mary Poppins", and "My Fair Lady", Hwood studios thought that old-fashioned musicals were the next big thing. "THOROUGHLY MODERN MILLIE" was birthed from this predication, something of a Waterloo for the studios, an anachronism in the face of the real new wave that heralded "Bonnie & Clyde" and "Easy Rider". That hindsight only reinforces the impression that one gets when viewing "Millie" today, the impression that the film is COMPLETELY RETARDED. It must be seen to be believed. Go rent this film just to experience the nervous chuckles and blushes of humiliation you'll feel. Watch in fascination/horror the unfolding white slavery plot, the rascist caricature of Asians, Carol Channing, the kitschy 20's slang, James Fox's acting, Carol Channing in a plane, the ridiculous dance numbers, the ugly soundstage-bound sets, Carol Channing being shot out of a cannon, Julie Andrew's boobs exploding underneath her dress, Carol Channing dancing on a xylophone, James Fox in drag, Carol Channing playing a trumpet, Carol Channing... you get the idea. A good companion piece to this is Otto Preminger's SKIDOO, one of the worst movies ever made, also starring... Carol Channing.

Hard for me to be objective, here, since I've been madly in love with Julie Andrews since being first exposed to her crystalline voice when I was three.

But I'll try: "Millie's" first half is, to quote the screenplay, "Delish," with Andrews vamping and camping throughout. I am unable to take my eyes off her as she clowns, flirts, cavorts, and also sings and dances (getting her hotel elevator to work results in a showstopper). The vehicle--a pastiche of 1920s conventions (including "moderns") and filmgoing techniques (including iris-outs and title cards)--is the frothy light story of a British import who comes to America and finds true love.

The second half gets bogged down in the overwrought script, with all the machinations of a white slavery plot and a pair of "inscrutible" Orientals who, in this day and age of racial sensitivity, get far worse than they deserve.

Some history: Ross Hunter, the producer, wanted to film "The Boy Friend," the Broadway musical that had introduced Andrews to the U.S. stage. When the rights were unavailable, he devised his own script, using the same setting--the 1920s. A "small" musical evolved.

Then Julie's star went through the stratosphere. And the Universal "suits," smelling another payday, insisted that the movie be a road-show presentation--with a road-show running time(and at which road-show prices could be charged). Little "Millie" had an intermission added, and her running time was increased considerably.

The movie's still a lot of fun and definitely recommendable (especially to Andrews fans), but let's just say that, at times, it more than shows its stretchmarks!

Often a lot of fun, but also often really annoying. The fun is more prevalent, but the bad stuff tends to weigh the good stuff down, so that, in the end, my feelings about it are leaning more towards the negative. It's a goofy late ‘60s look at the 1920s and the flapper fad. Julie Andrews stars as the title character, who dresses in the style of the day, which is sort of mannish (she hates that she isn't flat-chested, because her long pearl necklace is distorted by her breasts). Andrews is awesome, as always. She's so much fun, and she's so beautiful in an odd and intriguing way. Mary Tyler Moore plays a woman who has come to New York to pursue an acting career. When the proprietor of the boarding house in which they live finds out Moore is an orphan, she attempts to abduct her and sell her into prostitution in China. This is a big subplot in the film, and it doesn't work at all. The Chinese are depicted in a very hateful manner in the film, and I would imagine it would even be offensive in 1967.

The romantic plot is where the film more or less succeeds. Millie wants to find herself a single boss so she can hook up with him and be married. Unfortunately, her boss (John Gavin), thinks of Millie as a man (which she misses at first) and he falls in love with the more girlish Moore instead. Meanwhile, another guy is courting Millie, a dorky guy named Jimmy (James Fox). One big part of the film that annoys much more than it pleases is Carol Channing's obnoxious role as a playgirl millionairess. It's hard to believe that she was nominated for an Oscar for this painful performance. There is a ton of silly humor, some of which doesn't, some of which does. The film begins as a musical, and there are a couple of great musical numbers near the beginning, but it's almost as if this part of the movie is completely dropped in favor of broad, campy humor. Thoroughly Modern Millie has so much going for it, it's sad that it fails in the end. It's especially sad for Julie Andrews, as this might have been remembered alongside The Sound of Music and Mary Poppins as one of her signature roles. 6/10.

It's hard to accurately assess older films. Do you use the lens of modern society? Or do you try to approach it on its own terms? Thoroughly Modern Millie is certainly a fun film, poking fun of itself and movies in general, packing in homages to famous flicks like Safety Last, and delivering relatively enjoyable musical numbers even for those who don't particularly enjoy musicals. Yes, many of the assumptions about the traditional roles of men and women in society and in relationships with each other are dated, but so is the film. One line by Julie Andrews, "I don't want to be your equal, I want to be a woman," is particularly obscene, even for the sixties. But it also takes apart some stereotypes along the way as well. The film's approach to Muzzy's sexual exploration, viewed as a celebration of life rather than a sign of depravity, is advanced even by today's standards. Overall the film pleases more than it puts off. Enjoy what you can, and remember that it was just a different time.

A crazy but enjoyable parody of the films and fashion trends during the 1920s, it has everything from jazz music to silent movie title cards, and there is a hilarious kidnapping subplot tied in with the main storyline. It is a bit too silly, and plus 130 minutes is a little too long, with a few of the dance routines drawn out, but this is great entertainment otherwise. The title song, costumes and set design all reflect the era very well, the cinematography is excellent, making everything interesting to look at, and some of the editing work and the sound design are great too. The supporting cast adds a lot of flavour to the mix. Beatrice Lillie comes off the best but Jack Soo, Pat Morita, and just about everyone else are close behind. Maybe it is a bit silly, maybe it is overlong, but it is a delight and a compelling film due to its uniqueness and bizarreness.

The fact that this is a throwback to silent screen comedies featuring actors like Harold Lloyd and Buster Keaton goes unmentioned in all the reviews I've read here.

THOROUGHLY MODERN MILLIE is a witty spoof of all those silent era comedies that based a lot of their material on New York in the '20s--the whole flapper scene, Chinatown opium dens, etc. With James Fox climbing a building, falling out of a window and landing on a flagpole--well, where's the mention of HAROLD LLOYD here? His films have been restored, revived on cable TV and seen by millions--yet he goes unmentioned--at least by anyone under 30. Perhaps that's why a lot of the comments reflect an "I don't get it" attitude as to the film's quirky sense of humor.

The frequent use of title cards to register what JULIE ANDREWS is thinking about others is strictly a device from the silents, well suited to the kind of zany screwball capers that are played to the hilt by a talented cast.

I do agree with many others that the film could have been cut by at least a half-hour--and frankly, I could have done without the Jewish wedding scene or CAROL CHANNING's acrobatic second musical number in a theater. Both could easily have reduced the film's lengthy running time.

But JULIE ANDREWS, JOHN GAVIN, MARY TYLER MOORE and JAMES FOX are fine in the leading roles--with Gavin spoofing his own screen image and Fox proving himself surprisingly nimble in the song and dance department. His "Tapioca" number with Julie Andrews is one of the musical highlights of the film. Equally amusing are all the elevator scenes where the only device to get the machine running is to tap dance vigorously.

CAROL CHANNING may have won a Best Supporting Actress nomination, but her strident, overly theatrical performance was more annoying than amusing and really needed to be toned down, even for musical comedy. On the other hand, BEATRICE LILLIE is excellent as the scene-stealing Miss Meer, intent on drugging innocent young girls and having them carted off to a den of iniquity in Chinatown where they're sold into white slavery.

None of the music is really remarkable except for the catchy title tune, but Andrews does what she can to make the numbers sound professional. It's the cleverness of the script's comic overtones that director GEORGE ROY HILL takes full advantage of and puts his cast through some very funny paces.

It's sprightly and fun, uneven in places and much too long for the tale it has to tell--but apparently audiences loved seeing Julie Andrews in this kind of material and it was a huge hit at the box-office.

Sad to learn that this was Beatrice Lillie's final movie. But her henchman assistants had better things ahead. Oriental #1 would go on to the 12th Precinct (Jack Soo-Barney Miller) while Oriental #2 would go on to own Arnold's in Milwaukee and help Daniel LaRusso become a karate kid (Pat Morita).

One of my favorite running gags of the movie is the elevator where you have to dance to get it going. Julie Andrews, Mary Tyler Moore and Beatrice Lillie had to dance. Even Pat Morita and Jack Soo danced to the tune of "Japanese Sandman". The last time I ever heard "Japanese Sandman" was the theme to an old local TV farm report show in Houston, Texas (Dewey Compton).

All the money and all the talent just circles the drain in this mess. Pretty costumes,great actors,zippy airplanes,tall buildings,nice lot shooting,and it all comes down to the fact that you are BEGGING for this to be over about an hour into it. I think we all watch it just to be respectful to Julie and Mary and Carol. This movie just flat sucks. There is NO life to it. \ Julie Andrews is NOT sexy,in any way. Shes too old for the part. MTM is very sexy,but kept under wraps for this one. She is too old,too. I know its a bit of a tongue in cheek piece,but it is a waste,all around. The music is enjoyable and in 1967,nothing on earth was less desired than a twenties themed score. Blame it on the Summer of Love. 1967 was a WILD year. This film is so utterly tame,in every single way that it just fizzed and died when it came out. I laughed my behind off when I read the reviews on Wiki. This thing was inflated and held up. In short,a very pretty,harmless sleeping pill.

I saw this movie when I was little, and I still enjoy it today. This movie spoofs the 1920's and has a lot of fun doing it. Julie Andrews is in fine form as the title character. She gets to sing, dance, and be the fine comedienne she always has been. James Fox also shines as her would be boyfriend. While others seem to have a rather negative view of Carol Channing, I feel she has some of the most memorable moments in the movie. As madcap Muzzy, she brightens every scene she is in. She truly represents what a Jazz Baby is all about. John Gavin and Mary Tyler Moore also do a fine job as Millie's boss and best friend respectively.

The only major problem with this movie is its excessive length. While the songs and production numbers are wonderfully executed, quite a few of them are only here to prove what we already know...that Julie Andrews has a great voice. Take out The Tapioca, the wedding song, and Channing's Do It Again and you would have a much tighter movie. I fast forward through these sections every time.

For those people who feel offended by the stereotypical treatment of Asians in the film ... get over it. It is all done with tongue firmly planted in cheek. If anyone thinks for one minute that all Asians run laundries and are involved in slave trading, they probably shouldn't be watching movies and television anyway. (Being from a rural area of North Carolina doesn't keep me from enjoying the lampooning I often see in the media concerning the south and southerners.)

All in all a fun way to spend a weekend night with the family.

Definitely No Raspberries!