Thoroughly Modern Millie

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!

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

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 ****

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).

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.