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Biography comedian, Nancy Kerrigan fan, Lanky Scoliosis, Slumber Party Pod, Stand Up Tour: Wait... Lets Have Fun! next show Lyric Hyperion 3/8

• Sally Benson
• Audience Score - 19106 votes
• 
• 7,7 of 10 Stars
• Genres - Romance
• In the year leading up to the 1904 St. Louis World's Fair, the four Smith daughters learn lessons of life and love, even as they prepare for a reluctant move to New York

They need to make more of them, the wonderful scripts ❣️❣️❣️ Just wonderful❣️❣️❣️. Vi mötas i s:t louis vuitton. My favorite version of this song. The best.

Vi mötas i st louis du rhone. Yeah, I know, me and all the rest who give this film its deserved one star will never convince the 10 star folks who gush with love for Judy of the vapidness and schmaltzyness of this dog (you can hear it barking all the way from St. Louis to my theatre in Brooklyn. Sure, it is slick, Minnelli was in his prime paying excruciating detail to what turns out, stuff that in the end, doesn't really matter or make a particularly good film. MGM threw plenty of money and the top technical talent in their employ at it and gave it the high-end Technicolor process, but none of that slickness does an outstanding movie make.

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Vi mötas i st. louis. Vi mötas i st. louis rams. Best quote about Judy Garland: She didn't sing a song, she inhabited it. She was only 23 in 1945. Her voice carried a hundred years of emotion, pain, passion, and perfection. She was in a league by herself. And still is. Gaston found his dream Girl. Lovely and funny movie! I loved it. “Trip the light, fantastic” ❤️ it! They make it look so effortless! How young they were. Yet there's one final thought she would place above. Vi mÃtas i S:t louis vuitton. BEAUTIFUL, WONDERFUL MOVIE.

1.09 - That moment had audiences in theaters going crazy

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St louis was French back that. Thank you very much for this beautiful movie. This is the shit. I love LOVE love this movie. I just love judy. But remember, nothing kept her down, her talant wiped mgm right off the map! She went right on through the1960s. Go girl go. Vi mötas i st louis. Vi m c3 b6tas i s 3at louis remix. Almost 60 years later, this still gets to me... The sexual tension is so thick I can hardly see what they're doing. That song deserved the Oscar as did Judy for her heartbreaking and brilliant performance as Esther/ Vickie. And if there were an Oscar for best singing voice, it would be hers too! That voice is a gift. Thank you Judy. Vi mÃtas i st. louis cardinals. Thank you for uploading one of my favorite Christmas movies. It is seldom played at Christmas on any of the tv stations anymore. Don't know if it is because it's about a particular religion. Bergman & Crosby are absolutely terrific in this movie! God Bless Everyone.

Beautiful movie, perfect around the holidays. Vi mÃtas i S:t louis vuitton handbags. Lovely movie, ♥. VAAAAALLL. “Life is alright in America” “If youre all white in America” This song throws all the shade and is the best. Vi mÃtas i st. louis rams. I'm playing this song for my sweet little wife, she loves it so much. she said she was christmas shopping in a small niknak shop the other day and this song came on and she started crying. There is something very heavy and sweet about the singers voice. one of our favs.

Vi m c3 b6tas i s 3at louis new. Vi mÃtas i st louis du rhone. Vi mÃtas i S:t louis vuitton bags. In my opinion one of the Greatest movies in Hollywood History ! Judy really & truly deserved the Oscar for her absolutely outstanding Performance !  Laura Daitch-Landgraf. Ted Buckland brought me here. Vi mötas i s:t louisville ky. 1:50 sis was ready to square up lol. This was in one of the WB cartoons, can't remember which in particular, I think it was Daffy Duck. I can feel the lesbian rage just looking at this.

Vi m c3 b6tas i s 3at louis reaction. Here in October 2019 to say one word about her voice. Effortless. They're dancing is awesome in this. I also love Ballin' the Jack from For Me and My Gal. Vi mÃtas i S:t louis moncet. The story is about an America that people would like to believe actually existed, but nothing even remotely resembling it ever did so it's really a lie from start to finish, and while that may make lots of people feel good, it can't make up for the banal story consisting of the silly, flirty mores that the writers of the 1940s project onto these fictional characters living in this make-believe turn-of-the-century fantasy world. Worse, even if you put aside the Pollyanna view of the period, there is no semblance of any recognizable human condition, be it 1890, 1940 or anything in between. If there were, if there was a focus on anything we could relate to as real, that would have been the saving grace, but there isn't.

Thing is, I actually am a fan of musicals. I have no problem with people breaking into song. you accept that when you sit down to watch a musical the same as you do for opera. It's the it or just move on. I accept it, but only when the songs move the story along, when the music is memorable and when the lyrics are somewhat intelligent, and if we are lucky, even clever and witty. The paucity of such songs here barely rises to the level of a full fledged musical, most songs eschewing the above-mentioned criteria completely. One of them got turned into a traditional Christmas song, and whereas I might like musicals, I have come to HATE Christmas "favorites" because there are only about 20 of them and they are now played incessantly from October to the end of December, which means you can hear each of them about ten thousand times before the season is to make anyone hate ANY song or any season for that matter. Needless to say, that leaves me with only three or so songs in this movie that I might entertain as marginally tolerable and barely at that. That's a sad situation for a movie with the top of the pyramid, super "A List" star of MGM's musical stable.

(Resubmitted with the information more accessible) I wanted to do some digging around: What movies inspired filmmakers to become filmmakers? Or, what movies left a profound impact on them? Luckily, directors are a talkative bunch, and I combed through interviews, Q&As, articles, quotes, and clips looking for the movie (or, in some cases, the other filmmaker) credited as a life-changing, path-affirming, and/or formative influence. Here's the information in picture form: And on Imgur: (part one) (part two) (part three) And here's the information in text form (alphabetically by filmmaker, continued in comments below, since I hit the text limit): Robert Altman on David Lean's BRIEF ENCOUNTER (1945): "The first film that I saw which made me feel that it wasn’t just a movie — I remember it was in the afternoon, after the war, and I’d gone by myself for some reason — was Brief Encounter. And I remember thinking, ‘Why am I watching this silly film? Look at her, she’s not a babe. My God! The shoes! ’ Twenty minutes later I was sitting there with tears streaming down my face and I was in love with Celia Johnson, this girl with the sensible shoes… It just occurred to me that there were other things you were seeing when you looked at the painting, and they all affect you. " Source: Wes Anderson on Francois Truffaut's THE 400 BLOWS (1959): "The first Truffaut film I ever saw was 400 Blows, and that had a huge impact on me... This movie in particular I think was one of the reasons I started thinking I would like to try to make movies. " Source:, Michael Apted on Ingmar Bergman's WILD STRAWBERRIES (1957): "It’s what I saw when I was 15, and it showed me that films could be something more than just entertainment or going and staring at girls in the cinema or whatever, but film could have the kind of weight of a book or something like that... I grew up in a suburb of London, and I went to school in the middle of London, and that’s when I found myself, one wet afternoon, in an arthouse, and there was Wild Strawberries, and that, for me, was the beginning of it all. It had so many ideas, and it played with dreams, and I thought, 'Oh my God. This is quite something. ' So it really was a kind of major event in my life. " Source: Ari Aster on Roy Andersson's SONGS FROM THE SECOND FLOOR (2000): "Roy Andersson is a filmmaker who is really important to me. Especially Songs from the Second Floor. That’s another movie I saw in theaters with my mom when it came out in 2001 [in the US], when I would have been 15. It changed my life... He stages the most perfect vignettes, and I think he has an entire month to build every set for every scene... If Jacques Tati merged with Ingmar Bergman and then got beaten up by Gary Larson, you'd have something approximating Andersson's sensibility – but it still wouldn't be anywhere near as wonderful. " Source:, Richard Ayoade on Louis Malle's ZAZIE DANS LE METRO (1960): "It was the first film I wanted to study and rewatch; it sparked my interest in film-making... What's really striking about this film is its 'madeness'. Before I saw it, films were Hollywood to me. They didn't seem made by people. But Louis Malle invites the viewer to see how his decisions involving look, music, colour and editing create a compassionate whole. " Source: Michael Bay on Steven Spielberg's RAIDERS OF THE LOST ARK (1981): "I sent this reel around Hollywood. I get this call from my agent. 'Steven wants to see you. ' I go, 'Steven who? ' 'Steven Spielberg wants to see you. ' Okay. I drove down to his office. A true story — I said, 'You know, when I was 15, I worked at Lucasfilm and I filed your Raiders of the Lost Ark storyboards. I saw the entire movie and I honestly thought it was going to suck. ' And he started laughing. And I said, 'When I went to the Grauman’s Chinese with my parents and saw it, I went, Oh my God, I’ve got to do this. '" Source: Ingmar Bergman on David Smith's BLACK BEAUTY (1921): "When I was six years old, I saw my first picture... I remember it was such an enormous experience... I was in [bed] a week after I had seen the picture. I had a fever. I had to go to bed and I cried. " Source: Bernardo Bertolucci on Jean Renoir's LA RÈGLE DU JEU (1939): "I was 19 or 20 when I first saw La Règle du jeu... It was five years before I saw it for a second time but it remained in my head like a dream. I couldn't remember much detail, just the sense of the movie itself. So powerful. Watching it was an event for me, a movie event.... What is really extraordinary about Renoir, particularly in La Règle, is that he loves all his characters. He loves the goodies and baddies, the ones who make terrible mistakes. He loves the ones who are on screen for just two minutes. This is something I have always tried to do. " Source: Kathryn Bigelow on Sam Peckinpah's THE WILD BUNCH (1969): "I saw The Wild Bunch on a double bill with Mean Streets, midnight at the Waverly Place Cinema on Bleecker Street. Those two played on a double bill; I was in New York, I had a studio and I was basically a practicing artist, working with various art groups — Art & Language, kind of conceptual arts, political arts. We were doing environments, we were doing installations, performance pieces… and I stumbled into this incredible double bill. And it was a life-changing experience. I thought they were just extraordinary. Peckinpah for his muscularity, his immediacy, his sheer genius in his storytelling and characters. I was knocked out. Source: Kathryn Bigelow on Martin Scorsese's MEAN STREETS (1973): And then [in Mean Streets], Robert De Niro; his kind of twitchy reverence to this wonderfully insane underworld. Somehow, the two will always be forever linked in my mind. Whoever programmed those two movies together… it was at a moment when, in an art context, I was beginning to make short films. So film was definitely becoming a medium that was intriguing to me, and I hadn’t quite made a complete transition yet, but I found those two films just extraordinary, and they opened up a kind of unimaginable landscape for me. That kind of great irreverence, and intensity, and strength of purpose in those characters. " Source: Peter Bogdanovich on Orson Welles' CITIZEN KANE (1941): "It's just not like any other movie you know. It's the first modern film: fragmented, not told straight ahead, jumping around. It anticipates everything that's being done now, and which is thought to be so modern. I first saw it when I was about fifteen. And it fucking flipped me out. It was like no other movie. It still isn't -- what movie is like it? " Source: "The Film That Changed My Life" by Robert K. Elder Danny Boyle on Francis Ford Coppola's APOCALYPSE NOW (1979): "It is a master film. It's my own personal favorite; if I had to nail one film on my heart, this would be the one... It just fueled my obsession with experiences in the cinema, really, of trying to create. There are risks attached to it. You're trying to stretch things, but you are also fundamentally committed to getting as many people to see it as possible. And it's that battle, those two horses that [Coppola] rode, and I don't think anybody ever rode it quite like he rode it. " Source: "The Film That Changed My Life" by Robert K. Elder Luis Bunuel on Fritz Lang's DER MÜDE TOD (1921): "I came out of the Vieux Colombier completely transformed. Images could and did become for me the true means of expression. I decided to devote myself to the cinema. " Source: James Cameron on Stanley Kubrick's 2001: A SPACE ODYSSEY (1968): "It was probably five days after it opened, the summer of ’68. I watched [2001] from front row center in the balcony, which put me dead in line to the Star Gate [Jupiter trip sequence], right on the axis, so I felt like I was falling down through the Star Gate... It’s not a film that I like; it’s a film that I love. When I say I don’t like it, it’s that I don’t like the feel of the film. I don’t like its sterility. I like a film with a little more emotional balls, just as a movie, to get involved in. But as a work of art, I love [2001]. It had an enormous, enormous impact on me, at a certain point. ” Source: John Carpenter on Fred M. Wilcox's FORBIDDEN PLANET (1956): "I was eight years old, 1956, and went to a move called Forbidden Planet down at the Capital Theatre down in Bowling Green. That movie changed much of my life. One of the things that it changed was my idea of what music could be and was, because it had an all-electronic score done by [husband-and-wife duo] the Barrons. To this day… I can listen to it, the score to Forbidden Planet. I'd be transported beyond time and space. It was profound to me as a kid. I think that was a turning point for me in my life for many reasons. One, it made me want to be a movie director, and two, the potential of what I heard was so different than the orchestra or piano that my father played, or the violin he played, or any conventional music. It was literally, amazingly futuristic. " Source: John Cassavetes on Frank Capra: "When I started making films, I wanted to make Frank Capra pictures... Maybe there never was an America in the thirties. Maybe it was all Frank Capra. " Source:, Sylvain Chomet on Nick Park's CREATURE COMFORTS (1989): "Films can change your day or change your week, but it's rare that you watch something that actually changes your life, something that sends you off in a completely different direction. But that's what Creature Comforts did for me. I first saw it at the Annecy animation festival. It was 1989 and I was living in London, doing animation for advertising but just to earn my living -- I wasn't thinking of making films. It was clever, well-crafted, amazingly funny and universal: kids would enjoy it as much as adults. It also told some fundamental truths and there was a bit of sadness in it, too. So many things; it was like watching fireworks. I saw the response it got from the audience and I said to myself: 'This is what I want to do. I want to do animated films that are different from all the others, to get this kind of response from an audience. '" Source: Derek Cianfrance on Pier Paolo Pasolini's THE GOSPEL ACCORDING TO ST. MATTHEW (1964): "When people think of biblical movies they imagine sweeping epics like The Ten Commandments. But The Gospel According to St. Matthew is essentially a documentary about Jesus. It made me aware of how real life and personal experience can create more breathtaking, sensitive cinema than more sophisticated techniques. It has made humanity crucial to my own work – I'm obsessed with capturing raw, living moments. " Source: Bill Condon on Arthur Penn's BONNIE AND CLYDE (1967): "I think the way I've probably described this before is that Bonnie and Clyde led to two things - a love of movies at a fortunate moment when movies were really interesting, and also a love of writing about movies, because Bonnie and Clyde was written about so much. Elder Francis Ford Coppola on Sergei Eisenstein's OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1927): "I kinda looked in and there were like three or four people in there, and I went to see it... I was so impressed with this silent film that had sound just by the cutting of the film. I thought it was so beautiful that I decided to go to film school and I chose UCLA film school, as a result of that film. " Source: Inside the Actors Studio. Season 7. Episode 14. Wes Craven on Robert Mulligan's TO KILL A MOCKINGBIRD (1962): "I went to an inter-denominational school, Billy Graham alma mater. If you were caught in a movie theater you would be expelled... Senior year I decided to move when my literary magazine was cancelled because of something I published about an interracial couple. I was denounced from the pulpit in chapel. I was semi-radicalized. So I went to go see To Kill A Mockingbird. It hit me like a thunderbolt. If this was a sin… it was clearly not. So then I went on to grad school and there was nothing to do there but read and write. " Source: David Cronenberg on David Secter's WINTER KEPT US WARM (1965): "Winter Kept Us Warm is the most influential film of my life in a weird way. It wasn’t a horror film – it was a drama about students coping with life at the University of Toronto – and it wasn’t because of its artistry. It was just the fact it was made. It’s hard to reproduce the shock I felt when I saw my classmates on screen in a real movie, acting. It was like magic: you are watching TV and suddenly you are in the TV, acting in some TV series. It was that kind of shock. " Source: Alfonso Cuaron on Vittorio De Sica's BICYCLE THIEVES (1948): "One night I was with my cousins and my parents had gone out for dinner or party or whatever. And we were watching TV. We sneaked to watch TV, we were not supposed to watch that late. And then they announced that there was going to be a film that was for adults. Immediately we said, okay, we want to see that. We were expecting to see boobies. And it was [Bicycle Thieves]. It was kind of a life-changing experience because I was confronted with a kind of cinema that, with all the love that I have for movies, this was something different. And it had to do with the realities and the truthfulness of the story and situation. In Mexico when lower classes were portrayed, poverty was portrayed, it was always in a melodramatic, patronizing kind of way. This was a completely different experience. " Source:.

Vi mötas i S:t louis. Vi m c3 b6tas i s 3at louis lyrics. Vi m c3 b6tas i s 3at louis karaoke. Probably the most remembered scene in the film. It goes from a gentle flirtation to absolute fireworks at 3:09, when the king merely utters, were not holding two hands like this. I saw this in a theater at 18 and remember 'uh-ohs' and hollers from the audience, perhaps all of us experiencing sexual tension in a film for the first time. And Yul Brynner, chrome-dome and all, had the swagger, innocence, and cock-of-the-walk approval of every woman in that theater- including my date. And as far as the lovely Deborah Kerr was concerned, I was just impressed that she could polka in a champagne-pewter hoop skirt. What a scene.

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