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Resume: mocedad y sensualidad y demonio

Sarah Y. Mason Genre: Comedy 8,4 of 10 Star Vincente Minnelli Actors: Lucille Bremer Free Online Cita en St. louis. PROBABLE SIGNIFICADO. Sólo podemos recordar aquí algunos mitos y símbolos relativos a la serpiente, y únicamente aquellos que ponen de manifiesto su carácter de animal lunar. En primer lugar su lazos con las mujeres y la fecundidad: la luna es fuente de toda fertilidad y gobierna al mismo tiempo el ciclo menstrual. Personificada, se convierte en “el amo de las mujeres”. Muchos pueblos creían – y algunos incluso lo siguen creyendo en nuestros días – que la luna, bajo la apariencia de un hombre o bajo la forma de una serpiente, se une con las mujeres. Por eso, entre los esquimales las muchachas  no miran a la luna por temor de quedar encintas. Los australianos creen que la luna, bajando a la tierra bajo el aspecto de un don Juan, abandona a las mujeres después de haberlas dejado encintas.

Meet Me in St. Louis won a tremendous popularity when it was released in WWII United States' movie houses. I do not find anything extraordinary about the film with the exception of three factors which I suggest contributed mightily to its success. The first is the phenomenally- consistent "period" feel of everything about this St. Louis based nostalgic musical's production- done on a California movie lot. The second is the direction of this rather claustrophobic production with such skill, based on his stage experience, that the director, Vincetne Minnelli, enabled his actors to seem to be moving naturally at all times. And the third is the film's unusually accurate dialog; the story line, drawn from author Sally Benson's own childhood but transferring to the Smith family's youngest child, herself, some actions which in reality were done by her older sister, has several drawbacks; the lugubrious little girl is demanding, gives her dolls funerals and general misbehaves rather frighteningly, her overstated part being the only major problem in the development of events. The scenario by Irving Brecher and Fred F. Finklehoffe seems to me to capture Benson's intentions very well indeed. The story of this film can be told in three negatives. The Smith family, living at the turn-of-the-century, complete a year of four seasons' worth of adventures, most of them inconclusive; the first 95% of the film is spent waiting for the St Louis World's Fair to be opened; and in the meanwhile, the entire family's busy lives of working, growing up, discovering love etc. are haunted by the threat of having to leave their smaller city and be moved to New York. Roger Edens and Arthur Freed produced this daunting work; and they commanded some of MGM Studios' finest talents to bring it to life in color on a movie screen. George Folsey as director of photography, Art Directors Lemuel Ayers, Cedric Gibbons and Jack Martin Smith translated Benson's book to the screen in what I consider to be memorable visual style. Famed Set Decorator Edwin B. Willis and Costume Designer Irene Sharaff produced professional and beautiful work that exceeded all expectations, according to many appreciators. In the music department of this tuneful narrative, the work of Roger Edens, orchestrator Conrad Salinger and George E. Stoll need to be recognized. Hugh Martin's contributions, including "The Trolley Song" add a great deal to a surprisingly effective score. Other featured songs include, Have Yourself a Merry Little Christmas" and "Meet Me in St. Louie. But despite all these efforts on a highly professional level, the piece succeeds principally I assert because everyone in the cast enjoys, appreciates and contributes to the film's verve, pace and authority. Judy Garland has one of her best roles as Esther, second oldest of the Smith girls; her sisters are played by Lucille Bremer, Joan Carroll and overused Margaret O'Brien as the youngest, Tootie. Harry Davenport seems touching as Grandpa, with fine support from noted character actors such as Chill Wills, Marjorie Main, June Lockhart, Henry H. Daniels as brother Lon, Robert Sully, Hugh Marlowe, and Donald Curtis. As the parents of four youngsters, Leon Ames and Mary Astor contribute very convincingly to the genial but Victorian feel of the work; they are even allowed to sing a lovely old-fashioned ballad. Tom Drake, as John, the boy Esther falls in love with, I find to be the vital center of the piece along with Garland; they are just different enough to be touching and interesting together in every scene they have. This in my judgment is not a great movie, owing to the weaknesses of the storyline; it is, however, a remarkably watchable and occasionally a memorable experience, the skills of whose makers render it in my opinion as beautiful as a remembered dream out of the American past; if for Minnelli's direction alone, the cohesion and taste he brings to every moment, it deserves more than one viewing.

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