Vincente Minnelli
43 connections found
Filmography
Some Came Running 1958 
The Cobweb 1955 
The Band Wagon 1953 
Brigadoon 1954 
An American in Paris 1951 
Gigi 1958 
The Clock 1945 
Lust for Life 1956 
Meet Me in St. Louis 1944 
Cabin in the Sky 1943 
The Pirate 1948 
Father of the Bride 1950 
Ziegfeld Follies 1945 
Home from the Hill 1960 
Tea and Sympathy 1956 
Father's Little Dividend 1951 
Two Weeks in Another Town 1962 
The Bad and the Beautiful 1952 
The Courtship of Eddie's Father 1963 View:
Connections, in both directions
La La Land (2016)
Directed by Damien Chazelle
influenced by An American in Paris (1951), The Band Wagon (1953), Brigadoon (1954), Gigi (1958)
Visuals
But does all the referencing and homage—and not just to Demy, but also to Golden Age Tinseltown productions like An American in Paris, jazz greats like Miles Davis, and even (in the film's funniest scene) the English new-wave band A Flock of Seagulls—add up to much of anything original?
Singin' in the Rain is saluted, An American in Paris is saluted.
Indeed, even if it had only lived up to the memory of all its many references it would be something special — Chazelle nods to the likes of “Top Hat,” “Singin’ in the Rain,” “The Umbrellas of Cherbourg” and “An American in Paris,” and more, after all.
Of the many inspirations for La La Land—Chazelle clearly knows his An American in Paris and his Annie Hall, too—none echo so loudly as Jacques Demy’s 1964 masterpiece , Les Parapluies de Cherbourg (The Umbrellas of Cherbourg), as well as its lesser sibling, Les Demoiselles de Rochefort.
The camerawork is cleverly evocative of “An American in Paris” and “Umbrellas of Cherbourg.”
And throughout “La La Land,“ there are references to many musicals, from the faux Paris dance finale of “An American in Paris” and the career trajectory melodrama of the 1954 version of “A Star is Born,” as well as the dream ballet from “Oklahoma” and the jazz club scenes from “Funny Face.”
Contempt (1963)
Directed by Jean-Luc Godard
influenced by Some Came Running (1958), The Bad and the Beautiful (1952), Two Weeks in Another Town (1962)
Unsurprisingly for Godard, there are icons, totems, and references galore, from the hat and slacks the screenwriter Paul Javal (Michel Piccoli) wears in homage to Dean Martin’s character in Some Came Running to his wife Camille’s (Brigitte Bardot) preference for tucking her traffic-stopping blond locks underneath a wig that could represent a cheeky reference the hairstyle of Godard’s own wife at the time, Anna Karina.
Additionally, Godard pays tribute to several of his favorite films here, including several by Lang, Howard Hawks' Hatari!, Roberto Rossellini's Voyage in Italy, Vincente Minnelli's Some Came Running and many more.
The husband once penned crime novels and now finds himself as both whore and pimp, in his own mind he's Dean Martin in Some Came Running.
Finally, there is Vincente Minelli's Some Came Running, in which Dean Martin always wears a hat for luck (which Paul mimics in Contempt), and who takes it off only in honor of the woman who gave her life for the struggling artist hero (Frank Sinatra), just as the death of a woman in Contempt releases (one hopes) an artist.
There’s an old joke that’s designed to be funny ha-ha for men but is, I suspect, only bitterly funny for most women: “Show me the most beautiful woman in the world, and I’ll show you the guy who’s tired of fucking her.” Jean-Luc Godard’s Contempt is many things: a free-verse editorial on the unholy alliance between art and commerce, a meditation on sea and countryside as landscapes of infinite sadness, a whirring phrasebook of intellectual thought that name-checks Dante, Bertolt Brecht, and Dean Martin in Some Came Running.
6. Vincente Minnelli's Some Came Running (1959).
Punch-Drunk Love (2002)
Directed by Paul Thomas Anderson
influenced by The Band Wagon (1953)
Visuals
The electric blue suit that Sandler wears throughout the film was, according to Anderson, inspired by a similar suit in Vincente Minnelli's great movie musical "The Band Wagon."
The Place Beyond the Pines (2013)
Directed by Derek Cianfrance
influenced by Home from the Hill (1960)
Themes
It’s reminiscent of a lot of earlier films, including “Home from the Hill,” Vincente Minnelli’s 1960 adaptation of William Humphrey’s novel, which treats some similar themes.
Amélie (2001)
Directed by Jean-Pierre Jeunet
influenced by An American in Paris (1951)
Characters Visuals
Some viewers have compared her to Audrey Hepburn, but Tautou's Amelie is more like a slightly naughty, less inhibited descendant of the characters Leslie Caron played in "An American in Paris" and "Lili."
Of course this is not a realistic modern Paris, and some critics have sniffed about that, too: It is clean, orderly, safe, colorful, has no social problems, and is peopled entirely by citizens who look like extras from " An American in Paris ."
And where Linklater's cinematic models in Before Sunrise were Hollywood love stories such as Vincente Minnelli's The Clock (1945), they're now more French New Wave, Eric Rohmer in particular.
(The kind you see in American movies from World War II, like The Clock (1945) in which Robert Walker as a soldier on leave meets Judy Garland in Penn Station and spends the day with her; the two bond so intensely they get married right away.)
The Incredible Hulk (2008)
Directed by Louis Leterrier
influenced by The Courtship of Eddie's Father (1963)
And Norton's performance is pleasingly reminiscent of the late Bill Bixby (who cameos in a brief clip from "The Courtship of Eddie's Father") in that show.
He’s also taking martial arts classes, learning Portuguese by watching TV (including reruns of The Courtship of Eddie’s Father, inciting appreciate cheers from movie viewers), chatting with his adorably intelligent dog, and looking out for Martina (Débora Nascimento), a female coworker at the factory, thus earning the ire of other coworkers—bald-headed and leering—who call him “gringo.”
That's a shame, because Edward Norton does his part by providing Bruce Banner with the requisite sense of torn humanity, and the film is filled with imaginative asides for fans of the comic book and/or TV series (my favorite is the shout-out to the late Bixby, showing him on a TV screen in an episode from his popular sitcom The Courtship of Eddie's Father).
The Boy Next Door (2015)
Directed by Rob Cohen
influenced by Meet Me in St. Louis (1944)
Music Visuals
Back in 1944, "The Boy Next Door" was a popular tune sung by Judy Garland in the musical masterpiece Meet Me in St. Louis.
We've certainly come a ways since Judy Garland sang “The Boy Next Door” in Vincente Minnelli's Meet Me in St. Louis!
Remember an incandescent Judy Garland standing in a moonlit window in the 1944 screen musical Meet Me in St. Louis, wistfully pining for the boy next door, whom she doubts knows she even exists?
When Lerner and Loewe wrote and composed the song "Thank Heaven for Little Girls" for the 1958 musical "Gigi," it's a safe bet they weren't referring to someone like the pint-sized, foul-mouthed, guns-blazing 11-year-old Hit-Girl (Chloë Grace Moretz) in "Kick-Ass."
Is this his ongoing homage to the ridiculous looking Judy Garland in Meet Me in St. Louis?
Grad-level geeks will also recognize the references to Sam Fuller's Shock Corridor, Vincente Minnelli's The Cobweb, and Val Lewton's Isle of the Dead.
(The kind you see in American movies from World War II, like The Clock (1945) in which Robert Walker as a soldier on leave meets Judy Garland in Penn Station and spends the day with her; the two bond so intensely they get married right away.)
As Good as It Gets (1997)
Directed by James L. Brooks
influenced by The Cobweb (1955), The Band Wagon (1953)
Themes
Intimately concerned with the embarrassment and difficulty of constant repositioning and mutual readjustments and with all the ethical issues that arise from this activity--the same sort of issues that abound in the films of Leo McCarey (such as My Son John and An Affair to Remember) and Vincente Minnelli (such as The Cobweb and The Band Wagon)--these interactions are the mother lode that all of Brooks's features have been searching for.
Intimately concerned with the embarrassment and difficulty of constant repositioning and mutual readjustments and with all the ethical issues that arise from this activity--the same sort of issues that abound in the films of Leo McCarey (such as My Son John and An Affair to Remember) and Vincente Minnelli (such as The Cobweb and The Band Wagon)--these interactions are the mother lode that all of Brooks's features have been searching for.
This latest iteration of a story we've seen many times before — from Vincente Minnelli's Father of the Bride to Meet the Parents (which was co-written by this film's director, John Hamburg) — isn't especially good, nor is it bad.
Cowritten and directed by John Hamburg, who wrote Meet the Parents, Meet the Fockers, and Little Fockers, Franco's movie gleefully parodies that earlier franchise, along with classics like Vincente Minnelli’s Father of the Bride and Stanley Kramer’s Guess Who's Coming to Dinner.
The Dreamers (2003)
Directed by Bernardo Bertolucci
influenced by An American in Paris (1951)
Characters
Michael Pitt plays the American in Paris who comes into their lives, much like Gene Kelly did in, you know, "An American in Paris", or more aptly, like the then not-so-morbidly obese Marlon Brando in Bernardo Bertolucci's "Last Tango in Paris".
El impulso cómico para mantener la atención de los niños proviene de la diferencia de tamaño de los animales y cómo las cualidades físicas de éstos afectan su desempeño en el escenario; por otra parte, el público adulto encontrará sutiles guiños al musical de Broadway, A Chorus Line, y a las películas The Band Wagon (1953) y Sunsent Boulevard (1950), aunque sin la carga sombría y desesperanzadora que Vincente Minnelli y Billy Wilder le impregnaron a sus respectivos filmes.
But there’s only one Greta Gerwig and if any director could convince a major studio to fork over a truckload of cash and disguise a movie based on the world’s most instantly recognizable doll as a thoughtful (and rollicking) meditation on gender norms, what it means to be a human, and fragile masculinity while also doubling as an homage to “An American in Paris” and “Singin’ in the Rain” (complete with dream ballets!) it would be her.
A detailed morning routine is often the perfect introduction to a character (e.g., Reynolds Woodcock in Phantom Thread or Jerry Mulligan in An American in Paris ), and Barbie is no exception.
And the screenwriters seem to have their own private jokes, having one dour cardinal echo lines from "Tea and Sympathy," of all things.
The Greatest Showman (2017)
Directed by Michael Gracey
influenced by Ziegfeld Follies (1945)
Visuals
A barroom battle of wills between Jackman and Efron is extraordinary, the pair making like Gene Kelly and Fred Astaire tackling “The Babbit and the Bromide” in 1945’s Ziegfeld Follies .
His Spring Breakers is a deliberately ugly picture, looking at the world as if from the inside of a jukebox, to use Vincente Minnelli's description of his own late 1950s film Some Came Running .