Thank heavens, for musicals. Based on Anita Loos
John Chard
Thank heavens, for musicals. Based on Anita Loos' play, out of the novel written by Colette, Gigi snatched a ream of Academy Awards and promptly became the…
Thank heavens, for musicals.
Based on Anita Loos' play, out of the novel written by Colette, Gigi snatched a ream of Academy Awards and promptly became the course of much debate and criticism for ever and a day it seems. The problem, as most musical aficionados will attest, is that Alan Jay Lerner and Frederick Loewe rehashed their previous stage hit
"My Fair Lady". Which to an extent is true, hell they even slotted in one of "My Fair Lady's" thrown away songs, "Say A Prayer For Me Tonight", into Gigi's bubbly mix. But on its own terms, Gigi is still a vibrant and rewarding picture that holds up well with each passing year.
The story had already been done as a French film directed by Jacqueline Audry in 1950, and a year later it had been played dramatically straight on Broadway with Audrey Hepburn in the title role. So for sure it was already a well formed story. Lerner & Loewe merely added their "Fair Lady" formula, got the talented Vincente Minnelli to direct it and broke out from the studio to utilise the Parisian locations. A touch heavy at almost two hours long, one still can't help getting wrapped up in some wonderful tunes and Cecil Beaton's gorgeous period costumes. The cast may be a mixed bunch, with it at times feeling like a competition to see who can be the most "French," but with the spiky dialogue being wry and tart, and one of "those" finales, it's a winner and highly recommended to fans of the musical genre. 7/10
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★ 6 / 10
They don't make like "Gigi" anymore...
ElMaruecan82
.. and maybe it's not such a bad thing.I have nothing against these old Hollywood Technicolor productions but all the Crayola feast in the world can't make up…
.. and maybe it's not such a bad thing.I have nothing against these old Hollywood Technicolor productions but all the Crayola feast in the world can't make up for monotonous and predictable plots, although I concede that, within its own limited but existent appeal, it was a little more enjoyable than "My Fair Lady..., because it was shorter and there was some believable chemistry between playboy Louis Jourdan and "petit bout de femme" (as they say in French) Leslie Caron. I wish though a less sordid story line would have reunited these two actors.Indeed, for all its old-fashioned 'charm', "Gigi" is the story of a young and lively girl, cute as a button, a real Gigi (whatever this sassy name evokes) groomed to become a courtesan, a euphemism for 'escort girl' that didn't fool the audiences. But why not? It's actually a provocative premise and the fact that it's adapted from a novella written by Colette could have provided a modern, thought-provoking, touch. But the whole thing is enclosed in a Cinderella structure, where men are not exactly charming princes. On a pedestal of admitted social superiority, they are looking upon these funny little creatures called women (even the really little ones) who are not even seen as potential doctors or engineers, who am I kidding, they're not even seen as potential mothers but only adorable soon-to-be providers for men's luscious thrills.I guess there wasn't much to seek for women in the Paris of the early 20th Century, "La Belle Epoque" as they say in French, apart from money-driven seduction or seduction-driven wealth. And the (in)famous "Thank Heaven for the Little Girls" has the merit of setting the tone of the film and being clear about its intent. I'll go past the creepiness of an old man staring at younger girls with that little sparkle in the eyes, Maurice Chevalier is actually one of the best things about the film and had another nice romantic scene later in the film. But the whole tone of "Gigi" is quite condescending and patronizing toward women who only seem to exist in order to fulfill men's frivolous recreations or egos in the best case. No wonder the film is compared with "My Fair Lady", Gigi could have been a more independent and appealing version of Eliza Doolittle, but she was wrapped up in a cynical plot and entrapped in the claustrophobic atmosphere of reddish walls and over-furnished rooms.So, Gigi starts being the mistress of Gaston (Louis Jourdan), the most coveted bachelor of Paris, and it's a matter of time before they fall in love. I refuse to believe that women didn't think of themselves highly even in that time. But I'll make an effort, I'll forgot that the film was older than my mother and I will judge it from its context. So, it's set in 1900: wasn't that a time where Marie Curie was working as a young promising physician in Paris? Where Coco Chanel started modeling? Could a girl as beautiful as Gigi look for a brighter future instead of letting herself at the hands of two old ladies who only see her as men's accompaniments then deciding to belong to Gaston. Leslie Caron exuded such passion and liveliness that I couldn't believe her character wasn't given more substance. She was everything Audrey Hepburn wasn't in "My Fair Lady".But that's the way it is, it's a film about men and the way they can dispose of women. Gaston doesn't strike as an unlikable character but he's likable by default as his first mistress (Eva Gabor) cheats on him and he takes his revenge causing a suicidal attempt that is supposed to make us chuckle. Indeed, in this (not so) gay Paris, we're supposed to root for him. But I could only root for Gigi and I couldn't accept that she would start her 'platonic friendship' by being a lousy substitute. Some would also say this was the way movies and women were portrayed, but again, let's not forget that in 1958, two progressive movies were made "Cat on a Hot Tin Roof" and "The Defiant Ones", not to mention "Vertigo" or "Touch of Evil" that weren't even nominated.So "Gigi" feels anachronistic even in its context, when French youth was dancing under the beats of Rock and Roll music and emulating the American idols, old-school Hollywood was still being nostalgic over a not-so-gay Paris that didn't exist anymore. "Gigi", for the sake of being a musical, doesn't try to push its premise a little farther, to spice it up a little, it doesn't even play fair with the genre as there's no particular song or choreography that stands out. This is a film that is not devoid of charming desuetude , but it's rather forgettable, and belongs to that string of mega-Best Picture winners of the 50's and 60's that were instantly forgotten like "The Greatest Show on Earth", "Around the World in Eighty Days" or "Oliver". And "Gigi" winning is a repeat of "An American in Paris" beating "A Streetcar Named Desire" and "A Place in the Sun". I'm happy for Vincente Minnelli but his Best Pictures weren't exactly Hollywood's finest hour.Speaking of the director, I saw a documentary about the life of Leslie Caron right after "Gigi" and I wish the story of Gigi was half as captivating as Caron's, she didn't have all fond memories of her Hollywood days and I can see why, as she was sort of victim of her beauty and used by Hollywood producers like a puppet, there was something of Gigi in Leslie Caron, something of a missed opportunity. The actress could play and she deserved better than being just the foil or the
'faire-valoir'... as they say in French.
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