Changing audience taste and the demise of the studio system conspired to make 'Gigi' the last of its breed, but thanks to the artistry of Minnelli, producer Arthur Freed, and their peerless creative team, the era ended on a high note. Yet even such effusive industry praise couldn't save the old-style MGM musical. If you count the special Oscar Chevalier received for his "contributions to the world of entertainment," 'Gigi' garnered a total of 10 Academy Awards, including Best Picture, Director, Adapted Screenplay, Color Cinematography, Art Direction, Costume Design, Editing, Scoring, and Song. Though Caron's vocals are dubbed (interestingly, her solo Say a Prayer for Me Tonight was cut from 'My Fair Lady' before its Broadway premiere) and Jourdan speaks-sings his numbers á la Rex Harrison, both performers possess such charisma, we forget their limitations. No production numbers or overblown fantasy ballets disrupt the leisurely flow, and though not a lot of plot transpires, the mood and structure Minnelli creates sustains the film.Īs does Lerner and Loewe's delightful score, which includes such gems as Thank Heaven for Little Girls, the melodic title tune, Chevalier's jaunty I'm Glad I'm Not Young Anymore, the buoyant The Night They Invented Champagne, and the priceless duet, I Remember It Well, performed with wit and warmth by Gingold and Chevalier, who wryly recall their past love affair. Sets and costumes are meticulously designed and coordinated to produce eye-filling images, and the simply staged songs grow naturally out of the story. Opulence defines Minnelli's musicals, and 'Gigi,' for which the director won a well-deserved Oscar, is arguably his trademark film. Though she's several years his junior, Gigi connects with Gaston like none of his hot-to-trot girlfriends, and as she grows up, their bond solidifies, ultimately prompting a business proposal that will alter their relationship forever. Occasionally, the obscenely rich and quite eligible Gaston Lachaille (Louis Jourdan), an old family friend, takes a break from his tedious schedule of fancy parties and ritzy social engagements to drop by their humble abode and enjoy the simple bourgeois pleasures of chamomile tea and a spirited game of cards with Gigi. Twice a week, the effervescent teen meets her dour, well-to-do Aunt Alicia for lunch, where she learns how to eat exotic food, pick out cigars, and distinguish real pearls from those that are "dipped" – all in preparation for her future responsibilities. Gigi lives with her flighty mother (who remains an unseen presence throughout the movie) and wise, practical grand-mère (Hermione Gingold) in a modest Paris apartment reflective of their limited means. And as seen through the eyes of bon vivant extraordinaire Maurice Chevalier, the story adopts an irresistible airy quality that belies its underlying substance. From the Bois de Boulogne to the Place de la Concorde to Maxim's iconic restaurant, 'Gigi' celebrates the City of Light like few other films. To enter the world of 'Gigi' is to be transported to turn-of-the-century Paris and immersed in its intoxicating culture. As bubbly as a champagne cocktail and sumptuous as foie gras, 'Gigi' is the last of the great MGM musicals, and though it's far from my personal favorite, there's no denying its beauty, style, and lyrical grace. That's a bitter pill for a teenager to swallow and a heavy weight to hang on a musical, but the magic of 'Gigi' is its ability to gloss over such tawdry details and concentrate on the charming characters, engaging songs, and glorious Parisian locations of Vincente Minnelli's Oscar-winning film. As her dowager aunt (Isabel Jeans) tells the impressionable Gigi (Leslie Caron), "Instead of getting married at once, it sometimes happens we get married at last." When her lover tires of her (and he most assuredly will), she finds another man, then another, and another. Okay, not really a prostitute in the literal sense of the word, but rather a courtesan or mistress – a woman of quality who gives her man undivided attention, companionship, and, yes, her body in return for economic security, travel, and a high-class lifestyle. The major difference? Eliza Doolittle is groomed by Henry Higgins to be a lady, while Gigi is tutored by her elderly Aunt Alicia to be, well, a prostitute. Both musicals were written by the legendary team of Alan Jay Lerner and Frederick Loewe (who also gave us 'Camelot') both were adapted from well-regarded literary works by Colette and George Bernard Shaw, respectively and both detail the transformation of an awkward, unrefined duckling into a graceful, sophisticated swan. Some have called 'Gigi' a French version of 'My Fair Lady,' and the comparison makes sense…to a degree.
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