CheerupSilver Very Cool!!!

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Cheryl A clunky actioner with a handful of cool moments.

Kirpianuscus a spectacular film. for each performance. for seductive story. for the old fashion mix of comedy, romance and crime. for the young and charming James Fox, for adorable Carol Channing and Beatrice Lillie, for the work of John Gavin and, sure, for Jilie Andrews. a film who has the great virtue to be an oasis. because it preserves the flavors of periods and the joy to see a kind of cinema who seems be, for decades, lost. a sunny cinema, charming, seductive, using cultural references - the apple of Mrs M . as simple example -, with actors who use a form of aura in acting , ing legends and transforming the viewer in part of story. a film out of political correctness rules. and fresh , yet. again and again.

blanche-2 I don't know if they still have them, but they still did in the late '60s in New York City -- hotels for women. In 1967's "Thoroughly Modern Millie," Millie Dillmount and Dorothy Brown are both residents of the Priscilla Hotel for Single Young Ladies in New York City. It is 1922.Run by Mrs. Meers (Beatrice Lillie, in her last film), the hotel seems a respectable place for wide-eyed, aspiring actress Dorothy (Mary Tyler Moore) and Millie (Julie Andrews), looking to marry the rich boss of wherever she happens to land as a stenographer.Turns out Mrs. Meers scopes out the residents as possibilities for white slavery. They have to be orphans -- wouldn't do to have a family trying to find her. While these sinister goings-on happen at the hotel, Millie is falling for a paper clip salesman named Jimmy (James Fox), but she hopes to marry Mr. Graydon (John Gavin).Through Jimmy, Milly meets the fabulously wealthy Muzzy von Hossmere (Carol Channing) (his father was once her gardener), who believes that real, true love will lead to happiness as it did with her - she was a girl once like Millie herself.One day, Dorothy leaves the hotel suddenly, and no one knows where she is. Millie, realizing that other girls have also left quite suddenly, enlists the help of Mr. Graydon and Jimmy to find Dorothy.Overly long, but funny, tuneful, and upbeat, "Thoroughly Modern Millie" is a buoyant production, with some wonderful scenes and a great cast. One of the best bits was that in the elevator, one had to dance to get it to move. Beatrice Lillie is a riot as the sinister Mrs. Meers, and the vivacious Carol Channing does two fabulous numbers, "Do It Again" and "Jazz Baby." Some of the score, including the title number, is by Jimmy van Heuson and Sammy Cahn, but it's really a pastiche of numbers: Rose of Washington Square, I Can't Believe that You're in Love with Me, Baby Face, and Poor Butterfly, from a variety of composers.Julie Andrews sings and acts beautifully, and Mary Tyler Moore is pretty and naive and wear the '20s fashions very well. Add the usual glossiness Ross Hunter gave his productions, and you've got a very successful film. Thoroughly Modern Millie became a successful Broadway musical as well.

Ed Saw most of this again on TCM this evening after seeing it complete many years ago.The cast was charming and carried off the clichés and cartoonish adventure with great aplomb. The villainous Mrs. Meers was played by the great comedienne, Bea Lillie and the rest of the cast especially the women (Julie Andrews, Mary Tyler Moore and Carol Channing), were excellent as they continued to prove in their later careers.Of course the two "orientals" were extremely racist caricatures (played by Jack Soo and Pat Morita) up there with Mickey Rooney in Breakfast at Tiffanys in that respect.But much of it went on far too long and this was further drawn out by the endless "Intermission" with Julie doing the singing throughout, and the unbelievably endless closing credits.

Steffi_P Since the success of Tom Jones in 1963 it wasn't just arty gangster flicks and kitchen sink dramas that were being done in "new wave" style. Mainstream cinema was suddenly swept by a fad of snappy editing, split-screen effects, freeze frames, etc, etc, etc. It was only a matter of time before that uniquely Hollywood genre – the musical – got that trendy overhaul. And Thoroughly Modern Millie is not just any musical; it's a vehicle for Julie Andrews, perhaps the last of the old-style studio-bound Hollywood superstars. But funnily enough, it works rather well.You see, the trouble with so many of these new wave pictures is they treat cinematic form as a set of toys, playing around with camera tricks but forgetting things like bringing out acting performances and not giving the audience a headache. However this is a musical, and so it takes place in a world where everything is a bit unreal and over-the-top anyway. And Thoroughly Modern Millie is an incredibly wild and wacky comedy of a musical, full of cartoony characters, impossible stunts and off-the-wall in-jokes. A somewhat extravagant technical style is not so much a distraction – it is more a positive necessity to keep pace with the madcap world in which the story takes place.And thank goodness for the good taste of director George Roy Hill. He keeps most of the visual excesses to the musical numbers, or to unobtrusive (and very funny) stand-alone gags such as the three-way split screen when Miss Flannery is listening on a phone call. He doesn't bother with any camera acrobatics in the normal dialogue scenes, which are shot with his usual simplicity and clarity. His use of characters looking straight into the camera, or jokes where the humour is all in a well-timed cut remind me a lot of the silent pictures of Ernst Lubitsch and Rene Clair. As in Tom Jones we also get silent movie-style title cards, but at least here they fit in with the 1920s setting.Thoroughly Modern Millie sees Julie Andrews at the height of her popularity, and after her prim and chaste star-making turns in Mary Poppins and The Sound of Music, revealing yet more strings to her bow. She shows yet-unheard vocal skills in "Trinkt Le Chaim", as well as a real flair for silly comedy. I don't know how James Fox ended up being cast as Jimmy since he is by no means an obvious choice, especially to play an American, but he works, displaying a kind of cheeky charm that makes us warm to him. The smaller roles are all perfectly cast. Beatrice Lillie is fantastic, like some cartoon villain, and is it me, or does she in one of her cod-Chinese tirades call her sidekick a "foo king fool"? The usually straight-playing John Gavin is absolutely hilarious as a caricature of the suave James Bond type. And of course Carol Channing is superb, her unique way of moving perfectly styled for the rendition of "Jazz Baby". Really the picture belongs to these delightful ing players, unable to carry a picture but fully capable of stealing a scene or two.And perhaps this is really the only serious problem with Thoroughly Modern Millie. What with all the varied delights of its wonderful cast and cunning sight gags, it ceases to really be a Julie Andrews picture. It doesn't really allow her to connect with audiences in the way she usually did – there is simply too much else going on. As such, Thoroughly Modern Millie is certainly entertaining from beginning to end, and even has occasional moments of genius, but it lacks the romantic enchantment that makes a truly classic musical.