Gigi

The ability to do fine musicals was one of Hollywood's endearing traits. However, in Gigi they produced a GREAT musical that is in a class by itself. The score, the libretto, the costumes, photography et al won Oscars and deserved them.

However, the cast led by Caron and Chevalier all deserved a special Oscar. They were cast perfectly and performed to perfection. Could there be a better Gigi than Caron? Her ability to go from a charming child to a beautiful women is overwhelming. The songs that Chevalier has made into classics, appear to have been written especially for him. Could one visualize any other personality performing these songs?

Jourdan is perfect in his role and so is Gingold. Thank heaven!!! Lastly, I must pay homage to that city on the Seine. It is the ultimate star and should have gotten a special award.

I agree with those readers that have called Gigi the best Hollywood musical; it is really the perfect musical. Thank heaven!!!

Directed by Vincente Minnelli and starring Leslie Caron as the title character, "Gigi" (1958) is nothing short of sweet and delightful. Gigi is a coltish teen in 1900's Paris who lives with her grandmother Madame Alvarez (Hermione Gingold) and who loves to hang out with family friend Gaston Lachaille (Louis Jourdan), an international jet-setter and playboy whose every relationship is documented in the papers. The pseudo-narrator of the film is Henri Lachaille (Maurice Chevalier), Gaston's uncle and a notorious playboy in his own right, who loves to give his nephew relationship advice, solicited or not. Gigi is being bred by her grandmother and aunt to become a refined woman so she can become a mistress for rich and powerful men, so it comes as both a surprise and delight to the women to discover that Gaston may be a suitable candidate. However, Gigi's innocence may not allow this to happen, as she struggles with making the transition between carefree girl to a refined lady with social responsibilities.

Musicals are a rare genre on my "films I adore" list, but "Gigi" has long been a favorite film of mine, despite its sappy moments and sometimes corny jokes. What makes "Gigi" such a good film is its unmitigated Charm with a capital "C"; one can't help but grin a little when Chevalier sings "Thank Heaven for Little Girls" because he doesn't stop flashing that high voltage smile himself. And I cannot get through the scene between Chevalier and Gingold when they sing "I Remember it Well" by the seaside without tearing up because it is just so damn cute. Sure, the revelations and epiphanies are pretty easy and kind of out of nowhere, but considering it is an MGM musical from the 1950's, I would be surprised if there weren't these kinds of things. Everyone in the film looks like they are having a good time (particularly Chevalier), and the great Lerner-Loewe music against the Parisian backdrop is enough to sell me.

"Gigi", while being a 10-time Oscar winner (including Best Picture) has unfortunately been marginalized by some as a typical MGM fluff piece, could be a hard sell, particularly to the jaded Generation Y - and - younger audience. However, since I myself am probably one of the most cynical film-viewers I personally know of, take my word for it – "Gigi" is a lot of fun, and a good way to spend two hours. 8/10 --Shelly

...how is this MY FAIR LADY? Over and over again, like a herd, everyone is writing that it's a copy, or a remake, or very similar to. This is an adaptation of a Colette novel, not a Bernard Shaw play. While both stories have a central female character, one is being groomed in elocution while the other is being groomed as a hook-- that is, as a coquette. Is your suspense of imagination so narrow that the same musical team cannot create more than one score without crucifixions for similarities? (Lerner & Lowe also wrote BRIGADOON and PAINT YOUR WAGON...are they also rip-offs of MFL?) Anyway, the film- resplendent in set pieces, cinematography, and especially costumes, is an execution in contradictions: it takes a group of less-than-respectable characters and makes them respectable. The lovely Leslie Caron shines as the title character who reveals to her already shocked family that she's not as naive as they seem to think in the ways of courtship and will not give herself to a man that she doesn't actually love. (Remarkably ahead of its time, when you think about it.) There is also something of an enigma in Maurice Chevalier, who, while being a favorite with audiences, is- let's face it- a dirty old man. After more than an hour of boasting about conquering girls young enough to be his granddaughters, he does a kind of about-face when he begins a twilight terrace scene with 'grandmama' Hermoine Gingold. As they reminisce about their own love affair in their white suits (was she the love of his life?) they contribute the film's finest moment: the duet "I Remember It Well (visually breathtaking against a sky which changes from pastel blue to coral to a flaming orange sunset)." The DVD, set to wide-screen, is the only way to enjoy something like this.

There are some movies one enjoyed years ago that now, in the light of a more progressive culture, seem disturbing. But I found Gigi inherently creepy when I first saw it as a teenager in the '70s. Admittedly some things bother me more now than then, like a middle-aged man singing about how great little girls are because when they're teenagers he'll have sex with them, but the central premise always struck me as deeply disturbing.

This is essentially a movie about a young girl pushed into sex work by her family of sex workers. She does not, at first, understand that's what's happening, but when she figures it out she's not happy about it. And I just don't see how that can be alright. It would be one thing if this were a commentary on a time when most women's only real path to power and fortune was through sex, but that's not what this is. This is a light frothy musical about something really bad.

And it's a shame, because it's full of great songs. Ignoring the sleaziness, Thank Heaven for Little Girls is charming. The Night they Invented Champaign is a fun, amusing number, as is I Remember it Well.

The performances are excellent, particularly Leslie Caron as Gigi. But I can't even watch this movie because I find it so creepy. Gigi's situation is heartbreaking, and while yes, it's a 50s musical that resolves everything pleasantly, Gigi is powerless in the equation.

As a youth I was horrified by a movie about someone my age who's agency had been taken away by "well meaning" relatives. As an adult I find it even more disturbing.

And yeah, a lot of people are just going to say I'm a buzzkill and it's just light froth. But I can't see it that way.

Having seen this film several times, I definitely have to rate Gigi as one of the most charming musicals ever made. The delightful score, by Lerner & Loewe, includes songs such as "I Remember it Well," "The Night They Invented Champagne," "Thank Heaven For Little Girls," as well as the title track, "Gigi," sung with surprising candor and earnestness by Louis Jourdan. Although reminiscent of their work on My Fair Lady, this score not only stands beautifully on its own but also grows in depth with each viewing.

The three principals, Leslie Caron, Louis Jourdan, and Maurice Chevalier, along with the Paris locales helps maintain a distinctively French flavor, especially in the way the characters relate and interact.

For everyone who has commented on the political incorrectness of the story, a closer look will actually reveal the true feminist perspective of Colette's work which was groundbreaking for its time: 1) the story is a commentary and observation of the limited social and economic options for women outside of marriage during the turn of the century Paris, 2) Although Gigi (Caron) never fully masters her lessons and grooming, she is able to capture Gaston's (Jourdan) heart precisely because of her imperfections, and 3) most importantly, it is Gaston rather than Gigi who is forced to truly transform himself and defy the social conventions of the time to bring the story to its resolution.

Compare this to My Fair Lady, which offers similar social commentary but resolves itself in a more standard way: For example 1) Eliza Dolittle only becomes noticeable and lovable after transforming her outward appearance and speech patterns 2) Although Professor Higgins finally realizes his love for Eliza at the end, it is Eliza who is forced to submit her will by effecting a reconciliation that does nothing to resolve any of the issues raised in the scenes leading up to that point.

Definitely see Gigi and judge for yourself. (By the way, the widescreen version is sooooo much better. This is especially apparent in numbers such as "I Remember It Well" where entire characters are forced to be cut out of the screen.)