But for its astonishing visuals, we don’t have much time for Godzilla: King of the Monsters, a rather boring, incoherent film with an aspect that is at best lazy and at worst offensive. But it does look pretty! Wait, as Mike says, for its home media release, and capture yourself some lovely screenshots.
Seeing Meet Me in St. Louis (Vincente Minnelli, USA, 1944) again yesterday brought to mind a half-remembered anecdote from some long-forgotten biography where, in the mid forties, L.B. Mayer fired a writer in a fit of pique for giving the wrong answer to the question: ‘who are the greatest actors on the MGM lot’? ‘Spencer Tracy and Judy Garland’ seemed to Mayer a wiseass answer when Greer Garson was the reigning queen of the lot. But who wouldn’t side with the writer now? By then, Garson was doing ‘great lady parts’ in a way so ripe for satire that Garland did just that in the ‘The Great Lady Has an Interview/aka Madame Crematon’ sequence of Ziegfield Follies (various directors but Minnelli is credited with this Garland sequence, USA, 1945). Garbo was long gone; Katharine Hepburn was on the lot but the only good material she got was the material she brought to the studio earlier (The Philadelphia Story in 1940, Woman of the Year in 1942) and later (Adam’s Rib in 1949, Pat and Mike in 1951); the mid-forties is one of the low-points in Hepburn’s career: Dragon Seed (Harold S. Bouquet and Jack Conway, 1944), Undercurrent (Vincente Minnelli, 1946), The Sea of Grass (Elia Kazan, 1947), Song of Love (Clarence Brown, 1947), etc.
What tends to be regarded as great acting is often extremes of emotion in extreme situations (Daniel Day Lewis in My Left Foot [Jim Sheridan, UK, 1989); Charleze Therzon as Aileen Wuornos in Monster [Patty Jenkins, USA, 2003]) and more subtle, more complex, more humane, mundane but no less affecting realms of emotion – the kind Garland so beautifully depicts — are often ignored. But look at what she’s able to accomplish in a few shots of the Christmas Ball sequence of Meet Me in St. Louis extracted above.
Esther Smith (Garland) and her sister Rose (Lucille Bremmer) have planned an evil tease on Lucille Ballard (June Lockhart) because their brother Lon (Henry H. Daniels Jr.) had planned to attend the ball with her but she instead came with the boy Rose had set her eyes on, Warren Sheffield (Robert Sully). As revenge, they’ve filled her dance-card with the least desirable men at the ball. But it turns out that Lucille really wants to be with Lon and Warren Sheffield wants to be with Rose. The plans have been changed, Esther is left holding the bag, her grandfather discovers what they’ve been up to, and Esther chooses to take over Lucille’s dance-card and suffer the punishment they’d planned for her so as not to impede the other couplings and so that the social niceties may be maintained. Their last Christmas in St. Louis, planned as a triumph has derailed into self-sacrificial torture.
Ignore if you can Minnelli’s gorgeous and complex mise-en-scene, the compositions, the way the couples are paired off or enter the frame (though I have in the past written here, and on this film in particular, as to why you shouldn’t); ignore if you can how purposefully and beautifully staged it all is. But let’s not bypass every element. When evaluating acting, the long take is a consideration. Not all actors can do them and it has become a test of a film actor’s skill. George Cukor famously observed that whilst Joan Crawford could act any emotion, she was incapable of showing transitions from one to another; she could only do one at a time; but then her whole face would scrunch up like Dr. Jekyll to Mr. Hyde when transitioning. Thus there always had to be a cut between one emotion and another. She couldn’t do it in long take. But see what Garland does here.
We first see her enthusiastic entrance into the group, kind of gleeful at the plans afoot, ‘I’ve been very anxious to meet you’. Then there’s a cut to the three girls where she explains that they’ve taken the liberty of filling out her dance card. Note the look Esther gives her sister and note the laugh Garland achieves in that look as if indicating ‘Ha, she doesn’t know what’s in store!’ Then note the change in Garland’s expression, all within the same take, as Lucille responds with extraordinary kindness, offering to give them a party when they arrive in New York. Garland’s face is transparent, first we see a hint of guilt, her mouth opens, she’s bewildered. Her sister nudges her, ‘The plans have been changed’. Then the couples pair off, leave the shot, Garland still slack-jawed with bewilderment and then her grandfather enters the shot. She’s been caught, she hides the dance-card, attempts to laugh away the situation and flee. Then look at her expression as her grandfather reads out the names. ‘Clinton Badger’? She nods, it’s brutal and she’s been caught. She doesn’t respond to the next one, it’s unbearable. Then see what she does with her face when Sidney Gorsey’s mentioned. We see shame, embarrassment, the sense she now deserves everything that’s coming to her.
Garland is extraordinarily transparent through a range of emotions, often conflicting or contradictory, and often played for laughs, she seems to pluck them out of thin air and achieve effects few actors are capable of. It’s quite remarkeable in quite a low key way. Then in the next shot, when Lucille goes to get her dance card and Garland says she’s made a mistake, note her reading of the line ‘This is mine’. She’s achieving laughs facially, vocally, and in the series of dances that follow she proves herself a superb physical comedienne; all whilst simultaneously evoking a range of feeling, sometimes complex and contradictory, that is emotionally recognisable as truthful.