The North Texas Daily (Denton, Tex.), Vol. 63, No. 13, Ed. 1 Tuesday, September 25, 1979 Page: 3 of 8
Tuesday, September 25,1979
THE NORTH TEXAS DAILY—PAGE 3
Pl.oto by EDDV MORRIS
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"Meet Me in St. Louis" brings back good ol' days
Music, memories enhance movie
By JAMES KAUFMANN
Romance, music and nostalgic sen-
timentality characterize Vincente Min-
nelli's production of “Meet Me in St.
Louis,” showing at 7 p.ni. tonight in the
T hink of a time vs hen household help
earned little more than $12 a month and
when architectural progress was
welcomed with pride instead of scorn.
Think of one sister admonishing the
other for kissing a beau on the first date:
“Nice girls don't let men kiss them
before they're engaged. They don't want
the bloom to rub off.”
Think also of a Currier and Ives print.
Of the warm pastels and intricacy of
design. Of that never-never time our
grandparents referred to as “the good of
THINK OF FAMILIES living
together in harmony in huge old homes,
of people laughing and singing just
because they wanted to. And think of
young girls worrying about who was
taking them to the Christmas ball.
If you can envision this society, then
you are all set to enjoy “Meet Me in St.
The film, set in 1903 in the city of its
title, revolves around the joys and
traumas of the Smith family. It is a film
with no particular social comment: it
simply wallows in nostalgia, revelling in
the opportunity of turning the clock
back 50 years to recreate a lost society.
The stylish use of the three-strip
Technicolor filming process and the
solt-focus photography makes the film
not so much a reflection of life as it used
to be, but instead, one man’s conception
of w hat life should have been like.
The film, however, is more than an es-
capist MGM musical. It is noteworthy
historically for its believable integration
of music and song. Instead of plot
revolving around the music, as was the
formula for the earlier super-musicals,
this musical’s songs revolve around the
plot and settle comfortably within the
basic plot structure.
Where “Meet Me in St. Louis” suc-
ceeds historically is its novel use of
ensemble acting in a time when there
were two stars per picture and every
other cast member slaved to make the
star look great
Judy Garland is indisputably the star
attraction of the film, but within the film
itself she is more the actress and less the
Neither the story nor the directing are
slanted in her favor, which makes the
film an achievement in unity of purpose
rather than as a vehicle for Garland's
THE FILM boasts impressive
characterizations by all of the principle
cast members. Special notice is taken of
the work by Mary Astor as the mother,
Margaret O'Brien as “Tudy”, Garland
as "Esther" and Leon Ames as the “life
with father"-type patriarch.
(iarland is particularly good as the
lovesick daughter. She sings the now
classic tunes, "The Boy Next Door,"
“Have Yourself a Merry l ittle Christ-
mas." and "The Trolley Song" at the
peak of her vocal ability.
However, in addition to her musical
contributions the film benefits from her
comic timing and her ability to un-
derplay a scene.
The role is prohubly the most effective
combination of Garland's personal style
interwoven with her character. Her
characteristic nervous energy effectively
complements her part of a girl in love for
the first time
Margaret O' Brien is also impressive in
KNOWING, ADROIT and never
burdened with an abundance of the
"cutes", she creates a character that
rivals the best of Shirley Temple. Tatum
O'Neal and today 's Ricky Shroeder
f orget the legend of director Minnelli
telling O'Brien that her dog was just kil-
led in order to milk the proper emotion
lor the "snow people" scene, O'Brien
possessed a natural talent that surpassed
direetoral prodding, making her as
much a part of the film's success us
(iarland. Minnelli and producer Arthur
The music, color, and visual excite-
ment will send you out on a high you
will question for days to come: "W hat
did happen to the good 'ol days’" Ad-
mission is s() cents
Dr. Lee Gibson, president of the
International Clarinet Society, will per-
form contemporary, electronic and clas-
sical works at 8:15 p.m. today in the
Music Building C oncert Hall.
Accompanied by pianist Judy fisher.
Dr. Gibson will play Aaron Copland's
"Concerto for Clarinet," commissioned
by Benny Goodman.
This work was first performed in Dal-
las by Goodman and the Dallas
Symphony Orchestra in 1951 and has
since become a staple of symphonic
Dr. Gibson '.'ill include "Sonata in f
Minor, Opus 120, No. I" by Johannes
Brahms. Richard Muhlfeld of the court
orchestra at Meiningen inspired
Brahms' “Trio, Opus 114," "Quintet,
Opus 115," and the two sonatas of
"Opus 120" for clarinet.
Composed near the end of Brahms’
life, the clarinet sonatas have become
popular for viola and \iolin as well as
clarinet, Dr. Gibson said.
The third selection will be Francis
Poulencs' “Sonata for Clarinet and
Piano." Poulenc wrote the clarinet parts
m Ins trio for oboe, clarinet and bassoon
and his quintet with piano.
The "Sonata for Clarinet and Piano."
dedicated to Arthur Honegger, is his
only work for this instrumentation.
To conclude the recital, Merrill Ellis
of the music faculty will play his com-
position, “A Dream Fantasy." The
music begins "with swirling aural effects
which move into cliches of mundane
nature and into walt/-like music, finally
disintegrating into chaos and dissolving
into the dream fantasy," Ellis said.
Dr. (iibson is a member of the First
I ort Wurth Symphony and Fort W'orth
Opera. He has played recitals in various
parts of the country and in Canada.
Gibson said he will not perform as much
this year because of his busy schedule as
the co-principal of the Fort W'orth
Svmphony and the principal of the Fort
Artist to display photos
in East Coast exhibition
Al Souza of the art faculty will display
his color photographs in one-man ex-
hibitions at Moravian College in
Bethlehem, Pa. and at Dartmouth Col-
lege, Hanover, N IL
Souza’s photographs will open at the
Cronin Gallery in Houston on Friday,
and continue through Oct. 20. Souza
recently participated in the
“Miniatures" exhibition at the Lawn-
dale Annex Gallery in Houston.
In one of his recent works, "Horses
1979", Souza incorporated 3-D toy
horses with color photographs of horses
and placed them in glass boxes together.
Souza taught at Smith College for six
years before coming to NT.
Originally a helicopter designer with
an engineering degree, he got a masters
of fine arts degree in studio photography
at the University of Massachusetts. "My
background in engineering led me to
analyze photography before using it," he
Souza said he considered his earlier
work more calculated than what he does
now, which is noted for its humor and
One 16-piece series he did was an in-
vestigation into lies.
Using photos of an apple, Souza said
he handwrote statistics under the apple
such weight, temperature and orchard.
Each picture was titled to indicate how
many "lies" were in it.
“People would start looking for lies
immediately," Souza said. "Once they
had satisfied themselves that they had
chosen three lies, most would walk
away. But others would look and say,
‘Well. I don’t know whether this is a lie
or not: I don't know if any of these are
"It could have been that it never was
an apple: that it was a piece of plaster
painted to look like an apple.” he said.
"Perhaps one of the three lies is that
everything is a lie: that there are not
three lies, there are sixteen lies or there
are no lies except one.’ "
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October 2............................. Candidates meeting at
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October 2................................Campaigning begins
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Cook. Allan. The North Texas Daily (Denton, Tex.), Vol. 63, No. 13, Ed. 1 Tuesday, September 25, 1979, newspaper, September 25, 1979; Denton, TX. (https://texashistory.unt.edu/ark:/67531/metapth1003823/m1/3/ocr/: accessed May 18, 2021), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting UNT Libraries Special Collections.