Hellen I like the storyline of this show,it attract me so much

AboveDeepBuggy Some things I liked some I did not.

Flyerplesys Perfectly adorable

Dorathen Better Late Then Never

moonspinner55 Roaring '20s musical is a fun, eager-to-please live-action cartoon with satire and slapstick. Julie Andrews plays a small town lass who has moved to New York City to land a steno job with an unmarried boss for her to conquer; Mary Tyler Moore is her timid new friend at the all-girl boarding house; Beatrice Lillie is their shady housemother; and Carol Channing (in an outrageous performance that must be seen to be believed) is a wealthy, swinging do-gooder. Tongue-in-cheek production from Ross Hunter and director George Roy Hill, inspired by the Broadway show "The Boy Friend", offers Julie Andrews one of her best film roles; whether dancing like a trouper to keep her elevator in motion or addressing the camera à la the silent movie era, Andrews is so loose and charming she even gets laughs crossing the street. There are a few slip-ups: the Jewish wedding sequence sticks out as an artifice, Moore's listlessly girlish performance is all on one note, and the Harold Lloyd-inspired comic ballet (with Julie falling out of a high-rise window) is too broad and silly. Nominated for seven Academy Awards, "Millie" picked up one Oscar for Elmer Bernstein's score (the smashing costume designs by Jean Louis probably should have won also). Overlong, and with a drab Universal backlot appearance, the film is nevertheless "delish!" Engaging, high-spirited fluff. *** from ****

calvinnme ...except in one respect; Elmer Bernstein's Oscar winning score carries the film, from its title song, to Carol Channing's "I'm A Jazz Baby" number, through the film's slow/irritating/self-consciously "Cute" spots.Director George Roy Hill has to be given credit; he attempted a spoof of early silent movies, with effects like wipes, title cards, and visuals like using pastels for most of the colors, especially Mary Tyler Moore's outfits. He does an extended riff on Harold Lloyd's "Safety Last" (1923), which is funny and effective. Sometimes he is off by a decade or so, though. For example, when the secondary pair of lovers first meet, they duet to "Ah, Sweet Mystery of Life", which is amusing, but thirteen years early (film is set in 1922). Each character spoofs a type.Julie Andrews is the perky heroine. Her parody is right on target, and her singing and dancing are also near perfect. I found Mary Tyler Moore irritatingly helpless, until I recognized her type was the helpless rich girl who never does anything for herself. Then, I was able to appreciate her performance. James Fox was enjoyable in his role; I didn't know he could sing. John Gavin, as Millie's boss, must have been directed to act as wooden as humanly possible; again, I didn't know he could sing.This was one of the last 1960's "Roadshow" musicals to make a profit. It has a wonderful musical score, but an uneven script and too many "cutesy" moments offset that strength. Still, it is more than worth seeing if it comes your way.

Robert J. Maxwell It's 1922 in New York. Tribal customs of grooming and dress are colorfully pierced. Julie Andrews' bosom is too large, so her drooping pearl necklace doesn't droop symmetrically. Mary Tyler Moore is her hotel mate in a girls-only establishment. Very proper, you know. Except that the concierge, Beatrice Lilly, is in cahoots with the likes of Philip Ahn, whose business is kidnapping naive young ladies and selling them into a white sex slave trade. Or something.The costumes are varied and rich, and the two principals are gorgeous. The musical arrangements are neatly done too, mostly but not entirely renditions of period tunes like "Charmaine" and "Baby Face". The latter is Andrews' paean to John Gavin, who ought to be ashamed of himself, although he handles his assignment here well enough. What a handsome guy. He even obtained political prominence under Reagan, being appointed ambassador to Mexico. It was one of those rare ambassorships that was justified, since Gavin's mother was from a prominent Mexican family, Gavin spoke fluent Spanish and Portugese and had graduated in Latin American history at Stanford. A success at everything he tried, and Julie Andrews' true love, to boot. I hate his guts.Sorry. I know that was a little off topic, but if you think that was a bit on the random side, you should see this movie. I couldn't tell where it was going. The general idea, of course, is from "Singin' in the Rain." A shift in the cultural paradigm. But then there are hints of other comedies. Andrews glances at the camera and makes a moue when disappointed. First time I saw that fourth-wall device in a modern movie was in "Tom Jones", released three years earlier. (That's not counting Laurel and Hardy.) The comedy is fast, there are a lot of songs, and Julie Andrews is a sonorous soprano. But I found it dull. There are snippets of "The Great Race," which appeared two years earlier. Stuff seems to happen for no reason other than to add some dash to the story. Sometimes it works, sometimes not.Worst of all, though it has a lovely English lady as a singer, there is only a smattering of dance -- and it's not original or exhilarating. If you're going to transpose "Singin' in the Rain" from 1929 to 1922, the least you can do is use a choreographer who knows how to stage a dance. Anybody can sing, but dancing is HARD WORK. Where is Gene Kelly when you need him? Or Bob Fosse? A celebration at a Jewish wedding -- one of those events that comes out of nowhere -- begins with promise but ends with Andrews belting out a song in Yiddish while the celebrants to an ordinary ring dance.A disappointment, but a fast and vibrant one. I imagine a lot of people will have fun watching it. The kids might not get some of the racier gags, but then they're not very racy so the kids won't be missing much.

mark.waltz When I was 13, this became one of my new "favorites". By the age of 30, that opinion had shrunk a bit. Now, umpteen years later, it remains a friendly memory, but the qualities of the film I thought were gems are now rhinestones. The audience knows immediately it is getting something special when Julie Andrews' voice sings the title song as she walks down Fifth Avenue, first a non-stylish frump, and bit by bit transforming herself into a "modern". Over the credits, there are bits and pieces of subtitles expressing Andrews' feelings, and this pops up throughout the movie. First, she comments on how ridiculous that her figure doesn't allow her beads to hang straight, and much later, notices that all society girls seem to be flat chester. Throughout the film, she performs a Jewish Wedding Song and dances with James Fox about a new dance he just made up called the "Tapioca" (which she gleefully announces she had for pudding). Of course, her whole world falls apart when her new boss (John Gavin) whom she had her sites on (for his alleged money), falls for her new pal, Dorothy (Mary Tyler Moore). But when Dorothy suddenly disappears, Andrews, Gavin and Fox all realize that something nefarious has occurred, and it all involves Mrs. Meers (Beatrice Lillie), Andrews' landlady.The opening shot of the squeaky laundry cart remains totally and hysterically unforgettable, as does the shot of the chopstick hair wearing Bea Lillie, playing a comic Mrs. Danvers/Maleficent/Gale Sondergaard's "The Letter" character spoof. "Oh, pook!", she rants when frustrated,"Shoo show" when ordering her "dumber than a bleached blonde" sidekicks about, and her ominous "Sad to be all alone in the world", which has more meaning than the compassion she pretends to have for the orphans she encounters at her 1920's Manhattan hotel for single young ladies. From the time she utters this at the newly arrived Mary Tyler Moore (as an orphan) to her final hick-up after saying the line, Lillie is hysterical. In short, this is her film, even in spite of the leading lady (Julie Andrews) and the Oscar Nominated Carol Channing.No doubt that Ms. Channing was worthy of the nomination. Wouldn't you after tap-dancing on a Xylaphone to "Jazz Baby" and being shot out of a cannon into a group of acrobats and immediately breaking into the song "Do It Again"? Her line "Rasberrys!", like some of Mrs. Meer's (Lillie) mutterings, has hidden meanings. Channing was Broadway's darling after her triumph in "Hello, Dolly!", and got a lot of sympathy from the inside Hollywood crowd after young Barbra Streisand got her role in the movie version of that long-running smash. Channing plays a wealthy earth-mother type who takes an interest in Andrews, and tries to persuade her that true love is the only way to make a marriage work.As for Andrews, in 1967, she could do no wrong, and audiences were thrilled to have her back in a musical after two dramas in 1966 ("Hawaii" and "Torn Curtain"). That would change the following year with the over-long "Star!". With hair like Maria Von Trapp and some stylish 20's fashions, Andrews made a perfect "modern". Who better to break up Mrs. Meers' white slavery ring than Mary Poppins? Mary Tyler Moore does what she can with a really unexceptional part, but like Andrews and Channing was at the top of her popularity after the hit TV series "The Dick Van Dyke Show". Her role is simply too goody goody to believe, although she does occasionally break out of it, such as her crack about a nasty socialite at Channing's Long Island party.The men are James Fox, as the eager beaver who hopes to date Millie, and John Gavin as the oh-so-swell boss. Fox and Andrews share a joy ride after the tapioca sequence, and later Fox repeats an old Harold Lloyd gag when he climbs up the building Millie works in after a misunderstanding. When they must try to entrap Mrs. Meers, Fox dresses in drag, looking more like Hedda Hopper than a new-in-town orphaned girl. It's all quite fun and harmless, yet about 20 minutes too long. Film critic Judith Christ said it would make a perfect 65 minute movie. There are some great minor characters as well, particularly Andrews' possessive supervisor and the nasty Judith Tremaine (the flat-chested socialite at Muzzy's party). Unfortunately, the 2002 Broadway version took out most of the camp, even if it did introduce the unflappable Sutton Foster to Broadway stardom. In a season with "Urinetown" and "Mamma Mia!", it was "Millie" that won the Tony. So for total camp, see the movie, but be aware that some moments really are "Thoroughly dumb and silly".