You would follow her as you would Joan of Arc. “The wonderful thing is that she is a great, wonderful, old-fashioned saint. “I sort of fell in love with her when I was sitting in the balcony watching her do Eliza Doolittle in My Fair Lady,” he told the audience, referring to her 1956 breakout Broadway role, which earned her a Tony nomination. Before she appeared, Plummer did offer his Sound of Music darling a sincere compliment, though. After Plummer had been introduced onstage, Ganis asked him, “Should we bring out Julie?” “No, let’s not,” Plummer, now 85, deadpanned.
#2001 OVERTURE AND INTERMISSION MUSIC MOVIE#
Before a screening of the Robert Wise–directed classic as it first appeared in theaters in the 60s-with an overture and an intermission-the co-stars and longtime friends joined former Academy president Sid Ganis onstage at the Chinese Theatre for a nostalgic conversation about the project that helped launch their movie careers.Īndrews and Plummer-who re-united for a 2001 TV production of On Golden Pond and toured together in a holiday spectacular called A Royal Christmas-ribbed each other like a long-married couple. Then the show went to Broadway, where it won the Tony but traded easygoing silliness for a more grating brand of camp.On Thursday night in Hollywood, Julie Andrews and Christopher Plummer came out to celebrate the 50th anniversary of their beloved movie-musical, The Sound of Music, at the TCM Film Festival. The worst of the racial and sexual stereotypes, comic or otherwise, were dealt with, and the new songs by Jeanine Tesori and Dick Scanlan helped considerably. I reviewed it for the LA Times it had problems, but it was swift and pretty charming. Andrews followed it up with two gargantuan flops, "Star!" and "Darling Lili." In 2000 a Broadway-bound stage adaptation of "Millie" premiered at the La Jolla Playhouse. Saturday and Sunday.Ī somewhat shorter but no less strange general-release version squeaked into the Top 10 box office attractions for 1967. The roadshow addition, two-and-a-half hours long, is what's playing at the Music Box 11:30 a.m. This explains, in part, the movie's eerie underwater pacing. But because Andrews was a huge draw, the studio said no, and put back in everything Hill's cut left out. Director Hill wanted "Millie" to be short and sweet, a little under two hours. What's good about the movie? The Sammy Cahn/Jimmy Van Heusen title song. Elsewhere in "Millie," the Kansas transplant of the title seeks big-city romance with John Gavin friendship with Mary Tyler Moore (stuck in faux-operetta-bimbo mode) and a surrogate Auntie Mame by way of Carol Channing's filthy-rich Muzzy.
Pat Morita and Jack Soo play "Oriental One" and "Oriental Two," and their humiliation is almost unendurable, especially in the excruciating slapstick climax. Meers (Beatrice Lillie, struggling with Alzheimer's during filming) and her Chinese lackeys.
The Millie of "Millie" runs afoul of the duplicitous Mrs. For "Millie," Morris borrowed heavily from a 1956 London spoof called "Chrysanthemum," which featured a white-slavery subplot. Producer Ross Hunter scrapped the "Boy Friend" idea (Ken Russell mangled it on screen four years later) and hired Richard Morris to write a "Boy Friend"-y '20s goof instead. Universal wanted to film the charming London and Broadway '20s pastiche, "The Boy Friend," which made the droll ingénue Andrews a star in 1954. After "Mary Poppins" and "The Sound of Music," star Andrews was the berries in terms of box office dominance.
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