#Minelli 1903 stock movie#
In “Vincente Minnelli: Hollywood’s Dark Dreamer,” Emanuel Levy, a film critic and a professor at the University of California, Los Angeles, makes the case that Minnelli was largely responsible for elevating movie musicals from their earlier incarnation as filmed vaudeville into sophisticated middlebrow entertainments by integrating musical numbers into the plot. Nonetheless, he was married four times - first, and most famously, to MGM’s troubled star Judy Garland - and fathered two daughters, the older of whom is the perpetually re-self-inventing Liza Minnelli. A closeted gay man, Minnelli had been known to sport “light makeup” while frequenting places like the Gershwin brothers’ New York salon in the 1930s. Once he moved to Hollywood as a director in MGM’s stable, Minnelli quickly built a reputation as a fearsome perfectionist, despite his passive, retiring personality. In young adulthood, the pathologically shy, stammering Lester, who had once apparently had a penchant for trying on his mother’s clothes, read a biography of the flamboyant painter James McNeill Whistler and decided to reinvent himself as a worldly aesthete, working as a department-store window dresser in Chicago before making his name as a designer of lavish theatrical sets in New York. Born Lester Anthony Minnelli in 1903, he grew up the only child in a family of traveling performers in the Midwest (his mother, Mina Mary LaLouche LeBeau, played the ingénue in stock melodramas, while his father, Vincent, conducted the Minnelli Brothers Tent Theater orchestra). Louis,” “Gigi” and “An American in Paris,” is as packed with color and incident as one of the dream ballets that became his trademark. Even recounted in the starkest factual terms, the life of Vincente Minnelli, the director of classic MGM musicals like “Meet Me in St.
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