Thoroughly Modern Millie

Universal, 1967
Starring Julie Andrews, James Fox, Mary Tyler Moore, and Carol Channing
Directed by George Roy Hill
Music by Jimmy Van Heusen and others; Lyrics by Sammy Cahn and others

I'm reviewing this movie tonight in honor of Carol Channing, one of the most beloved stars of the Broadway stage and a true original, who passed away on Tuesday. It's one of the very few movies she made. Is this wacky Roaring 20's-set vehicle for Andrews and Moore a thoroughly modern delight, or will it be as old-fashioned as some of it's more melodramatic plot points? We'll head to New York in 1922 and see if we can find out...

The Story: Millie Dilmont (Andrews) is a thoroughly modern flapper who is determined to become a secretary to a handsome and wealthy boss and marry him. She meets pretty and sweet Miss Dorothy (Moore) at her boarding house, under the watchful eye of Mrs. Meers (Beatrice Lille). Unlike Millie, Dorothy remains lacy and old-fashioned,  not to mention a bit ditzy. Millie takes her to a dance, where they meet charming Jimmy (Fox), who claims he's a paper-clip salesman. Millie likes him, but she still wants to go through with her gold-digging plans, especially after she lands a job with the stunningly masculine Trevor Grayden (John Gavin).

Millie's surprised and thrilled when Jimmy takes her and Dorothy to Long Island to a party held by glamorous and wacky Muzzy Van Hosmere (Channing). Muzzy's taking classes from every good-looking teacher in Long Island and throws huge shindigs to show off her new talents. Millie's falling for Jimmy, until she sees him with Dorothy in her bedroom. She does reconcile with Dorothy, but remains hostile to Jimmy and continues to chase an oblivious Trevor.

Meanwhile, Mrs. Meers is using the boarding house as a front for a white slavery ring, kidnapping girls with no families and selling them to her Chinese agents (Jack Soo and Pat Moriata), and she has her sights set on Dorothy. It'll take all of Millie's ingenuity to rally the guys to help her rescue her friend...and prove that there's more to being "thoroughly modern" than chasing your boss and dressing the part.

The Song and Dance: Andrews, Fox, and Moore are all having a grand time with the satire; Andrews in particular is good as the secretary who learns that being "man's equal" means more than just landing a rich husband. Channing is something to behold. She's so over-the-top, she's on the other side and still going. She and Lille add a great deal to the camp value, along with some of the stranger antics from Soo and Moriata. (I give Lille credit for doing as well as she did. She was in the first stages of Alzheimer's during filming and, according to Andrews, had to be frequently prompted on-set and seemed confused.)

Extra points for the spot-on sets and costumes. I love how someone did their homework on women's clothes in this era. Working-class Millie realistically wears the same three or four dresses with different cute accessories throughout the movie, while rich Miss Dorothy wears a different outfit in almost every scene.

Favorite Number: Channing really gets to show her range in "Jazz Baby," which she performs with the orchestra at her mansion, taking over each of their instruments and dancing on a xylophone. She also has a death-defying routine with an acrobatic troupe to the Gershwin standard "Do It Again." The opening title song is performed by Andrews to a montage of her discarding her old-fashioned hair and clothes, along with the first of the hilarious silent-movie cards seen occasionally during the movie that show what Millie's really thinking. "The Tapioca," the big chorus number at the Friendship Dance that Jimmy invents on the spot, is the best of the larger dance routines.

Trivia: A stage version debuted on Broadway in 2002. It was almost as big of a hit as the original film and made a star out of its Millie, Sutton Foster.

Producer Ross Hunter originally wanted to buy The Boy Friend, which Andrews had starred in on Broadway, as a vehicle for her. The rights proved to be too expensive, prompting him to create another Roaring 20's tale.

Elmer Berstein won his only Oscar for this movie's score. Carol Channing was nominated for Best Supporting Actress; the sets, costumes, sound, and title song also got nods.

What I Don't Like: Let's start with the white slavery subplot. This was pretty standard melodrama in the 20's, but the slightly condescending depictions of Asians and Chinatown would have been awkward in the race-conscious 60's and may be considered downright offensive by many today.

The movie is way, way too long. There's a lot of unnecessary padding in the middle of the film, including a random and completely extraneous Jewish wedding number that likely only existed to show off Andrews' voice and Jimmy climbing around outside Millie's office building in an attempt to see her. They might have put that time to better use by giving other characters numbers besides Millie and Muzzy. Other than "Ah Sweet Mystery of Life" heard over the soundtrack, neither Miss Dorothy nor Trevor get to sing, and Jimmy is only heard in "The Tapioca." Despite being one of England's most famous performers, Lille doesn't get a number, either.

The Big Finale: Dated subplot aside, Millie remains a sheer delight today, one of Andrews' best vehicles and my personal favorite original musical of the 1960's. If you're a fan of any of the leading ladies or love 20th century history like I do, this is a must-see. (I highly recommend the equally fun Broadway cast album as well.)

Home Media: Despite the film's popularity, this is currently DVD only, though the DVD is fairly easy to find for under 10 dollars.

DVD