IT CAME FROM THE BOTTOM SHELF!

I’ve always been a sucker for movie musicals, and I’ve always had a bit of a crush on Julie Andrews. Consequently, Thoroughly Modern Millie (1967) was one of the favorites of my childhood. Still, it was a film that I hadn’t revisited as an adult, so I always wondered if it would hold up to a re-watch. Happily, Kino Lorber Studio Classics has just released the original Roadshow version of the film on Blu-ray from a new 4K restoration by Universal Pictures, so this is the perfect time for me to get reacquainted with the picture. My feelings on the re-watch follow below, but if you are already a fan of Thoroughly Modern Millie and you just want to know about the quality of the new Blu-ray transfer, feel free to skip to the “Video” section below. Spoiler alert — The movie looks and sounds absolutely marvelous. Don’t hesitate to add the disc to your collection.

For those unfamiliar with the term “Roadshow,” prior to the 1980s, the larger movie studios would showcase some of their prestige releases (often epics and musicals) using limited engagements with reserved seating. These screenings would mimic the experience of live theater, with an overture before the start of the film, an intermission with entr’acte music, and exit music at the conclusion of the film. Super producer Ross Hunter (Magnificent Obsession, Imitation of Life, Pillow Talk, Airport) wanted to produce a Roadshow version of the 1920s-themed theatrical musical The Boy Friend, which had been Julie Andrews’ Broadway debut. However, when the film rights turned out to be more expensive than expected ($400,000), he decided to pass on the play and simply create his own 1920s musical with Julie Andrews. Thoroughly Modern Millie was the result.

Julie Andrews stars as Millie Dillmount, a small town American girl (with a British accent) who plans to make her way in New York City and land a rich husband. Unbeknownst to her, the rooming house in which she is staying is a front for a white slave ring. The house mother, Mrs. Meers (Beatrice Lillie), targets young girls without family ties and has her Chinese henchmen (Japanese actors Jack Soo and Pat Morita) abduct them. Mrs. Meers’ latest target is Millie’s new neighbor, Miss Dorothy Brown (Mary Tyler Moore). Millie takes Miss Dorothy under her wing, to show her what it’s like to be a “modern” and along the way falls for a penniless gardener’s son, Jimmy Smith (James Fox). While Jimmy seems to lead a colorful life, including partying with his father’s former employer, millionairess Muzzy Van Hossmere (Carol Channing), Millie has her sights on her rich boss, Trevor Graydon (John Gavin). Throw in a temperamental elevator, a Jewish wedding, Harold Lloyd-like “high and dizzy” stunts, a few odd tranquillizer darts, and lots of bad back-projection, and you have the makings of a thoroughly eccentric musical.

Ross Hunter’s gambit paid off in big box office, but the film itself is a bit of a mixed bag. It’s enjoyable throughout, and I’m sure to revisit it again in the future, but there are a few things holding it back from classic status. The biggest impediment is the “white slave ring” subplot. White slavery and kidnapping are bizarre subjects upon which to hang a musical; and the Asian stereotypes have aged very poorly. Japanese actors Jack Soo and Pat Morita are required to both converse in fake nonsense syllables (since neither spoke Mandarin) and comically prance about. While it is certainly in keeping with the 1920s themes to use Chinese characters as “yellow peril” villains, Soo and Morita’s antics are a little off-putting. The filmmakers must have known that they were near to crossing the line, because Phillip Ahn is included in the narrative, without much reason, as a positive Asian character.

The other problem with the film is it is too cute by half. Being that the Twenties were the heyday of silent film, Thoroughly Modern Millie includes silent intertitles to convey some of Millie’s thoughts, throws in some broad slapstick, and even includes a sequence meant as a tribute to the films of Harold Lloyd. Unfortunately, whenever the movie uses such cutesy trappings, it just reveals how little it actually understands about silent film. For example, the employment of terrible back-projection photography robs the “high and dizzy” sequence, inspired by Harold Lloyd’s Safety Last, of any kind of tension.

Happily, the good outweighs the bad. Topping the merits of the film is the title song by Jimmy Van Heusen and Sammy Cahn, which is an earworm of the best kind.  The rest of the score is made up mostly of standards from the Teens and Twenties (“Baby Face,” “Do It Again,” “Jazz Baby”), with a couple of other less-memorable originals (“The Tapioca,” “Jimmy”). The other standout musical sequence is a Jewish wedding scene, where Millie sings “Drink la chaim,” an original by Sylvia Neufeld. The scene is unconnected with the rest of the plot, and it only seems to exist to capitalize on the 1964 stage success of Fiddler on the Roof. While the sequence could have easily been excised, but I’m happy it wasn’t, as the song is terrif’ (in Millie-speak), and Julie’s vocal is transcendent.

All of the performers seem to be having a great time, and it is this “joy in performance” that keeps the audience engaged during the sillier or more problematic scenes. Of course, if you are a Carol Channing fan, Thoroughly Modern Millie is required viewing. Her weirdo persona is on full display, and she steals every single scene in which she appears. It is unsurprising that she was nominated for the “Best Supporting Actress” Oscar (the only nomination of her career). I also thought John Gavin was a bit of a standout, using his natural stiffness to great comic effect.

Thoroughly Modern Millie is not one of the great movie musicals. It’s one of the pretty good movie musicals. However, if you’re looking for something light and colorful to chase the blues away, Millie will more than do the trick. What’s more, the new Blu-ray from Kino Lorber Studio Classics looks and sounds absolutely terrif’. The movie is mildly recommended. The disc is highly recommended.

USA/C-152m./Dir: George Roy Hill/Wr: Richard Morris/Cast: Julie Andrews, James Fox, Mary Tyler Moore, Carol Channing, John Gavin, Beatrice Lillie, Jack Soo, Pat Morita, Anthony Dexter. Philip Ahn

For Fans of: While not practically perfect in every way, Thoroughly Modern Millie is a must for Julie Andrews fans.

Video: Kino Lorber released the complete Roadshow Edition of Thoroughly Modern Millie, including the Overture, Intermission, and Exit music, on Blu-ray through their Kino Lorber Studio Classics imprint. The Blu-ray was sourced from a new 4K restoration by Universal Pictures, and it looks absolutely fantastic. I really can’t imagine it looking better. The image is sharp and vibrantly colorful, and natural film grain is evident, but not excessive. I did not notice any age-related scratches or speckles. Overall, the image looked like a pristine film print.

The only thing that was odd about the transfer was at the Intermission and end of the film, the aspect ratio changes from 1.85:1 to 1.66: 1. However, the 1.85:1 ratio appears to be correct. I don’t know if they simply opened up the safety area at the points where the image was 1.66:1. Weird.

One other note — With the increase in sharpness, the instances of poor back projection during the action scenes is more apparent than ever.

The DTS 2.0 Stereo sound is also solid. Dialogue and the bombastic score sound fantastic (which, of course, is especially important for a musical).

The Dual-Layered BD50 Disc from Kino Lorber includes the following special features:

• NEW audio commentary by author/film historian Lee Gambin and art historian Ian McAnally
• Two theatrical trailers for Thoroughly Modern Millie (both the Roadshow and regular engagement trailers)
• Bonus trailers for What’s So Bad About Feeling Good, Daddy Long Legs, Never Steal Anything Small, A Funny Thing Happened on the Way to the Forum. and Sweet Charity
• Optional English SDH subtitles for the main feature

Streaming: At the time of this review, Thoroughly Modern Millie was not streaming as part of any subscription package or available for purchase through any of the standard digital retailers.

More to Explore: The musical The Boy Friend, that producer Ross Hunter originally wanted to adapt for the screen, was eventually adapted by British cult director Ken Russell, with Twiggy in the ingénue role. It’s quite good as well. It was released on Blu-ray through the Warner Archive Collection.

Trivia: As scripted, Carol Channing was supposed to blow a raspberry in her introductory scene, but she misunderstand and said, “Raspberries!” instead. The crew thought it was funny, so they decided to keep it that way. As a result, it became Muzzy’s catchphrase.

For More Info: Julie Andrews covered her film career in her memoir, Home Work: A Memoir of My Hollywood Years. You may also want to check out The Films of George Roy Hill by Andrew Horton. Finally, Carol Channing wrote Just Lucky I Guess: A Memoir of Sorts.