History Creator / VincenteMinnelli

In his career, he directed films like ''Film/MeetMeInStLouis'', ''Film/AnAmericanInParis'', ''Film/{{Gigi}}'' (the latter two winning Best Picture at the Academy Awards) and ''Film/TheBandWagon'', perennial classics that still remain widely viewed, starring the likes of Creator/FredAstaire, Creator/GeneKelly, Leslie Caron, Creator/MauriceChevalier, Cyd Charisse, and, of course, Creator/JudyGarland. It was Minnelli who offered Garland her first adult role in ''Meet Me in St. Louis'' doing much to get rid of the terrible makeover that Louis B. Mayer and MGM had considered for their child actors. During the making of ''Meet Me in St. Louis'', they fell in love, got married in 1945 and had daughter Creator/LizaMinnelli the following year. (They divorced in 1951).

One of the leading directors in UsefulNotes/TheGoldenAgeOfHollywood, Vincente Minnelli (1903–1986) is to TheMusical what Creator/JohnFord is to TheWestern.

In his career, he directed films like ''Film/MeetMeInStLouis'', ''Film/AnAmericanInParis'', ''Film/{{Gigi}}'' and ''Film/TheBandWagon'', perennial classics that still remain widely viewed, starring the likes of Creator/FredAstaire, Creator/GeneKelly, Leslie Caron, Creator/MauriceChevalier, Cyd Charisse, and, of course, Creator/JudyGarland. It was Minnelli who offered Garland her first adult role in ''Meet Me in St. Louis'' doing much to get rid of the terrible makeover that Louis B. Mayer and MGM had considered for their child actors. During the making of ''Meet Me in St. Louis'', they fell in love and married and had children, their eldest daughter being Creator/LizaMinnelli.

Minnelli tends to be [[OvershadowedByAwesome overshadowed]] by both wife and daughter but later generations of movie buffs would remember his incredible technical achievements, his use of camera movement and powerful blocking-out of action in his scenes. His staging of musical numbers is notable for being highly cinematic, achieving results only possible with seeing a number on-screen, and integrating the number as part of the whole film, using it as important moments of character and dramatic conflict which was quite innovative at the time. Above all his use of color, set design and lighting which was incredibly radical for the overlit technicolor at the time. Minnelli for his part displayed the same visual lushness in black-and-white films like ''The Clock'' (Judy Garland's first major non-Musical role), ''[[Film/FatherOfTheBride1950 Father of the Bride]]'' (the original film), his adaptation of ''Literature/MadameBovary'' (starring Jennifer Jones and featuring a stunning ball sequence) and ''Film/TheBadAndTheBeautiful''.

His color films achieved even more impressive results in his lesser-known but highly influential melodramas, most famously ''Lust for Life'' his biopic of Creator/VincentVanGogh with Creator/KirkDouglas in the title role, which recreates the look of Van Gogh's paintings in film. The visual design of the Music/FrankSinatra starring melodrama ''Some Came Running'' is also highly treasured. Minnelli stated that he modeled it on the inside of a jukebox and the finale at the fairground is regarded as legendary by the likes of Creator/MartinScorsese for its use of color, camera movement and stylization.

After the UsefulNotes/FallOfTheStudioSystem, Minnelli's career floundered and decline in the '60s and '70s. He retired after the troubled production of ''A Matter of Time'' (1976) and spent his final years working on his autobiography. He died in 1986 but his films are ripe for rediscovery.

One of the leading directors in TheGoldenAgeOfHollywood, Vincente Minnelli (1903–1986) is to TheMusical what Creator/JohnFord is to TheWestern.

In his career, he directed films like ''Film/MeetMeInStLouis'', ''Film/AnAmericanInParis'', ''Film/{{Gigi}}'' and ''Film/TheBandWagon'', perennial classics that still remain widely viewed, starring the likes of Creator/FredAstaire, Creator/GeneKelly, Leslie Caron, Creator/MauriceChevalier, Cyd Charisse, and, of course, Creator/JudyGarland. It was Minnelli who offered Garland her first adult role in ''Meet Me in St. Louis'' doing much to get rid of the terrible makeover that Louis B. Mayer and MGM had considered for their child actors. During the making of ''Meet Me in St. Louis'', they fell in love and married and had children, their eldest daughter being Liza Minnelli.

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* ''Lust for Life'' (1956)

* ''The Clock'' (1945)

Vincente Minnelli (1903–1986) is to TheMusical what Creator/JohnFord is to TheWestern. In his career, he directed films like ''Film/MeetMeInStLouis'', ''Film/AnAmericanInParis'', ''Film/{{Gigi}}'' and ''Film/TheBandWagon'', perennial classics that still remain widely viewed, starring the likes of Creator/FredAstaire, Creator/GeneKelly, Leslie Caron, Creator/MauriceChevalier, Cyd Charisse and of course, Creator/JudyGarland. It was Minnelli who offered Garland her first adult role in ''Meet Me in St. Louis'' doing much to get rid of the terrible makeover that Louis B. Mayer and MGM had considered for their child actors. During the making of ''Meet Me in St. Louis'', they fell in love and married and had children, their eldest daughter being Liza Minnelli.

After the UsefulNotes/FallOfTheStudioSystem, Minnelli's career floundered and decline in the 60s and 70s. He retired after the troubled production of ''A Matter of Time'' and spent his final years working on his autobiography. He died in 1986 but his films are ripe for rediscovery.

His color films achieved even more impressive results in his lesser-known but highly influential melodramas, most famously ''Film/LustForLife'' his biopic of Creator/VincentVanGogh with Creator/KirkDouglas in the title role, which recreates the look of Van Gogh's paintings in film. The visual design of the Music/FrankSinatra starring melodrama ''Some Came Running'' is also highly treasured. Minnelli stated that he modeled it on the inside of a jukebox and the finale at the fairground is regarded as legendary by the likes of Creator/MartinScorsese for its use of color, camera movement and stylization.

* ''Film/LustForLife'' (1956)

! Selected Filmography

* ''Film/FatherOfTheBride1950'' (1950)

After the UsefulNotes/FallOfTheStudioSystem, Minnelli's career floundered and decline in the 60s and 70s. He retired after the troubled production of ''A Matter of Time'' and spent his final years working on his autobiography. He died in 1986 but his films are ripe for rediscovery.

Minnelli tends to be [[OvershadowedByAwesome overshadowed]] by both wife and daughter but later generations of movie buffs would remember his incredible technical achievements, his use of camera movement and powerful blocking-out of action in his scenes. His staging of musical numbers is notable for being highly cinematic, achieving results only possible with seeing a number on-screen, and integrating the number as part of the whole film, using it as important moments of character and dramatic conflict which was quite innovative at the time. Above all his use of color, set design and lighting which was incredibly radical for the overlit technicolor at the time. Minnelli for his part displayed the same visual lushness in black-and-white films like ''The Clock'' (Judy Garland's first major non-Musical role), ''[[Film/FatherOfTheBride1950 Father of the Bride]]'' (the original film), his adaptation of ''Madame Bovary''(starring Jennifer Jones and featuring a stunning ball sequence) and ''The Bad and the Beautiful''.

Minnelli tends to be [[OvershadowedByAwesome overshadowed]] by both wife and daughter but later generations of movie buffs would remember his incredible technical achievements, his use of camera movement and powerful blocking-out of action in his scenes. His staging of musical numbers is notable for being highly cinematic, achieving results only possible with seeing a number on-screen, and integrating the number as part of the whole film, using it as important moments of character and dramatic conflict which was quite innovative at the time. Above all his use of color, set design and lighting which was incredibly radical for the overlit technicolor at the time. Minnelli for his part displayed the same visual lushness in black-and-white films like ''The Clock''(Judy Garland's first major non-Musical role), ''[[Film/FatherOfTheBride1950 Father of the Bride]]'' (the original film), his adaptation of ''Madame Bovary''(starring Jennifer Jones and featuring a stunning ball sequence) and ''The Bad and the Beautiful''.

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Vincente Minnelli is to TheMusical what Creator/JohnFord is to TheWestern. In his career, he directed films like ''Film/MeetMeInStLouis'', ''Film/AnAmericanInParis'', ''Film/{{Gigi}}'' and ''Film/TheBandWagon'', perennial classics that still remain widely viewed, starring the likes of Creator/FredAstaire, Creator/GeneKelly, Leslie Caron, Creator/MauriceChevalier, Cyd Charisse and of course, Creator/JudyGarland. It was Minnelli who offered Garland her first adult role in ''Meet Me in St. Louis'' doing much to get rid of the terrible makeover that Louis B. Mayer and MGM had considered for their child actors. During the making of ''Meet Me in St. Louis'', they fell in love and married and had children, their eldest daughter being Liza Minnelli.

--> ''"Color can do anything that black-and-white can."''

After the UsefulNotes/FallOfTheStudioSystem, Minnelli's career floundered and decline in the 60s and 70s. He retired after the troubled production of ''A Matter of Time'' and spent his final years working on his autobiography. He died in 1986 but his films are ripe for rediscovery.

Minnelli tends to be [[OvershadowedByAwesome overshadowed]] by both wife and daughter but later generations of movie buffs would remember his incredible technical achievements, his use of camera movement and powerful blocking-out of action in his scenes. His staging of musical numbers is notable for being highly cinematic, achieving results only possible with seeing a number on-screen, and integrating the number as part of the whole film, using it as important moments of character and dramatic conflict which was quite innovative at the time. Above all his use of color, set design and lighting which was incredibly radical for the overlit technicolor at the time. Minnelli for his part displayed the same visual lushness in black-and-white films like ''The Clock''(Judy Garland's first major non-Musical role), ''Father of the Bride''(the original film), his adaptation of ''Madame Bovary''(starring Jennifer Jones and featuring a stunning ball sequence) and ''The Bad and the Beautiful''.

His color films achieved even more impressive results in his lesser-known but highly influential melodramas, most famously ''Film/LustForLife'' his biopic of Creator/VincentVanGogh with Creator/KirkDouglas in the title role, which recreates the look of Van Gogh's paintings in film. The visual design of the Creator/FrankSinatra starring melodrama ''Some Came Running'' is also highly treasured. Minnelli stated that he modeled it on the inside of a jukebox and the finale at the fairground is regarded as legendary by the likes of Creator/MartinScorsese for its use of color, camera movement and stylization.

Vincente Minnelli is to TheMusical what Creator/JohnFord is to TheWestern. In his career, he directed films like ''Film/MeetMeInStLouis'', ''Film/AnAmericanInParis'', ''Film/{{Gigi}}'' and ''Film/TheBandWagon'', perennial classics that still remain widely viewed, starring the likes of Creator/FredAstaire, Creator/GeneKelly, Leslie Caron, Maurice Chevalier, Cyd Charisse and of course, Creator/JudyGarland. It was Minnelli who offered Garland her first adult role in ''Meet Me in St. Louis'' doing much to get rid of the terrible makeover that Louis B. Mayer and MGM had considered for their child actors. During the making of ''Meet Me in St. Louis'', they fell in love and married and had children, their eldest daughter being Liza Minnelli.