Watch Thoroughly Modern Millie For Free

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

I bought this movie for a dollar. My wife and I looked forward to watching it so we put it last Saturday afternoon. About 40 minutes into the movie we looked at each other and agreed to fast forward to see what else happens. Didn't help. The movie made no sense. For the quality of actors and actresses in this movie none of them were any good. Not their fault - the directors fault. The dumbest scenes were the elevators scenes where they had to dance to get the elevator to move. Come on. Really? Mary Tyler Moore's part was a shocker to me because she normally chooses good movies to star in and she blew it with this one. The dance numbers were no good. I wouldn't recommend this film to anyone to watch. Glad I only spent a buck.

How anyone can sit through this beats me. I tried for 90 minutes and could take no more

Usually I can tell you whether I like or dislike a film...and why. But this film has me befuddled, so I'm giving it a low grade -- 6.The pros: Well, watching Julie Andrews is always a pleasure. George Roy Hill did something that usually gets very high marks from me -- something different. I really can't think of any other film that is much like this one. It was a joy to see the famous Beatrice Lilly, and so sad that she was already suffering from Alzheimer's when this film was made.The cons: Well, the story seems kinda...which word shall I use -- silly or foolish? Or maybe shallow. How would any one know they were going to watch a comedy about white slavery????? And, for worst actress, the award goes to Mary Tyler Moore...which really surprised me, because she was a bit of a favorite of mine, but seems to do better on the small screen than wide screen. John Gavin seems totally wasted here; why did he even agree to do this film? And Carol Channing...I never understood the attraction...and still don't. And for a musical, where is the notable, memorable song? There isn't one.Bottom line: Silly or foolish, and certainly not worth 138 minutes of celluloid!

When I was 13, this became one of my new "favorites". By the age of 30, that opinion had shrunk a bit. Now, umpteen years later, it remains a friendly memory, but the qualities of the film I thought were gems are now rhinestones. The audience knows immediately it is getting something special when Julie Andrews' voice sings the title song as she walks down Fifth Avenue, first a non-stylish frump, and bit by bit transforming herself into a "modern". Over the credits, there are bits and pieces of subtitles expressing Andrews' feelings, and this pops up throughout the movie. First, she comments on how ridiculous that her figure doesn't allow her beads to hang straight, and much later, notices that all society girls seem to be flat chester. Throughout the film, she performs a Jewish Wedding Song and dances with James Fox about a new dance he just made up called the "Tapioca" (which she gleefully announces she had for pudding). Of course, her whole world falls apart when her new boss (John Gavin) whom she had her sites on (for his alleged money), falls for her new pal, Dorothy (Mary Tyler Moore). But when Dorothy suddenly disappears, Andrews, Gavin and Fox all realize that something nefarious has occurred, and it all involves Mrs. Meers (Beatrice Lillie), Andrews' landlady.The opening shot of the squeaky laundry cart remains totally and hysterically unforgettable, as does the shot of the chopstick hair wearing Bea Lillie, playing a comic Mrs. Danvers/Maleficent/Gale Sondergaard's "The Letter" character spoof. "Oh, pook!", she rants when frustrated,"Shoo show" when ordering her "dumber than a bleached blonde" sidekicks about, and her ominous "Sad to be all alone in the world", which has more meaning than the compassion she pretends to have for the orphans she encounters at her 1920's Manhattan hotel for single young ladies. From the time she utters this at the newly arrived Mary Tyler Moore (as an orphan) to her final hick-up after saying the line, Lillie is hysterical. In short, this is her film, even in spite of the leading lady (Julie Andrews) and the Oscar Nominated Carol Channing.No doubt that Ms. Channing was worthy of the nomination. Wouldn't you after tap-dancing on a Xylaphone to "Jazz Baby" and being shot out of a cannon into a group of acrobats and immediately breaking into the song "Do It Again"? Her line "Rasberrys!", like some of Mrs. Meer's (Lillie) mutterings, has hidden meanings. Channing was Broadway's darling after her triumph in "Hello, Dolly!", and got a lot of sympathy from the inside Hollywood crowd after young Barbra Streisand got her role in the movie version of that long-running smash. Channing plays a wealthy earth-mother type who takes an interest in Andrews, and tries to persuade her that true love is the only way to make a marriage work.As for Andrews, in 1967, she could do no wrong, and audiences were thrilled to have her back in a musical after two dramas in 1966 ("Hawaii" and "Torn Curtain"). That would change the following year with the over-long "Star!". With hair like Maria Von Trapp and some stylish 20's fashions, Andrews made a perfect "modern". Who better to break up Mrs. Meers' white slavery ring than Mary Poppins? Mary Tyler Moore does what she can with a really unexceptional part, but like Andrews and Channing was at the top of her popularity after the hit TV series "The Dick Van Dyke Show". Her role is simply too goody goody to believe, although she does occasionally break out of it, such as her crack about a nasty socialite at Channing's Long Island party.The men are James Fox, as the eager beaver who hopes to date Millie, and John Gavin as the oh-so-swell boss. Fox and Andrews share a joy ride after the tapioca sequence, and later Fox repeats an old Harold Lloyd gag when he climbs up the building Millie works in after a misunderstanding. When they must try to entrap Mrs. Meers, Fox dresses in drag, looking more like Hedda Hopper than a new-in-town orphaned girl. It's all quite fun and harmless, yet about 20 minutes too long. Film critic Judith Christ said it would make a perfect 65 minute movie. There are some great minor characters as well, particularly Andrews' possessive supervisor and the nasty Judith Tremaine (the flat-chested socialite at Muzzy's party). Unfortunately, the 2002 Broadway version took out most of the camp, even if it did introduce the unflappable Sutton Foster to Broadway stardom. In a season with "Urinetown" and "Mamma Mia!", it was "Millie" that won the Tony. So for total camp, see the movie, but be aware that some moments really are "Thoroughly dumb and silly".