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Interviews Vincente Minnelli
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"Vincente Minnelli
In the summer of 1977 or 1978 (in any case, sometime after Star Wars came out, as becomes obvious as you read through), I drove out to Los Angeles from Chicago. At the time I was either enrolled or in the process of dropping out at the University of Chicago, where my major intellectual interest was Doc Films, at the time still one of the country’s intellectual centers of auteurism. It was a center bereft of a journal, though, and I was thinking of reviving Focus, a long-folded publication Doc had once put out. At the same time, I had developed a critical fascination with Vincente Minnelli, an American director who suffered from woeful indifference from most – though certainly not all – American critics. Although his films were almost equally divided among melodramas, comedies and musicals, only Minnelli’s musicals attracted any attention. General intolerance of melodrama had left Minnelli’s best films (Some Came Running, Home From the Hill and, especially, The Bad and The Beautiful) languishing. They still languish for that matter. Minnelli’s melodramas haven’t achieved anything like that stature of Douglas Sirk’s, perhaps because Minnelli’s are Mediterranean and Freudian whereas Sirk’s are Northern European and Marxist. Unfortunately for Minnelli, American and English critics don’t like their melodramas to be too melodramatic. Anyway, back in the Seventies, Minnelli’s lesser musicals (An American in Paris) tended to be overprized, while his stylish and emotionally complex bits of perfection (The Band Wagon, Cabin in the Sky, even, believe it or not, Meet Me in St. Louis) were semi-forgotten. (That situation has at least markedly improved). As for the comedies (Father of the Bride, Designing Woman), well, forget"
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