Gigi (1958) User Reviews

Simply delightful

[FilmOtaku · 8/10 · 27 December 2004]

Directed by Vincente Minnelli and starring Leslie Caron as the title character, "Gigi" (1958) is nothing short of sweet and delightful. Gigi is a coltish teen in 1900's Paris who lives with her grandmother Madame Alvarez (Hermione Gingold) and who loves to hang out with family friend Gaston Lachaille (Louis Jourdan), an international jet-setter and playboy whose every relationship is documented in the papers. The pseudo-narrator of the film is Henri Lachaille (Maurice Chevalier), Gaston's uncle and a notorious playboy in his own right, who loves to give his nephew relationship advice, solicited or not. Gigi is being bred by her grandmother and aunt to become a refined woman so she can become a mistress for rich and powerful men, so it comes as both a surprise and delight to the women to discover that Gaston may be a suitable candidate. However, Gigi's innocence may not allow this to happen, as she struggles with making the transition between carefree girl to a refined lady with social responsibilities.

Musicals are a rare genre on my "films I adore" list, but "Gigi" has long been a favorite film of mine, despite its sappy moments and sometimes corny jokes. What makes "Gigi" such a good film is its unmitigated Charm with a capital "C"; one can't help but grin a little when Chevalier sings "Thank Heaven for Little Girls" because he doesn't stop flashing that high voltage smile himself. And I cannot get through the scene between Chevalier and Gingold when they sing "I Remember it Well" by the seaside without tearing up because it is just so damn cute. Sure, the revelations and epiphanies are pretty easy and kind of out of nowhere, but considering it is an MGM musical from the 1950's, I would be surprised if there weren't these kinds of things. Everyone in the film looks like they are having a good time (particularly Chevalier), and the great Lerner-Loewe music against the Parisian backdrop is enough to sell me.

"Gigi", while being a 10-time Oscar winner (including Best Picture) has unfortunately been marginalized by some as a typical MGM fluff piece, could be a hard sell, particularly to the jaded Generation Y - and - younger audience. However, since I myself am probably one of the most cynical film-viewers I personally know of, take my word for it – "Gigi" is a lot of fun, and a good way to spend two hours. 8/10 --Shelly

It's a Bore all right...

[rgcustomer · 6/10 · 13 December 2010]

I saw this after having already seen the 1949 non-musical film of the same name, which I disliked (5/10).

I liked this one slightly more, but not enough to recommend it. I remain stunned that this actually won any award for its year.

Two differences between the 1949 and 1958 versions: (1) The 1949 version makes it very clear what is going on, and I prefer the honesty of that version, if nothing else. The child is entirely dependent on grandmother, who is intent on turning her into a whore for rich men who like adolescent girls. I don't recall exactly, but I doubt it ended with a marriage. In 1958, it's not entirely clear until late in the film that the adults in Gigi's life are grooming her to be a teen mistress, and the grandmother seems to have doubts. (2) The subject matter in 1958 is pushed to the back with happy-sounding songs, over-saturated colour, and a ridiculous happy ending marriage. Frankly, audiences of this sort of film don't seem to care at all about plot, as long as there's a faux-happy ending and some razzle dazzle.

Regarding the ending, keep in mind that Gigi is marrying a man-slut, who is almost certainly going to cheat on her in a few months (as Honoré says) when he gets bored and finds someone younger.

"Thank Heaven for Little Girls" is just creepy, and it's not the only song about old men lusting after teenage girls in the film. In the discussion area people describe this character as sweet and grandfatherly, ignoring the obvious truth that these are exactly the men who are likely to commit abuse, because they can get away with it. Did the last 20 years happen, or did I just imagine it? I thought we learned this. And by the way, how many grandchildren does this man have, and by how many women? Do his grandchildren even know him?

The "Say A Prayer For Me Tonight" scene reminded me of "The Boondocks" Hunger Strike episode where the BET CEO has what appears to be a dead cat in her arms (meant to be a spoof of Dr. Evil and Mr. Bigglesworth, but unintentionally also spoofs Gigi and her cat) I found most of the songs lacklustre and dull and instantly forgettable. And for a musical, there was too much talking, not enough music.

I have not seen many films from 1958, and most of them were at least as bad as this one. But I would recommend The Defiant Ones over this.

A simple love story in a lush presentation

[raymond-15 · 7/10 · 21 July 2003]

The art decoration and sumptuous costuming designed by Cecil Beaton are truly striking in every respect. The storyline what there is of it is rather weak. The presentation is reminiscent of "My Fair Lady" but lacking in a good story is not half as great.

Maurice Chevalier as Gaston's Uncle Honore steals the show and gives the best performance due mainly to his special French charm and charisma. He lifts every scene. His singing of "Thank Heaven for little girls" sets the spirit of the film as he advises Gaston on the importance of enjoying life. The main ingredients appear to be Paris, Springtime and girls, preferably young ones.

Gigi (Leslie Caron) is taught the social graces and niceties of life by her grandmama and friends such as how to drink a glass of wine and how to choose a good cigar. These scenes I found not particularly funny. Perhaps it was unconvincing because the actor was trying to be very naive and young and inexperienced. Louis Jordan as Gaston the bored millionaire playboy was OK in a romantic role which was relatively undemanding. I particularly liked his rendition of the song "Gigi" when his attitude to life is suddenly changed. "Gigi" happens to be my favourite tune in the whole film.

Paris life is captured in glorious technicolour. Note that it is devoid of all shabbiness and poverty. The film opens near the Bois de Boulogne in 1900 and wanders amongst the skating rink and places of great entertainment where money seems to be the least of their worries. This is escapism de luxe.

Not a great film but quite pleasant to watch. I'll be singing "Gigi" a long time after the film has been forgotten.

I rediscovered this great, perfect musical.

[e.ainbender · 5 May 2000]

The ability to do fine musicals was one of Hollywood's endearing traits. However, in Gigi they produced a GREAT musical that is in a class by itself. The score, the libretto, the costumes, photography et al won Oscars and deserved them.

However, the cast led by Caron and Chevalier all deserved a special Oscar. They were cast perfectly and performed to perfection. Could there be a better Gigi than Caron? Her ability to go from a charming child to a beautiful women is overwhelming. The songs that Chevalier has made into classics, appear to have been written especially for him. Could one visualize any other personality performing these songs?

Jourdan is perfect in his role and so is Gingold. Thank heaven!!! Lastly, I must pay homage to that city on the Seine. It is the ultimate star and should have gotten a special award.

I agree with those readers that have called Gigi the best Hollywood musical; it is really the perfect musical. Thank heaven!!!

They don't make like "Gigi" anymore...

[ElMaruecan82 · 6/10 · 16 February 2017]

.. and maybe it's not such a bad thing.

I have nothing against these old Hollywood Technicolor productions but all the Crayola feast in the world can't make up for monotonous and predictable plots, although I concede that, within its own limited but existent appeal, it was a little more enjoyable than "My Fair Lady..., because it was shorter and there was some believable chemistry between playboy Louis Jourdan and "petit bout de femme" (as they say in French) Leslie Caron. I wish though a less sordid story line would have reunited these two actors.

Indeed, for all its old-fashioned 'charm', "Gigi" is the story of a young and lively girl, cute as a button, a real Gigi (whatever this sassy name evokes) groomed to become a courtesan, a euphemism for 'escort girl' that didn't fool the audiences. But why not? It's actually a provocative premise and the fact that it's adapted from a novella written by Colette could have provided a modern, thought-provoking, touch. But the whole thing is enclosed in a Cinderella structure, where men are not exactly charming princes. On a pedestal of admitted social superiority, they are looking upon these funny little creatures called women (even the really little ones) who are not even seen as potential doctors or engineers, who am I kidding, they're not even seen as potential mothers but only adorable soon-to-be providers for men's luscious thrills.

I guess there wasn't much to seek for women in the Paris of the early 20th Century, "La Belle Epoque" as they say in French, apart from money-driven seduction or seduction-driven wealth. And the (in)famous "Thank Heaven for the Little Girls" has the merit of setting the tone of the film and being clear about its intent. I'll go past the creepiness of an old man staring at younger girls with that little sparkle in the eyes, Maurice Chevalier is actually one of the best things about the film and had another nice romantic scene later in the film. But the whole tone of "Gigi" is quite condescending and patronizing toward women who only seem to exist in order to fulfill men's frivolous recreations or egos in the best case. No wonder the film is compared with "My Fair Lady", Gigi could have been a more independent and appealing version of Eliza Doolittle, but she was wrapped up in a cynical plot and entrapped in the claustrophobic atmosphere of reddish walls and over-furnished rooms.

So, Gigi starts being the mistress of Gaston (Louis Jourdan), the most coveted bachelor of Paris, and it's a matter of time before they fall in love. I refuse to believe that women didn't think of themselves highly even in that time. But I'll make an effort, I'll forgot that the film was older than my mother and I will judge it from its context. So, it's set in 1900: wasn't that a time where Marie Curie was working as a young promising physician in Paris? Where Coco Chanel started modeling? Could a girl as beautiful as Gigi look for a brighter future instead of letting herself at the hands of two old ladies who only see her as men's accompaniments then deciding to belong to Gaston. Leslie Caron exuded such passion and liveliness that I couldn't believe her character wasn't given more substance. She was everything Audrey Hepburn wasn't in "My Fair Lady".

But that's the way it is, it's a film about men and the way they can dispose of women. Gaston doesn't strike as an unlikable character but he's likable by default as his first mistress (Eva Gabor) cheats on him and he takes his revenge causing a suicidal attempt that is supposed to make us chuckle. Indeed, in this (not so) gay Paris, we're supposed to root for him. But I could only root for Gigi and I couldn't accept that she would start her 'platonic friendship' by being a lousy substitute. Some would also say this was the way movies and women were portrayed, but again, let's not forget that in 1958, two progressive movies were made "Cat on a Hot Tin Roof" and "The Defiant Ones", not to mention "Vertigo" or "Touch of Evil" that weren't even nominated.

So "Gigi" feels anachronistic even in its context, when French youth was dancing under the beats of Rock and Roll music and emulating the American idols, old-school Hollywood was still being nostalgic over a not-so-gay Paris that didn't exist anymore. "Gigi", for the sake of being a musical, doesn't try to push its premise a little farther, to spice it up a little, it doesn't even play fair with the genre as there's no particular song or choreography that stands out. This is a film that is not devoid of charming desuetude , but it's rather forgettable, and belongs to that string of mega-Best Picture winners of the 50's and 60's that were instantly forgotten like "The Greatest Show on Earth", "Around the World in Eighty Days" or "Oliver". And "Gigi" winning is a repeat of "An American in Paris" beating "A Streetcar Named Desire" and "A Place in the Sun". I'm happy for Vincente Minnelli but his Best Pictures weren't exactly Hollywood's finest hour.

Speaking of the director, I saw a documentary about the life of Leslie Caron right after "Gigi" and I wish the story of Gigi was half as captivating as Caron's, she didn't have all fond memories of her Hollywood days and I can see why, as she was sort of victim of her beauty and used by Hollywood producers like a puppet, there was something of Gigi in Leslie Caron, something of a missed opportunity. The actress could play and she deserved better than being just the foil or the… 'faire-valoir'... as they say in French.

Strange Minnelli Musical

[gavin6942 · 7/10 · 21 August 2015]

Weary of the conventions of Parisian society, a rich playboy (Louis Jourdan) and a youthful courtesan-in-training enjoy a platonic friendship, but it may not stay platonic for long.

This is apparently a film about fashion, because Gigi is all about fancy clothes. When bundled up, she looks very much like Madeleine (which, for all I know, is normal in France). But underneath? Some bold, wild patterns! Gigi is a role that seemed tailor-made for Audrey Hepburn, and I guess that some people wanted her to have it, though Leslie Caron nails it. Is Caron as big a name as Audrey? Goodness, no. But perhaps she ought to be.

A delightful pastiche of sumptuous music, and enchantingly memorable characters...

[Nazi_Fighter_David · 10/10 · 3 August 2002]

Admired by novelists as diverse as Jean Cocteau and François Mauriac, Colette was arguably the finest French writer of her sex in the 20th century... Her main themes were joys and pains of love and female sexuality in the male-dominated world... All her provocative works (sometimes scandalous) were written with extraordinary insight, sensitivity, and sensuality...

"Gigi" was made into a modest French film in 1948 by Jacqueline Audry, and ten years later, was brought to the screen as an Oscar-winning musical film dancing off with no fewer than nine Academy Awards including Best Picture...

'Gigi' is the delightful story of a young French girl raised and lavished by her grandmother, and her great-aunt, to follow the family tradition by becoming a courtesan... The film opens in the City of Lights, in a period that had its own visual style, the early 1900s, where Honoré Lachaille (Maurice Chevalier), standing in the lovely park of 'The Bois De Boulogne,' announces himself as 'a lover and collector of beautiful things.'

He sings "Thank Heaven for Little girls" with all the captivating smile and enduring charm that kept him an international super star for four decades... Honoré's ravenous appetite for life is contrasted with the world-weariness of his suave aristocrat nephew Gaston (Louis Jourdan), who, in the song 'It's a Bore!,' express his total indifference to absolutely everything...

Soon we are swept into the private world of Gigi, the adorable Parisian schoolgirl trained to follow the family tradition... Gigi is a potential coquette who steals everyone's heart... She knows how to test the quality of a cigar, and learns the refinements and graces of her family's exalted profession along with some of Aunt Alicia's basic recommendations...

Gigi progress from a Parisian gamine of the belle époque, to 'a definite allure.' Gaston, a longtime friend of the family, regards Gigi as a silly child, until he realizes that there has been a breathless change... Gigi shocks and upsets everyone by refusing to become Gaston's latest conquest... To her, the glory of romance and the music of love are not quite enough...

Leslie Caron is an absolute delight as the irrepressible Gigi... With her fleeting facial expressions, she captures brilliantly the transformation of a teasing tomboy into the hesitant, uncertain blooming of adult sexuality...

Louis Jourdan behaves like a perfect Gaston Lachaille... He makes his offer in good faith before any emotional advance... His character is a harmonious mixture of worldly cynicism and romantic idealism... His manners and behavior, and even his singing voice, are perfectly suited to the character...

Gaston is a high-living Parisian lover, a bon vivant, rich and famous... A very elegant bachelor bored with the high society life... The only woman he enjoys is one of his uncle's old girlfriends, Madame Alvarez, whose granddaughter, Gigi, strikes him as particularly irreverent... He brings to Gigi her caramels, licorice and champagne... He lets her cheat at cards... He is captivated by her boyish enthusiasm, even when he is refused, rejected, rebuffed, and repudiated...

Maurice Chevalier is outstanding as Gaston's elderly charming uncle... Honoré hasn't let his advancing age interfere with his exuberant enjoyment of chasing beautiful women... For him love is all... He is the 'Prince of Love,' with all the exuberance, the impudence and the occasional awkwardness of youth...

Isabel Jeans is perfect as Aunt Alicia, the ancient rich courtesan... She trains Gigi in securing a lineup of wealthy lovers... At one point, she instructs Gigi on the relative values of the exquisite stones in her jewel box, ticking off the particular merits of diamonds, rubies, sapphires and emeralds... Gigi listens to her aunt's artistic feat, inspiring the same delighted admiration for the large square-cut emerald her aunt got from a King, and which she slips onto Gigi's finger with the observation that 'only the most beautiful emeralds contain that miracle of elusive blue.'

The songs are perfect reflections of the characters who sing them...

At Maxim's, Gaston sings knowingly of his waning romance with the 'pretty but common' Liane (Eva Gabor) in 'She Is Not Thinking of Me.' In an outdoor café, Honoré sings of the relaxed and comfortable feelings that come with old age in 'I'm Glad I'm Not Young Anymore.' In Trouville, Honoré and the deliciously bizarre Madame Alvarez (Hermione Gingold) recall their past romance with 'I Remember It Well.' And, most of all, Louis Jourdan sings 'Gigi' sweeping the movie audience in its words and music..

Minnelli's exquisite 'Gigi' brought together all the best elements of musical movies into a delightful pastiche of sumptuous music, elegant dancing, and enchantingly memorable characters... He simply hit the jackpot with his choices in actors, guiding flawlessly their interpretations...

This exquisite musical had a total of nine nominations and nine Oscars and awards in almost every category... It was highly unusual that none of the excellent cast received acting nominations... However, Maurice Chevalier was presented with a "Special Oscar."

I found this creepy even before the age of political correctness

[cherold · 6/10 · 7 October 2018]

There are some movies one enjoyed years ago that now, in the light of a more progressive culture, seem disturbing. But I found Gigi inherently creepy when I first saw it as a teenager in the '70s. Admittedly some things bother me more now than then, like a middle-aged man singing about how great little girls are because when they're teenagers he'll have sex with them, but the central premise always struck me as deeply disturbing.

This is essentially a movie about a young girl pushed into sex work by her family of sex workers. She does not, at first, understand that's what's happening, but when she figures it out she's not happy about it. And I just don't see how that can be alright. It would be one thing if this were a commentary on a time when most women's only real path to power and fortune was through sex, but that's not what this is. This is a light frothy musical about something really bad.

And it's a shame, because it's full of great songs. Ignoring the sleaziness, Thank Heaven for Little Girls is charming. The Night they Invented Champaign is a fun, amusing number, as is I Remember it Well.

The performances are excellent, particularly Leslie Caron as Gigi. But I can't even watch this movie because I find it so creepy. Gigi's situation is heartbreaking, and while yes, it's a 50s musical that resolves everything pleasantly, Gigi is powerless in the equation.

As a youth I was horrified by a movie about someone my age who's agency had been taken away by "well meaning" relatives. As an adult I find it even more disturbing.

And yeah, a lot of people are just going to say I'm a buzzkill and it's just light froth. But I can't see it that way.

Absolutely Charming

[john_ccy · 9/10 · 26 June 2001]

Having seen this film several times, I definitely have to rate Gigi as one of the most charming musicals ever made. The delightful score, by Lerner & Loewe, includes songs such as "I Remember it Well," "The Night They Invented Champagne," "Thank Heaven For Little Girls," as well as the title track, "Gigi," sung with surprising candor and earnestness by Louis Jourdan. Although reminiscent of their work on My Fair Lady, this score not only stands beautifully on its own but also grows in depth with each viewing.

The three principals, Leslie Caron, Louis Jourdan, and Maurice Chevalier, along with the Paris locales helps maintain a distinctively French flavor, especially in the way the characters relate and interact.

For everyone who has commented on the political incorrectness of the story, a closer look will actually reveal the true feminist perspective of Colette's work which was groundbreaking for its time: 1) the story is a commentary and observation of the limited social and economic options for women outside of marriage during the turn of the century Paris, 2) Although Gigi (Caron) never fully masters her lessons and grooming, she is able to capture Gaston's (Jourdan) heart precisely because of her imperfections, and 3) most importantly, it is Gaston rather than Gigi who is forced to truly transform himself and defy the social conventions of the time to bring the story to its resolution.

Compare this to My Fair Lady, which offers similar social commentary but resolves itself in a more standard way: For example 1) Eliza Dolittle only becomes noticeable and lovable after transforming her outward appearance and speech patterns 2) Although Professor Higgins finally realizes his love for Eliza at the end, it is Eliza who is forced to submit her will by effecting a reconciliation that does nothing to resolve any of the issues raised in the scenes leading up to that point.

Definitely see Gigi and judge for yourself. (By the way, the widescreen version is sooooo much better. This is especially apparent in numbers such as "I Remember It Well" where entire characters are forced to be cut out of the screen.)

Ornate though overrated...

[moonspinner55 · 6/10 · 24 February 2009]

Stylish MGM musical tells the story of a scruffy French lass in 1890s Paris groomed to be a mistress by her grandmother. "Gigi" is often referred to as the jewel in director Vincente Minnelli's crown, yet the picture is more ornate pomp and circumstance than delicious musical entertainment. This was the second filming of Colette's novel, following the 1949 non-musical French version starring Danièle Delorme (which gave way to the Broadway success starring Audrey Hepburn). Leslie Caron has the title role here and she's charming, as is Louis Jordan as Gaston, though both are in danger of being swallowed up by the over-production. Maurice Chevalier, Hermione Gingold, Eva Gabor make up the hammy supporting cast, while the songs by Alan Jay Lerner (also the screenwriter) and Frederick Loewe contain the clipped wit of Broadway's best--a good thing, since those musical numbers are really the only instances in which the picture lifts off. 'Prestigious' and glossy, the film is big on exuberant trimmings, as it were, but it doesn't linger lovingly in the memory. Nine Oscar nominations with nine wins, including: Best Picture, Best Director, Best Adapted Screenplay, Best Cinematography for Joseph Ruttenberg, Best Art Direction, Best Costume Design for Cecil Beaton, Best Editing, Best Song for "Gigi" composed by Lerner and Loewe, and Best Musical Scoring for Andre Previn. **1/2 from ****

It's a Bore

[kenjha · 4/10 · 3 May 2009]

A tedious musical about Parisian society around 1900. At the age of 27, Caron was a bit long in the tooth to be playing a teenager. Speaking of young women, Chevalier's appreciation of "leetle gails" is kind of creepy. At least Jordan is honest when he sings, "It's a Bore." Minnelli's Oscar seems to be a belated one for "An American in Paris." Here he does nothing to keep the film from dragging. The songs, in the ludicrous Lerner-Lowe style of half-talking and half-singing, are not particularly good. It's unbelievable that this film won the Best Picture Oscar for a year in which such masterpieces as "Vertigo" and "Touch of Evil" were released.

The Last of the "Golden Age" Musicals

[gftbiloxi · 10/10 · 9 May 2005]

Although MGM and other studios would continue in the genre for several more years, GIGI is the last great musical of Hollywood's golden age. It is also one of the few titles consistently mentioned when critics dispute which film should be considered the single finest musical ever created by Hollywood, a film that rivals the likes of SINGIN' IN THE RAIN and MEET ME IN ST. LOUIS.

Based on a novella by Colette, GIGI tells the story of a French family of the belle epoch--a family, it seems, of women who have made their living from the favors of famous men. Still something of a gawky schoolgirl, Gigi (Leslie Caron) is being trained to become a courtesan, and when she suddenly blossoms she captures the heart of Paris sophisticate Gaston Lachaille (Louis Jourdan.) But much to her family's horror, when the arrangements are completed Gigi suddenly declines! The cast is absolutely flawless. Caron was born to play Gigi, and is as charming as the awkward youth as she is as the suddenly beautiful young woman; Jordan's appeal as the worldly and world weary Gaston is tremendous. But the real joy of the cast is in its supporting cast, which includes Maurice Chevalier as Gaston's uncle; Hermione Gingold and Isabel Jeans as Gigi's grandmother and great aunt; and Eva Gabor as Gaston's current mistress. Chevalier and Gingold play their roles with precisely the right mixture of charm and severity, and their duet "I Remember It Well" is among the highlights of the film, while Jeans and Gabor give such great comic turns that their small roles become as memorable as the leads.

The Learner & Lowe score is equal their great Broadway success MY FAIR LADY, and offers such enjoyable and memorable songs as "Gigi" and "The Night They Invented Champagne;" the script equals and merges with the music to considerable effect. Filmed largely on location in Paris, the look of the film is incredibly rich, and director Vincent Minnelli maintains a sprightly sense of humor with just enough darkness behind the bubbles to make us aware of the seriousness of the tale. Mixing intimacy with tremendous surface splash, GIGI is a cultural treasure, a film to enjoy and cherish forever and certainly a worthy contender for that disputed title of "Hollywood's finest musical." A personal favorite and highly, highly recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer

Dated but entertaining

[dr_clarke_2 · 7/10 · 28 June 2020]

Gigi is Vincente Minnelli's second musical to win the Academy Award for Best Picture, after An American in Paris. But Gigi works better than its predecessor. Like An American in Paris, it is set in the French capital, but unlike that movie it is actually filmed on location there, which benefits it enormously. Mainly though, it is just better written. The story sees the eponymous Gigi being sent to her Aunt to be trained as a courtesan in a rather sexist Parisian period setting (the exact year in which the film is set is not defined). Meanwhile, her friend and ladies man Gaston engages in his habitual sexual conquests, but as the film unfolds he gradually - of course - starts to realise that he loves Gigi. There are of course barriers to overcome and an inevitable happy ending. Alan Jay Lerner's screenplay - loosely based on the novel by Colette - is full of mischief and wickedly sharp dialogue, and the plot's adult themes - which held up the adaptation of the novel due to the prudish, conservative Hayes Code - give an edge to the film that An American in Paris lacked. In fact, there is some material here that might now raise eyebrows: after Gaston humiliates his mistress, she tries to commit suicide - apparently not for the first time - which everybody jokes about. The film's sexual politics are dated to say the least; Gaston, Honoré and the lyrics to several of the songs are outrageously sexist, and Maurice Chevalier's signature tune "Thank Heaven for Little Girls" now sounds less rakish and more like the fantasies of a man who grooms underage girls for sex. It's interesting that both Aunt Alicia and fellow matriarch and sister Madame Alvarez both indulge and indeed encourage Gaston's womanising. Nevertheless, unashamedly dated as Gigi is, it works quite well, mainly because its characters are likeable in spite of their flaws. The three leads (who are all French, which means we get authentic accents) are perfectly cast: Maurice Chevalier gives a warm performance as Honoré Lachaille, uncle to the male protagonist Gaston, played by with considerable charm and charisma by Louis Jourdan. Leslie Caron (whose songs are dubbed by Betty Wand) has learned to act since Minnelli cast her in An American in Paris is utterly endearing as the titular Gigi and establishes convincing on-screen chemistry with Jourdan. Isabel Jeans doesn't bother trying to hide her English accent as great aunt Alicia, but she gives such an wonderfully arch performance that it doesn't matter and she gets some great scenes with Hermione Gingold who plays her onscreen sister Madame Alvarez. Minnelli's colourful mise-en-scéne is lavish, detailed and a visual feast. The film opens with Maurice Chevalier's Honoré Lachaille breaking the fourth wall to introduce the setting and premise, which he does this a lot, commentating on the events of the film as the story unfolds and eventually bidding the audience farewell at its conclusion. Minnelli includes similar narrative tricks throughout, for example when "She is Not Thinking of Me" is included as a - mostly - non-diagetic track to reflect Gaston's thoughts. Whilst I'm no fan of musicals, the music by Frederick Loewe and André Previn works well, intermingling diagetic and non-diagetic tunes to create a pleasing coherent whole. Gigi is often quite funny, for example when Alicia tries with mixed results to train Gigi in how to do simple tasks like pour coffee, and the overall result is a generally good-natured, light-hearted romp of a film. It's a product of its time (and perhaps also a product of the time in which Collette's novel was written), but if you can accept its faults there is much to admire and enjoy here.

Thank Heaven!

[wings-6 · 12 October 1998]

Ever since my sister and I were "leetle gerls" as sung by the

wonderful Maurice in the movie we have simply adored this film. There are so few treasures such as this one. Leslie Caron is nothing short of perfection in this role so young, and so beautiful. And too, I must mention the dashing young Louis Jordan as the much desired by all women, Gaston. I cannot tell you how many times I have heard that beautiful song in my head as he has discovered his Gigi is a "woman" now and not a child. My sister and I will forever keep this movie close to our hearts. I suggest anyone who is a romantic or loves musicals to go and rent this one right away!!

The handsome French playboy who married his juvenile mistress-to-be

[estherwalker-34710 · 7/10 · 3 May 2021]

The third and last of 3 high-profile '50s musicals that Leslie Caron costarred in. Two of them, including this one, won the Oscar for best picture. Gene Kelly had introduced this Parisian to Hollywood 7 years earlier, primarily on the strength of her dancing talent, to costar with him in "An American in Paris". A few years later, she was teamed with MGM's other star dancer and all around entertainment talent :Fred Astaire, in "Daddy Longlegs", again playing a juvenile: one that Astaire sort of adopted, with the idea of eventually marrying her. Lots of good Johnny Mercer songs to sing and dance to, including a ballet by Lesli, probably as long as the marathon ballet by Kelly in "An American in Paris". But many viewers were put off by the extreme age difference between Fred and Leslie, as a supposed romantic couple. Now, several years later, at age 27, Leslie was chosen to play the lead in this Parisian musical, again, as a juvenile. This time, unfortunately, she did no dancing, lacking a talented male dancing partner. She does sing(dubbed) several lesser remembered songs. But, mainly her role is to be the care-free high schooler: Gigi, whose friendship with the much older, impossibly handsome, playboy, Gaston, played by Louis Jordan, gradually turns romantic. Maurice Chevalier is the third lead, playing a retired wealthy former playboy, uncle to Gaston...........Gigi lives with her grandmother, who apparently often served as a mistress, in her younger years. She plans to make Gigi into a professional mistress, like herself and Gigi's more famous aunt Alicia. Thus, sends her to take some lessons from Alicia on being a high class mistress. The trouble is that Gigi doesn't want to be such. Right now she just wants to play with her school friends, and maintain her friendly association with Gaston, like an older brother. The elderly women scheme to prepare her to initially be Gaston's mistress. Meanwhile, Gaston sings about his frustration at leading a boring, if leisurely, life. He finds Gigi more interesting than his older mistresses, a current one being played by the ravishing Eva Gabor, whom he takes to a skating rink, to learn how to skate. But, a problem arises when Eva clearly flirts with the instructor. Gaston sings "She's not Thinking of Me". Gaston disowns her and, as a result, we are told that she committed suicide. However, I find Chevalier's congratulatory attitude toward this tragedy unconscionable, even if that was the fashion among Parisian playboys of the period............One time, Gaston visits Gigi, and she's dressed up, rather like his mistresses might. At first, he's displeased, as he prefers her as her informal, schoolgirl self. But, he soon changes his tune, developing a romantic interest in her. Now, he's confused which Gigi he most likes. He sings a soliloquy, which includes the catchy romantic title song. This is the section that most reminds me of the later "My Fair Lady", for which Lerner and Lowe also composed the music. Gigi again dresses up as a sophisticate and they go to a restaurant, where people talk about her as if she is Gaston's mistress.. Gaston doesn't like this, and drags her home. After some confusion in his mind, he asks her to marry him, and we know the film will soon end............ Chevalier sings his signature song : "Thank Heaven for little Girls", both near the film beginning and, again, at the end. In a back and forth exchange with Gigi's grandmother (Hermiane Gingold), he sings the comical "Yes, I Remember it Well". Of course, he gets the details of his remembered events all wrong, according to Gigi's grandmother. He also sings "I'm Gland I'm not Young Anymore", pointing out the advantages of his serene retirement...........I recommend that you at least get a CD of the music, if not seeing the film. Try not to over emphasize the seamy aspects, and you will likely enjoy the film. .............. Two years later, MGM released another high profile musical: perhaps it's last,: "Can Can", the story, again, supposedly centered in Paris. Two of the leading 5 characters were played by Chevalier and Jordan, hopefully, bringing some of the atmosphere of Gigi with them. However, Frank Sinatra was the lead male. Yes, MGM apparently was hoping this would turn out to be another Oscar winner. But, it was not to be. Most reviewers , (but not me,) compare it unfavorably with Gigi. Shirley MacLaine was the lead female. She was essentially the same age as Leslie, when she played Gigi. But, the big difference is that she played a character corresponding to her age, rather than a presumed virginal juvenile, in a Cinderella tale. I think this is a major factor in why this film hasn't garnered as much interest as "Gigi". To me, Shirley clearly was more sexy than Leslie. Unlike "Gigi", a good amount of dancing was included, as were a goodly number of memorable Cole Porter songs. I consider it the more interesting of the two.

Dated Soap - Best Picture of 1958? - Gigi

[arthur_tafero · 6/10 · 15 February 2024]

1958 was a horrendous year for films; one of the weakest years of all time (until the 21st century, at least). Two other films, only slightly above average; Separate Tables and The Big Country were better than this dated soap of a film. The music and dancing were very nice, but the storyline of a hooker bagging a spoiled rich boy simply does not appeal to the vast majority of people who live in the 21st century.

Leslie Caron gets the most out of what she is given for a script as does Louis Jourdan, (who was not as talented as Caron). If you have a case of nostalgia for a world that does not exist any more, feel free to indulge yourself.

One of the best film musicals ever made.

[soyarra-1 · 10/10 · 26 December 2004]

"Gigi" is undoubtedly as good as it is because it was a musical written expressly for the screen (it had been an enormously popular Broadway play starring Audrey Hepburn). Lerner and Loewe were coming off their huge success with "My Fair Lady" on Broadway, and were at the height of their powers when they created the classic songs and screenplay for this film. And although Leslie Caron's vocals were dubbed (thankfully not by Marni Nixon), the rest of the cast acquits themselves with aplomb and a good deal of style, particularly the heartstoppingly suave and beautiful Louis Jourdan (who was much older than he looked at the time, as was Caron -- he was 38, she was 27). The breathtaking Art Nouveau sets and fin de siecle costumes were all designed by Cecil Beaton and are even more gorgeous than those he did for the film version of "My Fair Lady" a few years later.

This film is very faithful to Colette's original short story in both humor and spirit, and while I have no illusions that it is a completely truthful portrait of life in early 20th century Paris, it is a delightful, romantic story, one that is as lovely now as it was in the 1950s, or indeed, at the turn of the century. It really did deserve the Best Picture Oscar.

Vincente Minnelli's Oscar winner starring Leslie Caron, Louis Jourdan and Maurice Chevalier

[jacobs-greenwood · 7/10 · 24 October 2016]

Of all the films which won the Best Picture Oscar, one has to wonder how this ho hum musical earned all nine Oscars for which it was nominated. Was it just a weak year or did The Defiant Ones (1958) and Cat on a Hot Tin Roof (1958) cancel each other out as well? It's a mystery. Director Vincente Minnelli, the Original Song "Gigi", its Musical Score, and Adapted Screenplay were among the other Oscar winners. Leslie Caron, Maurice Chevalier, and Louis Jourdan star.

Gigi (Caron) has been raised quite innocently by her Grandmother Madame Alvarez (Hermione Gingold), with whom she lives. Alvarez didn't do as well as her sister, Gigi's former courtesan Aunt Alicia (Isabel Jeans), who lives in high style but (per her vanity) never leaves her expensive flat with butler (e.g. setup for life by former lovers).

However, Alvarez is friends with a rich playboy Gaston Lachaille (Jourdan) who loves to get away from society's trappings - which he finds a "bore" - by visiting her humble apartment, especially because of her energetic granddaughter; he's known Gigi since she was a child and loves to play cards with her.

But Gigi is now a young woman who follows Gaston's public love life with delight. Advised by his uncle (Chevalier), an older version of himself, Gaston drops yet another woman (Eva Gabor) he's been dating hoping to escape the trappings of high society for a while.

During this time, he takes Gigi and Madame Alvarez to the sea during which he begins to notice the former's maturation. With encouragement and education from Aunt Alicia, a match is eventually made (at first, Gigi resists the arrangement until she decides that she'd "rather be miserable with him than without him").

However, when Gigi acts like the courtesan she's been trained to be in lieu of the precocious and fun 'child' he'd been used to, he's forced to examine his lifestyle and make a decision.

Added to the National Film Registry in 1991. #35 on AFI's 100 Greatest Love Stories list. "Thank Heaven for Little Girls" is #56 on AFI's 100 Top Movie Songs of All Time.

A perfect musical

[LBX Dude · 10/10 · 14 September 1998]

"My Fair Lady" is certainly Lerner and Loewe's crowning glory, but in my mind, this is their most perfect creation. Anyone who thinks that Alan Jay Lerner was not able to write and/or adapt a strong book without the help of a G.B. Shaw needs to take in this gem of a musical based on the novel by Colette.

Although the creators were American, it is so effervescently French in spirit and tone. Lerner insisted that he and Loewe actually live temporarily in Paris while writing the score and screenplay so that they could incorporate the mood and feel of the city into their collaboration. This move paid off in spades. Paris is as much a character in this story as any of the protagonists, and it is displayed beautifully here. There is such color, joy, and romance in this musical. I also happen to think that it's extremely funny to boot. It is perfectly cast (the three main characters are all French, including the legendary Maurice Chevalier), the Cecil Beaton costumes are incredible, and the score is scintillating. The pace never lags for a second.

This musical is a must.

Musical Cinderella with a twist

[Sergiodave · 7/10 · 21 October 2020]

A great feel good musical from the golden era of musicals. It might not be up there with Guys and Dolls or South Pacific, but is still wonderfully enchanting with song good songs thrown in. Leslie Caron and Louis Jourdan in the lead roles are great and the direction, cinematography and sets are brilliant. Need something to cheer you up, then watch Gigi.

The Worst of Society

[Hitchcoc · 4/10 · 10 June 2023]

First of all, the focus of this entire musical is on how older men can manipulate a young girl for their own pleasures. We have these upper crust characters, living off the fat of the lamb, doing nothing productive. And we are to somehow admire them. I have to admit my prejudice. First of all it starts two of the most overrated and tiresome actors ever to appear on screen: Maurice Chevalier and Louis Jourdan. They are smug and full of themselves. They have everything in life, so they focus on a young girl, trying to get her to be a courtesan, so they can play some more. The end for me was the "first suicide" thing. That a man could take delight in the death of a woman he has left made me sick. Oh, well. Most would disagree with me. I'm not prude, but I could never get over the lifestyles of these people.

Glorious

[willrams · 9/10 · 1 February 2003]

That was the year I fell in love again, and what a gloriously entertaining musical with Chevalier singing "Thank Heaven For Little Girls" referring to the young girl played by Leslie Caron,etc. who is wooed by Louis Jordan until she grows up to be a lady of fashion in Gay Paree. The music is great, the settings are beautiful, and I remember Hermione Gingold and Chevalier singing together a funny song "I Remember It Well". In my book after seeing it for the umpteenth time, it's still a 9/10. Pure enjoyment!

Frothy Trivia

[JamesHitchcock · 6/10 · 16 August 2017]

Like "My Fair Lady", "Gigi" is a musical with lyrics by Alan Jay Lerner and music by Frederick Loewe. The two films are set in major European capitals (Paris and London) at around the same period in history (1900 and circa 1910). Both feature an older man/younger woman romance set against the background of high society. In "My Fair Lady" the female lead is played by Audrey Hepburn and in "Gigi" by the nearest thing Hollywood possessed to a Hepburn clone, Leslie Caron. (Hepburn herself, who had played Gigi in a non-musical stage adaptation of Colette's novella, was offered the role but turned it down). In both films the leading lady's voice is dubbed by a professional singer but the leading man's is not, although neither Rex Harrison nor Louis Jourdan had a great singing voice; both essentially recite their songs rather than singing them. One difference is that "My Fair Lady" is based on a Broadway musical whereas "Gigi" (like "Calamity Jane" and some other musicals) started life as a film and became a stage production later.

The film opens with Honoré Lachaille, an elderly upper-class roué, drooling over the charms of "leetle girls" who "get beeger every day". One of those "leetle girls" is Gigi, who is being trained by her terrible old grandmother Madame Alvarez and her even more terrible Great Aunt Alicia to become a courtesan, a word which in this context doesn't quite mean "high-class call girl" but certainly means "gold-digging professional mistress". The man they have lined up as Gigi's lover is Honoré's wealthy nephew Gaston, a sugar-daddy in the most literal sense as his fortune derives from his family's sugar-refining business. (In the original novella Gigi's full name was "Gilberte", but this is never used in the film). Gigi's parents don't seem to have much say in their daughter's future; we learn that her mother, who is heard but never seen, is a not-very-successful opera singer and never see or hear anything of her father.

Yes, I know what you're thinking. Given that the Production Code was still in force in 1958, what on earth were the American censors thinking of when they allowed this sleazy story onto the silver screen? The producer Arthur Freed apparently managed to persuade the Hays Office that the story condemned sexual exploitation, something that would probably have come as news to Colette, never first in to bat for the Moral Majority and never in a hurry to condemn anything of a sexual nature, had she still been alive in 1958. The story seems even tawdrier when you consider that most of the characters are completely amoral; when Gaston learns that one of his discarded mistresses has attempted suicide he and Honoré regard this as grounds for celebration rather than regret. Gigi herself, who manages to preserve a belief in true love, is a partial exception, but even she sees true love in terms of becoming Gaston's gold-digging professional wife rather than his mistress. (It might have been more interesting had she found true love with a worker in Gaston's factory).

Something which might trouble modern viewers more than it did audiences in 1958 is that we never learn exactly how old Gigi is. Caron was 27 at the time, and Hepburn would have been 29, but I think we can assume that Gigi is much younger than this, probably still a teenager. (A would-be courtesan who is still a virgin in her late twenties is definitely a slow starter). At times, indeed, particularly in the early scenes, Gigi comes across as being more thirteen-going-on-fourteen than sixteen-going-on-seventeen, which makes her romance with the thirty-something Gaston seem decidedly creepy. Hepburn's Eliza Doolittle may have been considerably younger than Harrison's Professor Higgins, but at least she was an adult woman capable of knowing her own mind.

And what were the Academy thinking of when they showered this film with so many Oscars? It was nominated for nine Academy Awards and won all of them, although it was not nominated in any acting categories. (Nine Oscars for one film was a record at the time, but one which only lasted a single year until it was beaten by "Ben-Hur"). Admittedly, some of these were well-deserved, such as "Best Costume Design"; Cecil Beaton's costumes are certainly sumptuous. "Best Musical Score" for Andre Previn also seems fair enough, and some of the songs are pretty good. I have always hated "Thank Heaven for Little Girls"; Lerner's only excuse is that in 1958 it probably sounded more innocent, and less like the Official Anthem of the Paedophile Liberation Front, than it does today. I liked, however, the gay and vivacious "The Night They Invented Champagne" and "I Remember It Well" is not only amusing but also surprisingly touching as Honoré and Madame Alvarez recall- in his case not always accurately- their long-ago love affair. (Honoré may be an old rogue, but at least Maurice Chevalier makes him a lovable rogue).

But "Best Picture" and "Best Director" for Vincente Minnelli? There were, in fact, some excellent films made in 1958. My own vote for "Best Picture" would have gone to William Wyler's masterful "The Big Country", but there was also Hitchcock's "Vertigo", "The Defiant Ones" and the British-made "Ice Cold in Alex". I know that in the fifties the Academy looked down on Westerns, didn't understand Hitch, disliked anything with an anti-racist message and overlooked anything British, but compared to films of this calibre- or for that matter to the far superior "My Fair Lady"- "Gigi" just looks like frothy trivia. 6/10

A goof. Honoré says that he was "not born in this century". As the year is 1900, which was the last year of the nineteenth century, not the first year of the twentieth, he almost certainly was "born in this century"- unless he is supposed to be over 100 years old.

Ah, I remember it well (unfortunately)

[dawgang1 · 1/10 · 13 August 2002]

I love musicals, I really do! I've seen Fiddler, Fair Lady, Hello Dolly, Tommy, Little Shop of Horrors and many more a million times over. So, I just had to check out GIGI - apparently one of the greatest, if not "the greatest" musical of our time(s). I'm sorry, people... but this has to be, without a doubt - one of the all time WORST musicals I've laid my ears and eyes on. The songs, the story, the characters... are so trite, sickeningly sweet and grating that their combined characteristics served to make my VHS display tick backwards! And for a movie titled GIGI, the film is 90% focussed on Gaston Lachaille. And Maurice... and that song - "Ah, I remember it well." It's all so... so... overly-sugarised (if such a term exists). Don't get me wrong - I love a feel good film! I love happy endings, happy beginnings and middles. Bright colours and vivid imagery can be done quite pleasantly as in Allen's EVERYONE SAYS I LOVE YOU. But this film is like a sugar-coated neon-pastel-over-exposed load of worthless film! And the songs themselves just reek of FAIR LADY. I'm not bagging Fair Lady, but the fact that the songs don't have their own 100% flavour seems to serve purely as a reflection on the limitations of the writers and if ever they re-make this film again, I suggest calling it GASTON. But then again... that's all just my opinion.

Lerner & Lowe competing with Lerner & Lowe...but still a charming musical...

[Doylenf · 30 May 2001]

It's almost as if Lerner & Lowe were competing with themselves when they decided to write the music for "Gigi" -- once again, a story about a girl being transformed into a young woman of charm (a Parisian courtesan) just as Eliza was being molded into another creature by Professor Higgins. And that's not the only similarity. The songs all have a "My Fair Lady" similarity -- from 'The Night They Invented Champagne' to 'Gigi' to 'The Parisiennes' -- all bear the flavor of their previous work in sound and content. And yet they work beautifully for this story set in the city of love and starring Leslie Caron, Louis Jourdan, Herminone Gingold and Maurice Chevalier.

Production-wise, it's almost too lavish for its own good. Vincente Minnelli wrings every bit of artistic decor in the trappings, giving the viewer an almost claustrophobic feeling for the interior scenes. The outdoor shots are just as lavish--Louis Jourdan singing the title song among the fountains and architecture of French landmarks.

The cast is perfect. Leslie Caron makes an enchanting Gigi, Louis Jourdan is impossibly handsome as Gaston, and all of the other players were cast with a discerning eye.

But there is no denying that no matter how distasteful some will find the story of training a girl to become a courtesan to be (or how politically incorrect by today's standards), the score is as sparkling as the champagne they sing about. While, in my opinion, the score does not surpass "My Fair Lady" in range and cleverness, it certainly did well enough in winning nine Oscars, including the one for Best Picture of 1958. By all means, it has to be considered one of the last great musicals from the MGM period.

Only drawback: it's a bit overlong and could have used some editing for the slow moments.