Directed by George Roy Hill;

If I was required to describe, in 50 words or less, Thoroughly Modern Millie, it would be that it is an interesting parody on the social mores of 1920s New York combined with a white slavery sub-plot and all set within a ?musical? context containing a few bright and breezy song and dance routines.

Millie (Julie Andrews) is an independent young lady who has recently arrived in New York, and is staying at the Priscilla Hotel for Young Single Ladies. The opening scene of the film is her awakening to (and personal makeover to reflect) the ?look? of the modern girl ? bobbed hair, short skirts and a flat chest line. During this opening scene she is inadvertently introduced to Miss Dorothy Brown (Mary Tyler Moore), who is new to the city and who will take a room across the hall to her. Miss Dorothy is the paragon of the na?ve new entrant to the social scene and seeks the assistance of Millie.

Millie, however, has already determined her destiny ? she will gain employment as a stenographer and in the process, marry the boss! These are the ideals of the thoroughly modern girl, it would seem ? security and wealth ? and hang the idea of ?love? and personal happiness. Millie only finds out later in the film that the ethos of this early form of feminism is not necessarily practised as it is preached!

Millie?s exploits in finding ?true love? and happiness lead her into numerous adventures with Miss Dorothy and other characters including a paper clip seller named Jimmy (James Fox), her boss and potential husband Trevor Graydon (John Gavin) and a fun loving acquaintance named Muzzy (Carol Channing). Add to this a sub-plot that involves the ?gang? foiling a white slavery racket operating from the very hotel in which Millie resides and run by the house mother Mrs Meers (Beatrice Lillie) and the viewer is in for a roller coaster ride of emotions, excitement, cross dressing and sight gags that well and truly fill in the 140+ minutes of this film. For someone who has not seen this movie before be warned - this film contains a twist or two in the plot that are quite unexpected!

The film is rather interestingly set up ? much in the way of a major epic ? containing an introductory overture, an intermission with musical interlude and concluding coda. Added to this is the unabashed use of the direct camera by Millie and a number of other interesting techniques ?borrowed? from the ?silent film? era, such as title cards to add words to her expressions, the occasional use of soft focus as a method of highlighting characters such as Millie?s initial love (or should that be marital?) interest, Trevor Graydon, and Miss Dorothy, signature melodies for particular characters or scenes and early-style music reflecting comedic chase scenes.

The final ?battle? scene at Muzzy?s mansion at the conclusion of the film is over-staged and the closing sequence when the whole plot is unveiled is altogether too cutesy and a letdown in general. However, this is a relatively minor criticism.

The film could well be considered a star vehicle for Julie Andrews, following her success in earlier musical and dramatic roles, but she?s certainly given a run for her money! Fine performances come from Mary Tyler Moore (a surprise to me!), James Fox, Beatrice Lillie, and Jack Soo (whom some people will remember as a cop in Barney Miller) playing ? a Chinaman! I should comment on John Gavin who is an absolute hoot as Trevor Graydon - but I have to think that it is the character, not the actor that succeeds in this case. And Carol Channing? - well, you either love her or hate her?

It was a bit of a gamble deciding to review this ? I was dragged by my mother to this film well over 30 years ago! Part of the appeal of reviewing this was my memory that Thoroughly Modern Millie appalled my Mum, because she expected a repeat of the Julie Andrews ?sweetness and light? characters from her Mary Poppins and The Sound of Music roles. She was rather taken aback by Julie?s Millie character that appeared as a much more liberated person, with a running preoccupation with her chest. It also confirms my suspicion that Mum bundled us out of the cinema well before intermission, as the entire second half was all-new to me! Not that she had anything to fear from this film at all.

THE EXTRAS

There are no special features beyond scene selection, language and subtitle menus and a fullscreen trailer that looks positively dreadful on widescreen TV, compared to the feature itself.

CONCLUSION

Thoroughly Modern Millie is a family film with a few ?adult? sub-themes that would only be apparent to grown ups.

Though a couple of the dance scenes are a little overlong, and despite some other minor gripes I mention in my review; the cast is largely effective and the movie runs along at a fast and enjoyable rate ? so much so that most of the shortcomings are forgotten.

Thoroughly Modern Millie is a more than pleasant enough experience that surprised me on occasions, and certainly satisfied this reviewer.