"Gigi was based on a 1944 novel by the French "Woman of Letters" Colette and the subsequent 1951 stage play of the same name starring Audrey Hepburn in her debut.
The parallels between Lerner and Loewe's acclaimed musical 'My Fair Lady' and 'Gigi' are undeniable. Both narratives revolve around the transformation of an unrefined young woman into the object of affection for a more sophisticated man. However, while the style of the music and lyrics may be similar, 'Gigi' falls short in comparison to its classic predecessor, particularly in terms of catchy tunes and a compelling libretto.
Set in 1900 Paris during the Belle Époque era, a time of flourishing arts and culture, 'Gigi' boasts a visually stunning setting. In contrast to the lackluster film reboot of 'My Fair Lady' in 1964, 'Gigi' stands out with occasional on-location cinematography and realistic costumes, contributing to its superior visual appeal. However, Vincent Minelli's decision to use cost-saving rear projection scenes at times mars the film's overall aesthetic, resulting in scenes that appear unrealistic and disconnected.
In 'Gigi,' the character of Honoré Lachaille, portrayed by the iconic Maurice Chevalier, serves as a narrator and confidante to his wealthy playboy nephew Gaston, played by Louis Jordan. Chevalier's rendition of the catchy opening number, "Thank Heaven for Little Girls," while once charming, is now viewed critically by modern audiences. Critics argue that the song's lyrics can be easily misinterpreted as promoting inappropriate attitudes towards young girls, raising concerns about its suitability in today's context.
Gaston likes visiting family friend Madame Alaverz, grandmother to the precocious Gigi, and acts sort of an uncle to the perky teenager played by Leslie Caron. You can guess where this is going from the outset as of course Gaston falls in love with his young charge.
Madame Alvarez regularly sends Gigi to her sister, Gigi's Great-Aunt Alicia, who grooms her to become a courtesan, which is another way of saying 'high-class prostitute'--a kept mistress of wealthy men.
Gigi is not at all sold on becoming a mistress but instead enjoys having fun with Gaston who reciprocates the good times they provide one another.
The narrative takes a frustrating turn as Gigi disappears from the storyline for a significant portion, undoubtedly causing a sense of annoyance among viewers. During this absence, Gaston's disdain for the affluent lifestyle is explored, leading to a public humiliation of his current mistress and her subsequent half-hearted, intentionally failed suicide attempt.
Amidst these events, Gaston loses a bet in a card game with Gigi, leading to a trip to the beach at Trouville with the grandmother in tow. There is a subplot, while seemingly inconsequential, provides insight into Honoré's past romance with Madame Alvarez.
Upon Gaston's return from Monte Carlo, tensions rise as Gigi flaunts a new gown, part of her grandmother and great-aunt's scheme to unite Gaston and Gigi as a couple. The ensuing events, while intended to be comedic, ultimately come across as trivial and lacking in substance. Gaston's initial reaction involves insulting the gown worn by Gigi, prompting him to storm out in a fit of frustration. However, he eventually returns to apologize for his outburst.
In an attempt to make amends, Gaston proposes a tea outing at the Reservoir with Gigi, only to have Madame Alvarez reject the idea of an unchaperoned date as scandalous. This rejection leads to another heated departure from Gaston.
As the situation unfolds, Gaston comes to a realization of his feelings for Gigi, acknowledging that he is in love with her. He then proposes that she become his mistress, but Gigi rejects this proposal, refusing to be relegated to such a role.
However, Gigi later has a change of heart, expressing that she would rather endure misery with Gaston than be without him. Ultimately, she agrees to the arrangement, setting the stage for a rather predictable romantic dynamic between the two characters.
Gigi experiences one final hesitation at Maxim's restaurant, where she realizes that assuming the role of a courtesan is not aligned with her values and desires. However, Gaston's subsequent marriage proposal ultimately persuades her to commit to their relationship, leading to a resolution marked by Honoré's reflective commentary as Gaston and Gigi embark on their journey together, now happily married.
Despite the character developments and resolutions, the principal players, Caron and Jourdan, find themselves constrained by the script's trivial machinations. The overarching theme of prioritizing the sanctity of marriage over issues of infidelity, while significant in its time, feels outdated and clichéd in today's context.
Additionally, the film's musical elements, including most of the tunes, are forgettable, and the story's stage-bound nature lacks meaningful choreography, contributing to a sense of underwhelming execution in certain aspects of the production.
The parallels between Lerner and Loewe's acclaimed musical 'My Fair Lady' and 'Gigi' are undeniable. Both narratives revolve around the transformation of an unrefined young woman into the object of affection for a more sophisticated man. However, while the style of the music and lyrics may be similar, 'Gigi' falls short in comparison to its classic predecessor, particularly in terms of catchy tunes and a compelling libretto.
Set in 1900 Paris during the Belle Époque era, a time of flourishing arts and culture, 'Gigi' boasts a visually stunning setting. In contrast to the lackluster film reboot of 'My Fair Lady' in 1964, 'Gigi' stands out with occasional on-location cinematography and realistic costumes, contributing to its superior visual appeal. However, Vincent Minelli's decision to use cost-saving rear projection scenes at times mars the film's overall aesthetic, resulting in scenes that appear unrealistic and disconnected.
In 'Gigi,' the character of Honoré Lachaille, portrayed by the iconic Maurice Chevalier, serves as a narrator and confidante to his wealthy playboy nephew Gaston, played by Louis Jordan. Chevalier's rendition of the catchy opening number, "Thank Heaven for Little Girls," while once charming, is now viewed critically by modern audiences. Critics argue that the song's lyrics can be easily misinterpreted as promoting inappropriate attitudes towards young girls, raising concerns about its suitability in today's context.
Gaston likes visiting family friend Madame Alaverz, grandmother to the precocious Gigi, and acts sort of an uncle to the perky teenager played by Leslie Caron. You can guess where this is going from the outset as of course Gaston falls in love with his young charge.
Madame Alvarez regularly sends Gigi to her sister, Gigi's Great-Aunt Alicia, who grooms her to become a courtesan, which is another way of saying 'high-class prostitute'--a kept mistress of wealthy men.
Gigi is not at all sold on becoming a mistress but instead enjoys having fun with Gaston who reciprocates the good times they provide one another.
The narrative takes a frustrating turn as Gigi disappears from the storyline for a significant portion, undoubtedly causing a sense of annoyance among viewers. During this absence, Gaston's disdain for the affluent lifestyle is explored, leading to a public humiliation of his current mistress and her subsequent half-hearted, intentionally failed suicide attempt.
Amidst these events, Gaston loses a bet in a card game with Gigi, leading to a trip to the beach at Trouville with the grandmother in tow. There is a subplot, while seemingly inconsequential, provides insight into Honoré's past romance with Madame Alvarez.
Upon Gaston's return from Monte Carlo, tensions rise as Gigi flaunts a new gown, part of her grandmother and great-aunt's scheme to unite Gaston and Gigi as a couple. The ensuing events, while intended to be comedic, ultimately come across as trivial and lacking in substance. Gaston's initial reaction involves insulting the gown worn by Gigi, prompting him to storm out in a fit of frustration. However, he eventually returns to apologize for his outburst.
In an attempt to make amends, Gaston proposes a tea outing at the Reservoir with Gigi, only to have Madame Alvarez reject the idea of an unchaperoned date as scandalous. This rejection leads to another heated departure from Gaston.
As the situation unfolds, Gaston comes to a realization of his feelings for Gigi, acknowledging that he is in love with her. He then proposes that she become his mistress, but Gigi rejects this proposal, refusing to be relegated to such a role.
However, Gigi later has a change of heart, expressing that she would rather endure misery with Gaston than be without him. Ultimately, she agrees to the arrangement, setting the stage for a rather predictable romantic dynamic between the two characters.
Gigi experiences one final hesitation at Maxim's restaurant, where she realizes that assuming the role of a courtesan is not aligned with her values and desires. However, Gaston's subsequent marriage proposal ultimately persuades her to commit to their relationship, leading to a resolution marked by Honoré's reflective commentary as Gaston and Gigi embark on their journey together, now happily married.
Despite the character developments and resolutions, the principal players, Caron and Jourdan, find themselves constrained by the script's trivial machinations. The overarching theme of prioritizing the sanctity of marriage over issues of infidelity, while significant in its time, feels outdated and clichéd in today's context.
Additionally, the film's musical elements, including most of the tunes, are forgettable, and the story's stage-bound nature lacks meaningful choreography, contributing to a sense of underwhelming execution in certain aspects of the production.