--- title: "Meet Me in St. Louis" year: 1944 kind: "film" canonical: "https://film.one/film/meet-me-in-st-louis" fi1m_id: "meet-me-in-st-louis" imdb_id: "tt0037059" tmdb_id: 909 wikidata_id: "Q1066873" fi1m_score: 87 critics_score: 83 critics_reviews: 10 published: "2026-09-25T03:36:54.130633+00:00" updated: "2026-09-25T03:37:07.924935+00:00" region: "NO" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Meet Me in St. Louis (1944) Directed by Vincente Minnelli · 1h 54m · Comedy, Drama, Romance, Family ## Identity Meet Me in St. Louis - **Canonical:** https://film.one/film/meet-me-in-st-louis - **Type:** Film - **Fi1m ID:** meet-me-in-st-louis - **IMDb ID:** tt0037059 - **TMDB ID:** 909 - **Wikidata ID:** Q1066873 - **Same entity:** https://www.imdb.com/title/tt0037059/, https://www.themoviedb.org/movie/909, https://www.wikidata.org/wiki/Q1066873 **Fi1m score: 87** · Critics 83 from 10 reviews *In a sentence:* Judy Garland can make us anxious with a cheerful song; most thrillers have to work considerably harder > Vincente Minnelli’s family musical is warm, funny and more affecting than its sweetness suggests. Judy Garland gives the songs a welcome unease; the romance is thin, but the film’s affection for the household is hard to resist. ## Synopsis The Smiths’ family life unfolds across the seasons in a period musical centred on Esther Smith (Judy Garland), Rose Smith (Lucille Bremer) and ‘Tootie’ Smith (Margaret O’Brien). Anna Smith (Mary Astor) and Alonzo Smith (Leon Ames) are also part of the household, with John Truett (Tom Drake) among the people in their lives. Romance and domestic comedy share space with songs that arise from the family’s daily affairs. Esther’s singing combines excitement with anxiety, while Tootie’s part in the story brings a child’s concerns into the same family circle. ## Review Vincente Minnelli’s *Meet Me in St. Louis* is a musical worth making time for, even if its romance is less engaging than its family life. It takes the pleasures of a household seriously without requiring everyone to be cheerful for our benefit. Songs, comedy and sadness coexist without a fuss about which should come first. At 114 minutes, it is content to linger, and for most of that time we are content to let it. Judy Garland is the reason that lingering seldom feels idle. As Esther Smith, she can make pleasure look precarious without turning it into a warning of misery to come. We were unexpectedly moved by her singing in *The Trolley Song*: the excitement is plain, but so is the anxiety beneath it. Her performance gives the number something to attend to beyond its cheerfulness, and makes Esther’s feelings matter even when the romantic material itself is slight. George J. Folsey’s cinematography gives Minnelli’s colour and detailed framing their full effect. The compositions invite us to look around without losing track of the people, which matters in a film so attached to family life. The production design contributes to that sense of a place worth noticing, while Irene Sharaff’s costumes sit comfortably within the colour scheme. The abundance of detail could become distracting, but faces remain the first things we want to look at. Albert Akst’s editing is important to how naturally the songs belong here. They grow out of family life, and the film does not keep announcing a change of purpose every time somebody sings. The musical work of Roger Edens and Conrad Salinger supports that continuity, keeping the numbers buoyant without smoothing away the unease Garland brings. For a musical, that is a substantial pleasure: we can enjoy the singing without feeling that the people have been put aside until the tune is finished. Margaret O’Brien’s ‘Tootie’ Smith brings a different energy to the household. There is something odd and stubborn in the performance that stops the domestic comedy becoming too tidy. We are not asked to find every childish impulse delightful, and O’Brien benefits from the freedom. Her scenes give the family comedy a welcome unpredictability, especially when the surrounding affection threatens to make everyone seem a little too agreeable. That leaves the romance as the weak point. Tom Drake’s John Truett does not hold our attention as Garland does, and the romantic scenes can seem undernourished beside the family ones. Some of the domestic business could also be shorter without costing much warmth. These are modest reservations, but they matter in a film that asks us to enjoy spending time with people rather than wait for a busy plot to sort them out. The musical often has to work hard to persuade us that singing belongs in ordinary life; this one benefits from never looking embarrassed by the idea. Its sweetness is considerable, but Garland gives us enough unease to keep listening past the tune. A household need not be miserable to deserve a film. Give it an evening when unhurried company sounds more appealing than another urgent plot. *Fi1m score 87, published 25 September 2026.* ## What the critics say Most critics greet Meet Me in St. Louis with enthusiasm, praising a musical whose family warmth leaves space for sadness and unease. Judy Garland’s performance draws the most consistent praise, with the songs valued both for their emotional force and for how naturally they fit into everyday family life. Minnelli’s use of colour, framing and detailed compositions is another recurring strength. Several reviews find darker feelings beneath the nostalgic charm, rather than treating it as uncomplicated comfort. The spread is largely between warm approval and stronger enthusiasm, with little evidence of substantial disagreement in the available texts. Empire supplies the clearest reservation, finding the film dated but still entertaining and its songs particularly memorable. The praise varies more in emphasis, from performance to visual detail. Time Out’s review text is unavailable, so its lower score cannot establish a specific objection. ## Straight answers **Is Meet Me in St. Louis worth watching?** *Meet Me in St. Louis* is worth watching for its warm family comedy and Judy Garland’s emotionally unsettled singing; we score it 87/100. We find the romance thin and some domestic scenes overlong, but recommend it when unhurried company and songs sound more appealing than a busy plot. **How long is Meet Me in St. Louis, and what is it rated?** *Meet Me in St. Louis* runs 1h 54m. It is a comedy and drama film. **Where can I watch Meet Me in St. Louis in Norway?** *Meet Me in St. Louis* is not on any streaming or rental service in Norway at the moment. It is available in 2 other countries; change your country at the top of the page to see where. Availability is checked daily. **Is Meet Me in St. Louis based on a true story or a book?** *Meet Me in St. Louis* is adapted from a novel by Sally Benson. We find it approachable without knowing the book: the Smith household’s daily affairs, romances and songs give us enough to follow and enjoy, with the family relationships more engaging than the central courtship. ### Reviews we read (10) - **Total Film**, Total Film (5/5): The review celebrates the film as a classic, feelgood musical with poignant undercurrents. It especially praises Minnelli’s use of colour, framing and production design, and the way he weaves songs into family life. [Read](https://www.gamesradar.com/meet-me-in-st-louis-review/) - **The Guardian**, Philip French (95/100, inferred): French welcomes the rerelease as a near-perfect, enduring musical. He especially praises Judy Garland’s spirited, poignant performance and the film’s beautifully judged music. [Read](https://www.theguardian.com/film/2011/dec/18/meet-me-st-louis-review) - **Los Angeles Times**, KEVIN THOMAS (90/100, inferred): Thomas calls the film an enduring American classic that balances enchantment with poignancy. He especially praises its seasonal structure and the way its songs are naturally woven into the story. [Read](https://www.latimes.com/archives/la-xpm-1990-06-25-ca-553-story.html) - **Slant Magazine**, Jaime N. Christley (4.5/5): The critic considers the film a Technicolor classic and praises the Blu-ray’s presentation. He especially singles out Minnelli’s richly detailed compositions and the eerie, expressionistic sequence involving Tootie and the neighborhood children. [Read](https://www.slantmagazine.com/dvd/meet-me-in-st-louis-2169/) - **The Hollywood Reporter**, THR Staff (90/100, inferred): The review calls the film completely delightful and predicts it will be a major success. It especially praises Margaret O’Brien’s performance and the film’s nostalgic charm. [Read](https://www.hollywoodreporter.com/movies/movie-news/meet-me-in-st-louis-1944-review-1235066185/) - **The AV Club**, Noel Murray (80/100, inferred): Murray finds the film bright and funny, with a darker emotional undercurrent. He praises Judy Garland’s performance of “The Trolley Song” for conveying both anxiety and joy. [Read](https://www.avclub.com/meet-me-in-st-louis-1798199532) - **Variety**, Variety Staff (80/100, inferred): The review finds the film wholesome, colorful, and appealingly American. It singles out the musical numbers and Judy Garland’s performance for praise. [Read](https://variety.com/1943/film/reviews/meet-me-in-st-louis-1200414272/) - **Empire**, Emma Cochrane (70/100, inferred): Cochrane finds the film dated but entertaining, with Garland giving her best performance. She singles out the songs as the elements that linger in the memory. [Read](https://www.empireonline.com/movies/reviews/meet-st-louis-review/) - **The New York Times**, Bosley Crowther (70/100, inferred): The review finds the period film charming and warmly appealing. It singles out Judy Garland’s performance as a particular strength. [Read](https://www.nytimes.com/1944/11/29/archives/the-screen-meet-me-in-st-louis-a-period-film-that-has-charm-with.html) - **Time Out** (64/100, inferred): The page identifies this as a review of the 1944 film, but the review text is unavailable. Its verdict and any specific praise or complaint cannot be determined. [Read](https://www.timeout.com/newyork/film/meet-me-in-st-louis) ## Details - **Director:** Vincente Minnelli - **Director:** Vincente Minnelli - **Screenplay:** Irving Brecher, Fred F. Finklehoffe - **Novel:** Sally Benson - **Cinematography:** George J. Folsey - **Editor:** Albert Akst - **Music:** Roger Edens, Conrad Salinger - **Costume design:** Irene Sharaff - **Producer:** Arthur Freed - **Cast:** Judy Garland as Esther Smith; Margaret O'Brien as 'Tootie' Smith; Mary Astor as Anna Smith; Lucille Bremer as Rose Smith; Leon Ames as Alonzo Smith; Tom Drake as John Truett; Marjorie Main as Katie; Harry Davenport as Grandpa - **Runtime:** 1h 54m - **First release (the US):** 22 November 1944 - **Genres:** Comedy, Drama, Romance, Family - **Budget:** $2 million - **Box office:** $8 million - **Trailer:** https://www.youtube.com/watch?v=dLNa7mp0wWo ## Where to watch in Norway Not streaming, renting or buying in Norway at the last check. Also available in: CA, US. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 1945: Best Cinematography, Color (nominated); Best Original Musical Score (nominated); Best Writing, Adapted Screenplay (nominated) ## If you liked this - *The Band Wagon* (1953), Fi1m 84: For another musical that lets performance carry the difficult feelings beneath the pleasure. — [Fi1m page](https://film.one/film/the-band-wagon.md) - *The Young Girls of Rochefort* (1967): More colour and romantic longing, with a whole town caught up in song. - *Our Little Sister* (2015): A gentler family portrait that finds its drama in shared daily routines. - *Little Women* (1994): Sisters, courtship and domestic friction, with affection that survives the household arguments. - *The Dead* (1987): Music, family hospitality and unspoken regret share a room in this restrained drama. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/meet-me-in-st-louis