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A Hundred or More Hidden Things: The Life and Films of Vincente Minnelli
He was the acclaimed director of such cinematic classics as Meet Me in St. Louis , An American in Paris , and Gigi , and equally well known for his tumultuous marriage to the legendary Judy Garland. But to say that Vincente Minnelli's conflicted personal life informed his films would be an understatement. As Mark Griffin persuasively demonstrates in this definitive biography of the Academy Award–winning director, Minnelli was not only building a remarkable Hollywood legacy, but also creating an intriguing autobiography in code.
Drawing on more than 100 interviews with such icons as Kirk Douglas, Angela Lansbury, Lauren Bacall, Tony Curtis, and George Hamilton, Griffin turns the spotlight on the enigmatic “elegant director,” revealing long-kept secrets at the heart of Minnelli’s genius.
Drawing on more than 100 interviews with such icons as Kirk Douglas, Angela Lansbury, Lauren Bacall, Tony Curtis, and George Hamilton, Griffin turns the spotlight on the enigmatic “elegant director,” revealing long-kept secrets at the heart of Minnelli’s genius.
346 pages, Paperback
First published January 1, 2010
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Displaying 1 - 13 of 13 reviews
May 29, 2015
I probably would have given this book 2 1/2 stars if the rating system had allowed it. I'm a bit on the fence, but it's definitely worth a look for those who are interested.
The subject is director Vincente Minnelli (father of Liza and one-time husband of her mother, Judy Garland), and the content is a close look at his movie-making, with an ongoing essay effort to illustrate how the movies were shaped by his fantasies and view as an "outsider" due to his closeted homosexuality.
I'll take it for granted that Minelli was homosexual, although of course no "proof" exists due to the era in which he lived. We are told that he wore mascara, especially in the early days, that he had a tryst with a servant that Judy walked in on, and there's one other concrete3 indication mentioned. However, all of these are from uncredited sources. Some do go on the record qas saying he was gay, but that was just "eyeball analysis." As a man with multiple marriages and children, it's also possible, of course, that Minelli was bisexual, although the book doesn't acknowledge that possibility.
Again, close attention is paid to Minelli's movies. As a Director who spent most of his career in the studio contract system (but who outlived it), most of Minelli's films were at least somewhat of his choosing, but some were not. He also finished films on occassion when there was a problem with another Director. This may be part of the reason that the narrative about his "fantasies" seems strained at times. Of course, the idea that he was projecting involves symbolism, and it's also difficult to know whether that symbolism was there for personal reasons. Perhaps it wasn't symbolism at all - but was inserted for dramatic or aesthetic effect?
Whatever the truth, Minelli was definitely an aesthete when it came to Direction. The book consistently indicates he gave little substantive direction to actors, preferring to focus on details of set decoration. As he worked with established professionals, most of the time this worked fine for him - but not always.
Much of Susan Sontag's 1964 essay "Notes on Camp" (http://faculty.georgetown.edu/irvinem... )seems to have been written with Minelli (who one interviewee describes as "epicene) in mind. He focused on externals rather than content, and he approached his stories, however melodramatically overblown, with a deadly seriousness. All of this is detailed in the book. if you've ever seen SOME CAME RUNNING, in which Sinatra and his pal Dean Martin play macho characters accompanied by a young floozy played by Shirley McLaine, you'll have an idea already of what a weird feel this could give to a movie. All sets look as if they've been freshly painted in carefully considered hues, and even a cheap hotel room looks carefully arranged and displays far more glamour than it has a right to.
I don't know that Minelli was the tortured soul that the book implies. He had a cognitive decline late in life, but for most of his life, he seems to have done exactly what he wanted, and he was close to his daughter Liza up until the end. There's a rogue tour of the abandoned Minelli mansion on youtube if anyone is interested. Like the Clampett's mansion, it is luxurious only by gaudy 1960's standards, and won't even impress lower class viewers now.
Some of the book reads like gossip, because it is. But - it's the kind of "clip job" gossip, for the most part, that is only juicy and/or offensive if you want to take it that way. An example is a story about Glenn Ford, told by someone who obviously didn't like him much. Even if all of it is true, it doesn't sound like a big deal by any stretch.
If you like Minelli or musicals or "old Hollywood," you'll probably manage to get to the end of this one and find some pleasure in it.
The subject is director Vincente Minnelli (father of Liza and one-time husband of her mother, Judy Garland), and the content is a close look at his movie-making, with an ongoing essay effort to illustrate how the movies were shaped by his fantasies and view as an "outsider" due to his closeted homosexuality.
I'll take it for granted that Minelli was homosexual, although of course no "proof" exists due to the era in which he lived. We are told that he wore mascara, especially in the early days, that he had a tryst with a servant that Judy walked in on, and there's one other concrete3 indication mentioned. However, all of these are from uncredited sources. Some do go on the record qas saying he was gay, but that was just "eyeball analysis." As a man with multiple marriages and children, it's also possible, of course, that Minelli was bisexual, although the book doesn't acknowledge that possibility.
Again, close attention is paid to Minelli's movies. As a Director who spent most of his career in the studio contract system (but who outlived it), most of Minelli's films were at least somewhat of his choosing, but some were not. He also finished films on occassion when there was a problem with another Director. This may be part of the reason that the narrative about his "fantasies" seems strained at times. Of course, the idea that he was projecting involves symbolism, and it's also difficult to know whether that symbolism was there for personal reasons. Perhaps it wasn't symbolism at all - but was inserted for dramatic or aesthetic effect?
Whatever the truth, Minelli was definitely an aesthete when it came to Direction. The book consistently indicates he gave little substantive direction to actors, preferring to focus on details of set decoration. As he worked with established professionals, most of the time this worked fine for him - but not always.
Much of Susan Sontag's 1964 essay "Notes on Camp" (http://faculty.georgetown.edu/irvinem... )seems to have been written with Minelli (who one interviewee describes as "epicene) in mind. He focused on externals rather than content, and he approached his stories, however melodramatically overblown, with a deadly seriousness. All of this is detailed in the book. if you've ever seen SOME CAME RUNNING, in which Sinatra and his pal Dean Martin play macho characters accompanied by a young floozy played by Shirley McLaine, you'll have an idea already of what a weird feel this could give to a movie. All sets look as if they've been freshly painted in carefully considered hues, and even a cheap hotel room looks carefully arranged and displays far more glamour than it has a right to.
I don't know that Minelli was the tortured soul that the book implies. He had a cognitive decline late in life, but for most of his life, he seems to have done exactly what he wanted, and he was close to his daughter Liza up until the end. There's a rogue tour of the abandoned Minelli mansion on youtube if anyone is interested. Like the Clampett's mansion, it is luxurious only by gaudy 1960's standards, and won't even impress lower class viewers now.
Some of the book reads like gossip, because it is. But - it's the kind of "clip job" gossip, for the most part, that is only juicy and/or offensive if you want to take it that way. An example is a story about Glenn Ford, told by someone who obviously didn't like him much. Even if all of it is true, it doesn't sound like a big deal by any stretch.
If you like Minelli or musicals or "old Hollywood," you'll probably manage to get to the end of this one and find some pleasure in it.
April 18, 2011
Fascinatingly thorough portrait of a vastly underrated director.
March 17, 2023
I did not read the entire book -- I was only looking for information about "Gigi" because the film was so unbelievably stunning. But I also read about "On a Clear Day" and a bit about Minnelli's childhood. He was a fascinating man whose vision made our world more beautiful.
We will never again see movie musicals like those created in the "Freed Unit" at MGM and how lucky we are to have classics like "Singin' in the Rain" and "My Fair Lady." I loved the dishy backstage "gay" life of the men who directed and designed these masterpieces. I had just read a depressing account (in another book) about the homophobia of Clark Gable toward George Cukor, so it was GREAT to see how these artists thrived in such a playground of creative ideas.
As for the writing, it lacks power and I have read very different and more detailed versions of some of the stories (like how Audrey Hepburn starred in "Funny Face" rather than "Gigi"). But if you are looking for a broad survey of Hollywood history and how Minnelli transformed from "Lester" to "Vincente," then you will find this book enjoyable and useful.
We will never again see movie musicals like those created in the "Freed Unit" at MGM and how lucky we are to have classics like "Singin' in the Rain" and "My Fair Lady." I loved the dishy backstage "gay" life of the men who directed and designed these masterpieces. I had just read a depressing account (in another book) about the homophobia of Clark Gable toward George Cukor, so it was GREAT to see how these artists thrived in such a playground of creative ideas.
As for the writing, it lacks power and I have read very different and more detailed versions of some of the stories (like how Audrey Hepburn starred in "Funny Face" rather than "Gigi"). But if you are looking for a broad survey of Hollywood history and how Minnelli transformed from "Lester" to "Vincente," then you will find this book enjoyable and useful.
June 29, 2020
I knew very little about the man except what I read in Gerald Clarke's biography on Judy Garland. This made me want to know more about him, especially when I saw the bio was written by Mark Griffin who did the terrific biography on Rock Hudson.
Not being of the generation that grew up on MGM musicals, I was unaware of this man's genuis. His life was an interesting one and certainly inlfuenced all of his movies. A terrific read.
Not being of the generation that grew up on MGM musicals, I was unaware of this man's genuis. His life was an interesting one and certainly inlfuenced all of his movies. A terrific read.
June 18, 2020
Excellent bio of a complicated man
I found Minnelli's autobiography too obviously contrived. This biography proved well researched, clearly written and genuinely satisfying. Very enjoyable and worth reading.
I found Minnelli's autobiography too obviously contrived. This biography proved well researched, clearly written and genuinely satisfying. Very enjoyable and worth reading.
May 11, 2017
I had no idea Vincente Minnelli's life was so fascinating. What a fun book to read. Now I want to watch every movie Minnelli ever directed.
Well written.
Well written.
May 24, 2025
Explores the life of Hollywood director Vincente Minnelli.
December 16, 2010
I learned a lot about how Minnelli learned his craft and about his style of directing and relationsnhip with the Freed Unit at MGM during the 40s. But over all unsatisfying for a several reasons: The author doesn't appear to be objective. His thesis is that Minnellis mostly hidden sexual orientation appears in various disguises as themes in his movies and much of the facts are considered only to the extent they support the thesis. I lost interest in this when it was argued up for the 8th 9th and 10th time. Also, I would have liked to read more background on Minellis's wives, children and long time colaborators than the book contained. The relationship between Vincente and Liza is nicely explored. Some of Minelli's pictures, such as The Pirate, were bombs because he was given too much control; others were bombs because the studio bosses insisted on cutting them which ultimately destroyed his vision and the movie.
January 9, 2011
Strangely uncritical of its sources, yet speculative about the most interesting parts of Minnelli's (sexual) life, this biography lacks the academic/semiotic rigor (or even an exhaustive filmography) that would have made its mission (to 'read' Minnelli's life through his films) successful, or do its subject justice.
February 7, 2012
this book was like a written version of ENTERTAINMENT TONIGHT. my wife is ashamed that i like that show. a friend gave me an autographed copy of this bio so i felt obliged to read it. it wasn t so bad.
July 28, 2011
Really enjoyed the first chapter since minnelli's home town was mine and I had a family connection to his parents.
March 5, 2013
Author's shallow, razzle dazzle writing method grates, but Minnelli's life and films were interesting enough to make up for it.
July 31, 2014
I thought this was an intelligent and very well researched bio on one of America's finest filmmakers. Minnelli always warranted greater attention and this book finally gives the man his due.
Displaying 1 - 13 of 13 reviews