Mame (1974) |
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Mame Cast |
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Movie Highlights |
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Other InformationAwardsBest Supporting Actress - Motion Picture Golden Globes [1975] (Won/Nominated: Nominated) Best Motion Picture Actress - Musical/Comedy Golden Globes [1975] (Won/Nominated: Nominated) Plot SummaryLucille Ball stars in this film version of the hit Jerry Herman Broadway musical, which featured an electrifying performance by Angela Lansbury. As Patrick Dennis` plucky and resilient Auntie Mame, Ball`s low-pitched, growling moan of a voice (a spin... TaglineShe`ll coax the blues right out of your heart! Related MoviesAuntie Mame [Version of] (Year of movie: 1958) DiscographySinglesIf He Walked Into My Life Gooch`s Song Bosom Buddies The Letter Loving You Mame We Need A Little Christmas My Best Girl The Man in the Moon Open a New Window It`s Today Main Title & St. Bridget |
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Full Cast and Crew |
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Actor CreditsNon Actor Credits |
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Awards |
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Mame (1974) was nominated for the following awards:
Golden Globes |
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Fans |
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Mame has no fans yet!
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Trivia |
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Trivia and QuotesTrivia Mame opened at the Winter Garden Theater on May 24, 1966 and ran for 1508 performances. The first image seen of Lucille Ball, the b/w portrait seen in the den preceding the main titles, is a shot taken during the "Open A New Window" segment at the burlesque theatre, which takes place later in the movie. She`s in the same dress, hat and fox wrap, and even has her hands in a bag of popcorn. Beatrice Arthur and Jane Connell reprise their stage roles for this film version. The lyric sung by Robert Preston, "Loving you is rain and winter wind" was changed to "Loving you is Rome and New Orleans" and overdubbed, but the original lyric remained on the original soundtrack album. The interior of Mame`s Beekman Place apartment was built in Sound Stage 25 on the Warner Bros. Studio lot; but the exterior of the apartment was located on the back-lot`s "Wimpole Street," the only exterior sets from My Fair Lady (1964) that remained on the studio lot in 1973, when "Mame" was filmed. Mame`s apartment was in the same row of townhouses where the exterior of Henry Higgins`s home had been filmed. The street was converted to rows of brownstone tenements in 1981 for the musical Annie (1982), produced by Columbia Pictures, which had moved onto the Warner Bros. lot in 1972.
Costumes designed by Theadora Van Runkle for this movie often turn up in other productions. The loose, flowing white gown Lucille Ball wears during "Loving You" was worn (with a different belt) by Suzanne Pleshette in the television movie Leona Helmsley: The Queen of Mean (1990) (TV), while the stylish dress, coat and hat Mame wears when she first takes Patrick to Ralph Devine`s school is worn by Jane Alexander in Malice in Wonderland (1985) (TV). Currently, the red dress from the "It`s Today" number is on display at Universal Studios Hollywood`s Lucy exhibit. The lyric "We`ll always be dear companions, My crony, My mate. We`ll always be harmonizing, Orphan Annie and Sandy, like Amos and Andy!" was cut from the "Bosom Buddies" number, though it is left intact on the original soundtrack album. Patrick is actually visible in the background during the early portions of the "Mame" number. He is halfway up a tree behind the chorus during the first verse. Then during the second verse he runs behind the chorus to observe Beau and Mame`s promenade. These easy to miss appearances are most obvious in the letterboxed version. During the fox hunt, most of the female riders are shown in brown and tan riding gear. A few of these outfitted ladies are visible in the background during the "Mame" number, but all the female dancers, many more than were initially depicted in the hunt, are costumed in black and white.
Another bit of the "Open A New Window" sequence filmed but cut depicted Mame and Patrick on a tandem bicycle in costumes that were not used anywhere else in the film, but are often seen in publicity shots, including here on IMDb. Similarly, Mame and Patrick were to be seen playing her glass piano, and this is another widely circulated publicity shot, despite being cut. During the line "If you`ll follow your Auntie Mame" in the "Open A New Window" montage, you can see the grandfather clock in the background with the door open. It was being used as a secret mini-bar for the gag where Mame teaches Patrick how to make a martini, but this bit was deleted from the general release. Furthermore, she is setting aside a silver serving tray as she begins the line, and you can see this as well, though the drink itself is not evident. Another bit cut from the same song is a portion of the tango in which Mame and the ladies all lean back dramatically, supported by the gentlemen dancers, but most of that can actually be viewed in the film`s trailer. The large oil portrait of Mame is based on the painting "Emile Floge 1902" by Gustav Klimt, but with Lucille Ball`s face substituted, and a slightly different color scheme. George Cukor was originally slated as director, only to be replaced with the original Broadway director, Gene Saks, who was then married to co-star Beatrice Arthur. Lucille Ball`s final feature film Lucille Ball`s involvement in this film began in an interesting way. She felt that Rosalind Russell had clearly gotten some of her "inspiration" for her performance in the non-musical Auntie Mame (1958) from Miss Ball`s character on the TV series, "I Love Lucy" (1951). She then put up $5,000,000 on the agreement that she would be considered for the lead. It was originally planned to have Lucille Ball`s singing voice dubbed if her vocals were not good enough to use in the film. Alternate vocals were rumored to have been recorded by Lisa Kirk, but at any rate Ball intervened and her vocals (a point of contention for many critics) were ultimately used. Even though she played Auntie Mame on stage, a part originally performed by Rosalind Russell, and had won a Tony award for her performance in the Broadway production in 1966, Angela Lansbury was passed over for the role of Mame. Madeline Kahn was originally cast as Agnes Gooch but was replaced right after shooting began. She was later told that when she reported for work on the set, star Lucille Ball took one look at her, realized that Kahn`s curvaceous body could never be made to look like the frumpy, somewhat shapeless Agnes Gooch, and had her fired. | ||
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