Vincente Minnelli

Vincente Minnelli

Biography in: "The Scribner Encyclopedia of American Lives". Volume Two, 1986-1990, pages 632-633. New York: Charles Scribner's Sons, 1999.

Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890-1945". Pages 778-787. New York: The H.W. Wilson Company, 1987.

Daughter Christiana Nina Minnelli born 1955.

Directed seven different actors in Oscar-nominated performances: Spencer Tracy, Gloria Grahame, Kirk Douglas, Anthony Quinn, Arthur Kennedy, Shirley MacLaine and Martha Hyer. Grahame and Quinn won Oscars for their performances.

Ex-father-in-law of Peter Allen, Jack Haley Jr., Mark Gero and David Gest.



Four of his movies were nominated for AFI's 100 Years...100 Laughs: The Pirate (1948), Father of the Bride (1950), The Long, Long Trailer (1953)_ and Designing Woman (1957). 'Father of the Bride' made the list at #83.

Godparents of his and Judy Garland's daughter Liza Minnelli were Ira Gershwin and Kay Thompson.

His widow was his companion for a long time before their 1980 marriage.

Insisted on using a shade of yellow in the design of his sets that had to be specially mixed. MGM painters began calling it "Minnelli Yellow."

Interred at Forest Lawn, Glendale, California, USA, in the Triumphant Faith Terraces area.

Invented the crab dolly, a camera dolly on wheels that can move the camera in any direction.

Is portrayed by Hugh Laurie in Life with Judy Garland: Me and My Shadows (2001) (TV)

Member of the jury at the Cannes Film Festival in 1967

Named his daughter Liza Minnelli (born 12 March 1946 in Los Angeles, California) after the Gershwin song Liza. He directed the number for Ziegfeld Follies (1945), but it was cut from the final version of the film.

One of the few Hollywood studio directors who can truly be said to have an unmistakable mise-en-scene. Minnelli was at first a set and costume designer before being allowed to direct by Arthur Freed, head of the MGM musical unit. His visual touch in Technicolor is sometimes garish, some might say close to vulgar, but in his best work (Meet Me in St. Louis (1944)) every visual element is a reflection of his singularly original visual talent.

Was voted the 20th Greatest Director of all time by Entertainment Weekly.

When he was signed to MGM, he was allowed to apprentice for a year on the lot. By the time he started directing, he knew every department at the studio.


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