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To be a filmmaker for Minnelli, then, is to be a type of magician or enchanter. I wouldn’t have been surprised if she’d held out her hand for me to kiss.” Minnelli’s cinema contains many moments designed to enchant the spectator, such as the spectacular “Coffee Time” number in Yolanda and the Thief (1946) in which Johnny Riggs (Fred Astaire) and Yolanda Aquaviva (Lucille Bremer), dressed in gold and white, dance on a floor designed in flowing, hallucinatory black and white waves or there is the moment in Father of the Bride (1950) when Stanley Banks (Spencer Tracy) enters the bedroom of Kay Banks (Elizabeth Taylor) and sees his daughter in her wedding gown, an otherwise simple, ritualistic moment elevated to the realm of the magical when Kay’s reflection is caught in a three-panelled mirror and she looks lovingly at her father while his voice-over narration tells us: “She looked like the princess in a fairy tale.
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They crop up in interviews and in his autobiography, to the point where these words become an aesthetic principle or even a philosophy from a director otherwise notoriously incapable of being articulate about his own work: “The search in films, what you try to create, is a little magic.” And one searches for and creates this because it is also what the spectator desires: “the main search is for a little magic in our lives” (1). Vincente Minnelli was fond of words like “beauty” and “magic”. Web resources Images of Magic and Transformation Just Look at It! July 25, 1986, Beverly Hills, California, USA February 28, 1903, Chicago, Illinois, USAĭ.