User reviews

this is quite an old movie, as you know. my mother wasn't even born when it came out. yet i enjoy it greatly. it is a true love story, and unlike movies of today's age, it depicts that love with elegance and style. it is not only about love, but about the "blossoming" of Lili, of how she grows into womanhood and learns the ways of the world, as well as her own world. personally, i find it all to be quite symbolic, with Lili as the symbol of good and innocence. it also has some interesting humor in it (the puppets are well characterized and amazingly personalized). i think you will fall in love with the well-rounded main characters just as i did. i hope people will not be turned off by the age of the movie (it is over 50 years old now) because i find newer love stories to be far too sexual that leaves nothing to the imagination. this movie is VERY imaginative and beautiful in its storytelling. of course, kids could watch it and enjoy it to some extent, but the language is slightly elevated and the meaning is quite deep. watching this movie as an older person truly made the difference. i hope you enjoy it.

All too rarely has a film about lost innocence and earnest love been so sensitively brought to the screen. Respected screenwriter Helen Deutsch (The Seventh Cross '44) adapted Paul Gallico's (The Snow Goose) darkly observant novella "The Seven Souls of Clement O'Reilly" into an inspiring story of a naive young orphaned girl coming of age. Deutsch also maintains the opportunistic exploitation of the vulnerable girl without sensationalizing this angle.

The Academy award-winning score by brilliant composer Bronislau Kaper is nothing short of unforgettable. This beautifully produced MGM film cannot be called a musical as there's only one song but what a song! It's been universally popular for over 60years, and screenplay writer Helen Deutsch also wrote the world-renowned lyrics.

The haunting dream-ballet sequence that closes this unique movie brings both tears of joy and wonder at its stirring and visually fascinating realisation. Apart from a couple of clunky trick edits, direction, cinematography (Robert Plank - 'Strange Cargo '40) and performances - combine to create movie making at its most magical - and should be seen by all lovers of classic film art. While it might not be to everyone's taste (what ever is?) in 2004 the New York Times added Lilli to their listing of the best 1,000 movies ever made.

The WB Archive DVD delivers an excellent visual and sound transfer.

"Lili" is one of the sweetest, most enchanting musicals Hollywood has ever produced. Not that most of the Hollywood musicals are ever realistic, but this particular story is more of a fable than an imitation of life. The character of Mel Ferrer is reminiscent of the Beast in "the Beauty and the Beast", a tortured soul aching for love, and as any girl worth her salt would know, tortured souls make the best kind of heroes!

The two dance/fantasy sequences are charming, especially the latter one, where Lili grows from an awkward, love-sick child into a woman of character and determination, all in a few steps of waltz. Oh, and the puppets are totally adorable!!

Ingenue comes to town. Meets fast talking sophisticated magician from a circus, Marc (Jean-Pierre Aumont). No, her virtue is safe.

A pleasant movie from the 50s. The excitement of a French circus. A decent magic act. Zsa Zsa Gabor has a minor role as the eye candy on stage. Distracting the audience.

There are her friends, the cute puppets owned by puppeteer Paul (Mel Ferrer). Dark and brooding.

Leslie Caron is excellently gawky and hapless. The ugly duckling who transforms into the swan. Who will win her hand?

Strong script and good visuals. Entertaining and refreshing.

Of all the popular overblown, oversexed "coming of age" movies (mostly about male coming of age - starting with "The Summer of '42"), none has the honesty and truth of "Lili". Why? Because coming of age has less to do with sex (as most men think) than it has to do with an awareness of evil. The most telling line in the film is spoken by Paul's partner, who chides Paul for slapping Lili and says, "She is realizing that there is cruelty in the world, and she is learning to protect herself from it." Like Eve in the Garden of Eden, Lili's loss of innocence comes with her knowledge of evil, not her loss of virginity.

And unlike other coming of age movies that have the young actors tossing around "cute" sexual comments that don't ring true for a callow young person (because they were obviously scripted by a jaded 50-year-old male), "Lili" rings true with every note (as Paul says, "She's like a little bell that gives off a pure sound every time you strike it."). Her naivety is far more true to form -- when she is warned by one of the puppets that the lecherous puppet Renaldo "is a wolf", the innocent Lili replies, "I thought he was a fox." This is exactly the way a kid would really respond -- not "getting" the sexual reference and thinking that the comment was about the species of the animal.

I understand Audrey Hepburn beat out Leslie Caron for the Oscar that year with her amateurish performance in "Roman Holiday" -- what a travesty that was, since Audrey's performance had none of the depth and exquisite vulnerability of Leslie's performance in "Lili".

There are some really lovely moments in the two dream sequences Leslie Caron has in this film, the first when she faces off in a dance with Zsa Zsa Gabor, who she thinks is a rival for the love of a magician (Jean-Pierre Aumont), and the second, when she copes with the idea of leaving a puppeteer (Mel Ferrer). She's an orphan, you see, who has latched on to a carnival to avoid being homeless and on the streets. Her character is also quite young, just 16, and early on we get a dose of creepiness from a shopkeeper who tries to take advantage of her, as well as the magician, who in response to being told she's very young, says "She'll get older. The female soul is like a chestnut. It must go through fire before it becomes delicious." Ugh. The puppets themselves are cute but also threaten occasional creepiness, though it was pretty cool to see the cuts to Ferrer behind the scenes voicing the characters.

Caron was 22, and unmade up she certainly looks young enough, but unfortunately acts the part too young or overly naïve in the depths to which she's entranced by the puppets, and as she follows men around like a puppy dog. It doesn't help that Aumont was 42 and Ferrer, 36. The film is heartwarming and buoyant, and though there are also dark elements to it in the puppeteer's backstory and the alternatives the young woman considers (at least in theory), it borders on being too sweet, and that's what's kind of weird about it, it's somehow both creepy and sweet. On the strength of Caron's earnestness the film might charm you, but I think it would have been better with more musical performances.

This is one of my favorite films. It is so delightfully simple. Leslie Caron does a marvelous job of making us believe she is an awkward 16 year old in love with a magician. I can't explain exactly why I love this film--perhaps I'm a sucker for all in-love-with-someone-who's-in-love-with-someone-else stories, or maybe I have a soft spot for puppets. But this film warms me to the heart and I recommend it to all but the heart hearted cynic.

This is the goofiest of all the goofy films that came out in the 50s. Not quite a musical, it has that kind of feeling without all of the lyrics. I was expecting a bit more in the way of "entertainment" than the morality play it turned out to be. Mel Ferrer's self-hating war veteran saves it from being too schmaltzy, but also prevents it from being the great fun it should have been. The darkness of his character feels out of place in Lili's magical world.

Leslie Caron is cute as a button and innocent as a cotton ball, but can you make a movie around her perky nose and moist eyelids? Apparently you can.

Just one thing about the dream sequences. They're so disappointingly expressionist. That said, once you see the ending of "An American In Paris" you'll never be able to stomach anything less.

First of all, to correct a comment made by at least one person here, the movie came before the stage musical "Carnival." Second, the movie is far superior to the stage musical. True, it's short. So? True, there's just one song. But the one song, "Hi-Lili Hi-Lo," is better than anything in "Carnival." So much for comparisons. The movie absolutely defines movie magic. It creates an unforgettable world with an unforgettable heroine played with genius by the great Leslie Caron in a performance nominated for an Oscar and deserving of a win (she was beaten by the charming but less-inspired Audrey Hepburn). Anyone who passes up the chance to see "Lili" is denying themselves one of the prime treats in all of cinema. I've seen it countless times and never fail to laugh and cry. But where is the DVD??? Give, already!

First of all, the puppets are so creepy-looking I would think they'd scare children. Second, Lili is 16 years old, and seems more mentally challenged than innocent at times. The movie has her in between two men, one a hound and one a bitter man who slaps her. Both of them look like they are bumping up on 30 or so.

If that isn't disturbing enough, the film has this supposedly 16 year old girl in dream sequences that show her trotting around in a short, low cut waitress outfit or in sequin pajamas, prancing around in front of Marco and trying to seduce him away from his girlfriend. It all left me feeling a little hinky.

LILI, the 1953 film starring Leslie Caron in the title role, is one of the first examples of a screenplay being turned into a stage musical (CARNIVAL). Though it is common these days for Broadway to find inspiration in film sources, it was highly unusual at the time. It began life as a short story, with inspiration from the KOOKLA, FRAN AND OLLIE television program. Later made into a dark and unusual novella of sexual awakening, the tale was then adapted for the screen as LILI, a film which became the sleeper hit of 1953, eventually running in the same New York City theatre for almost 2 years. It's one, beautifully utilized song, "Hi Lili, Hi Lo" was an enormous hit and contributed to LILI's popularity.

The story, concerning the sexual and emotional coming of age of a young French girl, is unusual for its Freudian overtones and stark emotional mood. When young Lili (Leslie Caron in a gorgeously crafted and heartbreaking performance) comes to a small French village, looking for a family friend, she is devastated to learn that he has died. Without friends or family, she begs a job from a local merchant who sees her desperation as a sexual opportunity. When the merchant tries to rape Lili, she is saved by Marc, the handsome magician of a traveling carnival (Jean-Pierre Aumont). On Marc she foists all of her adult and childhood needs, her bursting sexuality along with her need to be cared for and loved. Eventually she begins working with the carnival but proves a terrible disappointment as a waitress in the carnival cafe. Lonely and desperate, she attempts to kill herself but is saved once again; this time by Paul the carnival puppeteer (a dashing Mel Ferrer in a fine performance) who speaks to her through his puppets, kindly Carrot Top, vain Marguerite, wily Reynaldo the Fox and innocent Horrible Henry the Giant. Paul, a former dancer, crippled years earlier in an accident, is full of anger and resentment but takes pity on Lili, who is so charmed by the puppets that, like a child, she forgets his presence.

The film explores their turbulent relationship as Lili becomes the star of the Carnival, charming patrons with an uncanny ability to speak to the puppets as if they are real. Complications arise as Paul begins to realize his own affection for Lili, while Lili continues to be infatuated with the magician, who's assistant (Zsa Zsa Gabor) is his wife.

With fine performances all around and an unusual atmosphere, the film has something of a cult following and is highly regarded for its frank and emotional nature. With its full-color cinematography, adorable puppets and carnival setting, this film might be mistaken for a children's story but deals, rather, with powerful adult themes. LILI may seem tame by today's standards, but given the conservativism of the 1950's as well as the strict production code in force at the time, LILI is rather shocking.

There is a very unusual dream sequence late in the movie which attempts to explore certain aspects of Lili's psyche through dance. This sequence is not entirely successful, but manages to get its point across and leads directly to the film's moving final moment. It's subtle treatment of a difficult subject is inspiring. The loss of innocence, the retreat from childhood and the desperate need for someone to love prove compelling subjects in a film that is, though imperfect, haunting.

"Lili" might be called a "woman's picture" in that it tells its story from a female's perspective. I rather suspect accordingly girls and women respond more favorably to this tale than do males.

There's no doubt the production itself is rather elegant, the leads are expressive, and its one song tuneful and catchy. However, the theme of the story is ambiguous. There's a strange murkiness to the tale and its characters.

There's also a rather strange raison d'etre: is it about unrequited love, a youth's coming of age, or discovering the joy of living? There's also a question of what genre this falls into: fairy tale, fantasy, musical, or a combination of the three. (As there's only one song and little dance, it's hard to call it a musical.) The fantasy elements are reduced to a few puppets, whose encounters with the girl are the most engaging moments of the enactment.

I got the feeling there was more potential for expression here; alas, the unrequited love theme for me was an unfulfilled manner of clearly treating a theme. The "dream sequence" with the magician and his two love interests seemed out of place and ill-conceived. Mr. Ferrer came across rather weakly; though I tend to think this more a result of the director than actor. Actually the talented cast was well chosen; it seemed the direction that lacked a clear vision, not aided by a somewhat murky, undecisive script.

Otherwise the film on the surface had many virtues: beautiful color, attractive set design, committed cast and a genuine air of sweetness that permeated the presentation. This "Lili" review has a B rating.

"Lili", based on Paul Gallico's "Love For Seven Dolls", is one of the most delightful films ever. Leslie Caron deserved her Academy Award nomination as "Lili". The ballet sequence at the end of the film in which each puppet turn into Paul, the puppeteer, making Lili realize she loves him is magical. "Lili" was the basis for a big, lavish Broadway musical "Carnival" that lost the basic beautiful simplicity of the original. This film is a classic and deserves to be. The puppets are magnificent.

This is a strange musical, and one that my mind, some years from now, may mix up with Gigi, which has Leslie Caron, a similar title, feels kind of creepy, and is a colorful musical.

When it comes to Lili vs. Gigi though, I think Lili wins. It doesn't waste as much time, and even though the main premise is uncomfortable, it's never quite as gross or weird as the central premise for Gigi.

Those who like classic Hollywood musicals but want to see one go off the rails a bit and get kind of deranged (all the while showing a surprisingly high number of puppets) should probably watch Lili, but it's hard to see it as the kind of movie that's for everyone.

Last night, driving with a friend, she popped a CD into the player in her car and Jimmy Durante's voice sang a song I had not heard in about 35 years - "Hi-Lili Hi-Lo." The emotion of this movie that I saw as a young child, perhaps six years old, came rushing back to me.

I don't remember a lot of things from when I was six but I do remember being entranced and a bit haunted by the movie Lili. I was easily able to relate to Lili's encounter with the puppets that became her confidants and friends when the adult world became too hard to handle. The initial charm of the magician character that, as all too often became the case for people in my young life, turned to emotional unavailability. The course by which Lili's fear of the puppeteer gets dissolved through understanding. And most of all the hauntingly beautiful song and dance sequence.

I don't remember much of the plot but I am very much looking forward to seeing this movie again. If it was available on DVD I would immediately buy it for my own children.

I wasn't going to watch "Lili" based on its description but I'm glad that I did because I did enjoy it after the somewhat slow start. The film does a nice job sketching the two main characters and the puppet aspect works and fits surprisingly well. I would recommend, my rating 7/10. I did not think that I had seen this film before but perhaps I had as a child since some of the scenes felt familiar. Also, it was the perfect length -- brief and efficient. If you liked this then also see Leslie Caron in "An American in Paris" and "Daddy Long Legs." In fact I made a list of musicals that I like which you can find on my profile page.

In 1953 I was 5 and LILI was my favorite movie. My parents were cool enough to take me to see it 3 (THREE!) times and they even bought me the soundtrack record. I'd try to see it every time it played on TV over the years (not very often) and at college screenings. I taped it when it was on PBS not too long ago and now my granddaughter who's 5 loves it too. Talk about genetics! This is a wonderful, haunting story. Leslie Caron is PERFECT in the title role. The puppets are fabulous and the rest of the cast are brilliant. PLEASE see this if you enjoy "simple" romantic stories with no special effects, nudity, bad language, nor violence! Interestingly I have been married twice, my first husband was a puppeteer and my second (present) husband is a magician. Hmmmm...

This movie is my favorite movie of all time! The innocence and sweetness conveyed by Leslie Caron in this movie is supreme! You'll find no other film like it! Personally, I think it is better than an American in Paris. The reasons why I like it are almost inexplicable, however. I first watched it at age 16. Afterwards I felt like the world was a wonderful thing and that there was still purity in the existence. Leslie Caron's virginal character is so convincing that she doesn't even need to say anything to make the viewer feel that she is truly good. Mel Ferrers performance is also noteworthy. The chemistry between these two characters is real. This movie is often overshadowed by Leslie Caron's more popular films (such as an Gigi). However, I recommend that all movie lovers watch this film.

I must have missed the point of Lili because I barely made it all the way through with my eyes open, and everyone else looked at it as an adorable, endearing romp. It's impossible for Leslie Caron not to be adorable and endearing, but there are so many other movies I prefer her in. In this one, she plays a dim-witted innocent young girl who wanders into a carnival. She's originally looking for her father, but she gets taken advantage of by a smooth talker, Jean-Pierre Aumont. He's a magician, and at first, she's entranced by him; the story turns into a love triangle when puppeteer Mel Ferrer enters the picture. Both men want Leslie for their own (despite her very unattractive haircut and her near-mental deficiency). Who will she choose?

It's a very simple story with a very clear path Leslie should take - so why is the audience invested? Jean-Pierre is clearly insincere, and Mel is shy because he's embarrassed about his limp. There's no suspense. Leslie's character is so backwards, it feels like pedophilia that grown men want to seduce her. I'm her biggest fan in Gigi, but not in this movie.

Didn't see Lili until fairly recently, but it is a film so irresistibly charming and well-done that it was so easy to fall under its spell.

Lili looks fabulous, the fantasy ballet sequence and Caron's scene with Zsa Zsa Gabor is shot in richly beautiful Technicolor, the puppets still look great- plus they manage to bring a slight creepiness too- and the MGM French village set is made superb use of. The Oscar-winning music score by Bronislau Kaper has plenty of appropriate whimsy, without falling into sugary sweet territory, and rousing lushness, while the song Hi-Lili, Hi-Lo lilts beautifully and accompanies one of the most memorable scenes in the film, in which Caron is seen singing along with the puppets, even more impressively.

The script is both witty and touching, handling a potentially difficult subject inspiringly and only in Stand by Me has coming of age been portrayed more honestly in film. The story is slight but never dull or too thin; it has the right amount of sweetness, has such a poignant charm and brings a big smile on viewers' faces afterwards. The Hi-Lili, Hi-Lo and fantasy ballet scenes are the most memorable, but youngsters surely cannot fail to delight in Jean-Pierre Aumont's dazzling magic tricks. Talented Charles Walters directs expertly, and even features in the fantasy ballet.

In terms of the performances, there are no qualms here either. Leslie Caron positively enchants here, while Mel Ferrer brilliantly brings a sympathetic edge to an at times dark role, particularly telling when with the puppets. Zsa Zsa Gabor is incandescently classy, and Jean-Pierre Aumont makes his magic tricks memorable and children and adults alike will love them.

All in all, irresistibly charming and has quickly become a personal favourite. 10/10 Bethany Cox

So many good reviews on this site, but just how highly rated is this film among the so-called finest of our film critics ? It is unique in the history of cinema, and yet it is not quite up there with ' The Wizard of Oz ', ' Casablanca ' or ' Gone With the Wind ' to name a few obvious ones that figure in the popular mind of Hollywood's myth making. Why ? I watched it again recently and the following day I had to watch it again. It is one of the most delicate, sensitive films ever made held together by not only perfect acting but by a song that is truly unforgettable and that goes through so many permutations during the film's duration of one hour and twenty minutes. Bronislau Kaper was responsible for this and like the director Charles Walters has ( as far as I can see ) never been given enough credit for this fragile web of magic. Leslie Caron gives one of her finest performances as the slightly melancholic girl who arrives in an unamed French town, desired by so many around her and becoming a part of a small theatre of puppets. She is supported by the wolfish Jean-Pierre Aumont ( great performance again ) and the Giant played by Mel Ferrer and they are all with her along with Marguerite and Gingertop ( the former played to perfection by Zsa Zsa Gabor and the latter another aspect of Mel Ferrer ( also pehaps his finest performance ), and at the end both live characters and puppets melt into one. This long sequence alone takes my breathe away with its magic, unsurpassed in the history of cinema. Maybe Jacques Demy comes close in some of his films, but Charles Walters got there first. As a love story it is complex and simple at the same time, a fairy tale that is bitter sweet and yet ends in pure joy. It has to be seen more than once to see all aspects of this weaving of revelations. And even after that many will wonder, what have I seen as if emerging from a dream ? See it, buy it and treasure this film. There is no other quite like it and as with all great works of art never will be.