I'll admit up front that I have serious reservations about some of Minelli's films, beautifully shot though they are. 'Meet Me In St. Louis', possibly the dreariest movie musical ever made and drowning in contrivance and sentiment, is a case in point. I saw 'Father's Little Dividend' without realising he was the director, and although there are obvious parallels - both family comedies set over a number of months -'Father's Little Dividend' lacks Minelli's great strength - the extraordinary beauty of his cinematography. Perhaps colour makes the difference. It also lacks the real saving grace of 'Meet Me In St. Louis', which was an extraordinarily potent central performance from Judy Garland - the scene in which she sings 'Have Yourself a Merry Little Christmas', the one truly worthy song in the film (Don't talk to me about the Trolly Song...), justifies the entire film. Nobody in 'Father's Little Dividend' is really firing on all cylinders in that way.<br /><br />What the film does have is Spencer Tracy's nicely dry performance as Stanley, a man having to adjust to the fact that both he and his daughter are getting older. Joan Bennett, a long way from 'Scarlet Street', is likable in the underwritten role of his wife, and a young Elizabeth Taylor is serviceable as his daughter. No one really shines, although Billie Burke, as the paternal grandmother, keeps threatening to burst out with a real comic performance. Her curtailed screen time prevents her.<br /><br />None of the comic sequences really work, because they never build into anything. Bennett terrifying Tracy with a desperate drive across the city to the hospital (for the birth of their grandchild) comes closest to actually being funny, but there's no capper, no punchline, and Bennett's calmness doesn't seem comically incongruent, but merely inappropriate, as though she doesn't know what sequence they're filming. Only Tracy gets any laughs, and those are few enough (his frozen reaction to learning that he's going to be a grandfather is particularly good).<br /><br />Funnily enough, the most effective sequence springs from the most tedious dramatic device - the apparent break up of Taylor and her husband. When he comes to get her from Stanley's house, she refuses and insists on staying in a room her father will make up for her. Accepting this, he proceeds to reel off to Stanley all the things she needs, both of them growing more and more tearful, until by the end he is helping her to remove her shoes whilst Stanley simply looks on. It's the best played scene in the film, tipping from comedy to genuinely heartfelt emotion (as opposed to Hollywood sentiment), although it's almost spoilt by the reconciliation, when they fall into a typical movie clinch.<br /><br />Nothing else in the film really stays with you - it's pure filler, particularly the last minute he's-lost-the-baby gambit. It's a nice attempt to reflect on common experiences - just as 'Father of the Bride' was - and certainly some of the observations are accurate enough, but ultimately it's just a little bit too nice, too safe, too soft, and it isn't executed well enough to be memorable.