Some context: Gigi [ZiZi] is a 1958 American musical-romance film directed by Vincente Minnelli processed using MGM's Metrocolor. The screenplay by Alan Jay Lerner is based on the 1944 novella of the same name by Colette. The film features songs with lyrics by Lerner and music by Frederick Loewe, arranged and conducted by Andre Previn. In 1991, Gigi was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Hollywood producer Arthur Freed first proposed a musicalization of the Colette novella to Alan Jay Lerner during the Philadelphia tryout of My Fair Lady in 1954. When Lerner arrived in Hollywood two years later, Freed was battling the Hays Code to bring his tale of a courtesan-in-training to the screen. Another roadblock to the project was the fact Colette's widower had sold the rights to her novella to Gilbert Miller, who planned to produce a film version of the 1954 stage adaptation by Anita Loos. It cost Freed more than $87,000 to purchase the rights from Miller and Loos. Lerner's songwriting partner Frederick Loewe had expressed no interest in working in Hollywood, so Lerner agreed to write the screenplay only. He and Freed discussed casting; Lerner favored Audrey Hepburn, who had starred in the Broadway production written by Loos, but Freed preferred Leslie Caron, who had co-starred in An American in Paris for him. Both agreed Maurice Chevalier would be ideal for aging boulevardier Honore Lachaille, and Lerner proposed Dirk Bogarde for Gaston. Lerner agreed to write the lyrics if Freed could convince Bogarde and designer Cecil Beaton to join the project. He decided to approach Loewe once again, and when he suggested they compose the score in Paris, Loewe agreed. In March 1957, the duo began working in Paris. When Chevalier, who already had agreed to appear in the film, first heard "Thank Heaven for Little Girls", he was delighted. When he discussed his waning interest in wine and women in favor of performing for an audience in cabarets, Chevalier inadvertently inspired the creation of another tune for his character, "I'm Glad I'm Not Young Anymore". The lyrics for another of his songs, the duet "I Remember It Well", performed with Hermione Gingold as his former love Madame Alvarez, were adapted from words Lerner had written for Love Life, a 1948 collaboration with Kurt Weill. "Say a Prayer for Me Tonight", a solo performed by Gigi, had been written for Eliza Doolittle in My Fair Lady but was removed during the pre-Broadway run. Lerner disliked the melody, but Loewe, Freed, and Minnelli voted to include it in the film.
Did Lerner and Minnelli fight about this?
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Some context: Charles Krauthammer (; born March 13, 1950) is an American syndicated columnist, author, political commentator, and former physician whose weekly column is syndicated to more than 400 publications worldwide. While in his first year studying at Harvard Medical School, Krauthammer became permanently paralyzed from the neck down after a diving accident, severing the spinal cord at C5. After spending 14 months recovering in a hospital, he returned to medical school, graduating to become a psychiatrist involved in the creation of the Diagnostic and Statistical Manual of Mental Disorders III, and later developing a career as a Pulitzer Prize-winning writer. He was a weekly panelist on PBS news program Inside Washington from 1990 until it ceased production in December 2013.
Meg Greenfield, editorial page editor for The Washington Post who edited Krauthammer's columns for 15 years, called his weekly column "independent and hard to peg politically. It's a very tough column. There's no 'trendy' in it. You never know what is going to happen next." Hendrik Hertzberg, also a former colleague of Krauthammer while they worked at The New Republic in the 1980s, said that when the two first met in 1978, Krauthammer was "70 percent Mondale liberal, 30 percent 'Scoop Jackson Democrat,' that is, hard-line on Israel and relations with the Soviet Union"; in the mid-1980s, he was still "50-50: fairly liberal on economic and social questions but a full-bore foreign-policy neoconservative." Hertzberg now calls Krauthammer a "pretty solid 90-10 Republican." Krauthammer has been described by some as a conservative. Krauthammer's major monograph on foreign policy, "Democratic Realism: An American Foreign Policy for a Unipolar World," is critical both of the neoconservative Bush doctrine for being too expansive and utopian, and of foreign policy "realism" for being too narrow and immoral; instead, he proposes an alternative he calls "Democratic Realism." In a 2005 speech (later published in Commentary Magazine) he called neoconservatism "a governing ideology whose time has come." He noted that the original "fathers of neoconservatism" were "former liberals or leftists." More recently, they have been joined by "realists, newly mugged by reality" such as Condoleezza Rice, Richard Cheney, and George W. Bush, who "have given weight to neoconservatism, making it more diverse and, given the newcomers' past experience, more mature." In "Charlie Gibson's Gaffe" in The Washington Post, September 13, 2008, Krauthammer elaborated on the changing meanings of the Bush Doctrine in light of Gibson's questioning of Republican vice-presidential candidate Sarah Palin regarding what exactly the Bush Doctrine was, which resulted in criticism of Palin's response. Krauthammer states that the phrase originally referred to "the unilateralism that characterized the pre-9/11 first year of the Bush administration," but elaborates, "There is no single meaning of the Bush doctrine. In fact, there have been four distinct meanings, each one succeeding another over the eight years of this administration." Krauthammer refused to vote for Donald Trump, and believes there is evidence that the Trump campaign colluded with the Russian government.
what is he known for
A:
70 percent Mondale liberal, 30 percent 'Scoop Jackson Democrat,' that is, hard-line on Israel and relations with the Soviet Union"; in the mid-1980s, he was still "50-50: