A cavalcade of English life from New Year's Eve 1899 until 1933 seen through the eyes of well-to-do Londoners Jane and Robert Marryot. Amongst events touching their family are the Boer War,... See full summary »
Youthful Father Chuck O'Malley led a colorful life of sports, song, and romance before joining the Roman Catholic clergy, but his level gaze and twinkling eyes make it clear that he knows ... See full summary »
Midshipman Roger Byam joins Captain Bligh and Fletcher Christian aboard the HMS Bounty for a voyage to Tahiti. Bligh proves to be a brutal tyrant and, after six pleasant months on Tahiti, ... See full summary »
At the 1893 Chicago World's Fair, sideshow barker Flo Ziegfeld turns the tables on his more successful neighbor Billings, and steals his girlfriend to boot. This pattern is repeated throughout their lives, as Ziegfeld makes and loses many fortunes putting on ever bigger, more spectacular shows (sections of which appear in the film). French revue star Anna Held becomes his first wife, but it's not easy being married to the man who "glorified the American girl." Late in life, now married to Billie Burke, he seems to be all washed up, but... Written by
Rod Crawford <firstname.lastname@example.org>
The sequence "A Pretty Girl Is Like a Melody" was filmed in two lengthy takes after several weeks of rehearsals and filming (a definite cut is made when moving to a close-up on the singer dressed as Pagliacci, presumably to effect a change of camera position, necessary to start the inexorable move up the huge staircase). It features 180 performers and cost $220,000; 4,300 yards of rayon silk were used for the curtains in the scene. See more »
At the Chicago World's Fair, as the Great Sandow (Nat Pendleton) lowers the barbell with the ladies inside, it lowers at a controlled rate, rather than as if a man was actually handling it. See more »
If I can give Belasco four dollars for silk stockings made of cotton, I can give Ziegfeld a little more for a mink coat made of skunk.
See more »
An actor portraying composer Jerome Kern is seen in an office playing "Look for the Silver Lining" on the piano, but he is not mentioned on any cast list for this film. He is simply called "Jerry" by the other characters in the scene. See more »
Before anybody goes on for one minute more about how brilliant Luise Rainer is as Anna Held, let's remember that she took the Oscar from Garbo's Camille. I mean, come on. Rainer is pretty and her instincts are right, and her famous "telephone scene" expertly employs the old smiling-through-tears device. But it's hardly as challenging a role as Marguerite, and Rainer's undeniable Continental charm can go only so far.
The movie itself is a corker. William Anthony McGuire's screenplay is far above average for this musical-biography genre; it's full of smart wisecracks, and while it heavily fictionalizes Ziegfeld's life and persona (it makes him much more suave and irresistible than he was), it gets the big things right: his invention of the big musical revue, his obsession with glorifying the American girl, his unparalleled showmanship and eye for talent.
Speaking of talent, you get a full, uninterrupted, great Ray Bolger number, several clever and lavish production numbers, and a snippet of Fanny Brice (but cutting away from her "My Man" is unforgivable). The actors playing Eddie Cantor and Will Rogers are amusingly terrible. And Virginia Bruce is memorably nasty as a temperamental showgirl.
The Academy named this Best Picture of 1936. And you know, it probably was.
25 of 37 people found this review helpful.
Was this review helpful to you?