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 »
In eighteenth century England, "first cousins" Tom Jones and Master Blifil grew up together in privilege in the western countryside, but could not be more different in nature. Tom, the ... See full summary »
The story of a farmer in China: a story of humility and bravery. His father gives Wang Lung a freed slave as wife. By diligence and frugality the two manage to enlarge their property. But ... 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 <email@example.com>
Pat Nixon (then Patricia Ryan), the future wife of Richard Nixon and the First Lady of the United States from 1969 to 1974, makes an uncredited appearance as a Ziegfeld girl. See more »
In the "Rhapsody in Blue" portion of the mammoth "Pretty Girl" number, one of the silver-fringe-and-antlers quartet of dancers gets visibly disoriented when her group does its final moves. She's the second one from the left, and her movements are completely out of sync with the other three until, with a thump, she sits down on the stairs. Since the incredibly complex number was shot in very long takes, the error was allowed to remain in the film. See more »
[on the phone with Ziegfeld after learning of his marriage to Billie Burke]
Hello, Flo... Yes. Here's Anna... I'm so happy for you today, I could not help calling you and congratulate you... Wonderful, Flo! Never better in my whole life!... I'm so excited about my new plans! I'm going to Paris... Yes, for a few weeks, and then I can get back, and then I'm doing a new show, and... Oh, it's all so wonderful! I'm so happy!... Yes... And I hope you are happy, too... Yes?... Oh, I'm so glad for you, ...
[...] See more »
The opening credits display the title of the film and the names of the stars in marquee lights, as they would be on Broadway. 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.
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