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The Ice Follies of 1939 (1939)

Passed | | Drama, Music, Romance | 10 March 1939 (USA)
An ice skater jeopardizes her marriage when she becomes a movie star.

Director:

(as Reinhold Schunzel)

Writers:

(screen play), (screen play) | 2 more credits »
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Cast

Complete credited cast:
...
...
Larry Hall
...
Eddie Burgess
...
Douglas Tolliver Jr.
The International Ice Follies ...
Ice Skating Troupe
...
Kitty Sherman
Roy Shipstad ...
Roy Shipstad - Ice Follies Skater
Eddie Shipstad ...
Eddie Shipstad - Ice Follies Skater
Oscar Johnson ...
Oscar Johnson - Ice Follies Skater
...
Mort Hodges
Charles D. Brown ...
Barney
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Storyline

Mary and Larry are are a modestly successful skating team. Shortly after their marriage, Mary gets a picture contract, while Larry is sitting at home, out of work. To prove that he can accomplish things on his own, he leaves Hollywood and convinces a former partner to put on an ice revue in Canada. The show is a huge success, but it makes it impossible for him to be with his wife, but the studio boss has a wonderful idea. Written by Stephan Eichenberg <eichenbe@fak-cbg.tu-muenchen.de>

Plot Summary | Add Synopsis

Taglines:

Sparkling With Stars, Gaiety, Music!

Genres:

Drama | Music | Romance

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

10 March 1939 (USA)  »

Also Known As:

Ice Follies  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Color:

| (Technicolor) (some sequences)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

One of three films in which Joan Crawford was seen in color sequences over a decade before she made her first all-color film, "Torch Song," in 1953. The other two were "Hollywood Revue of 1929" and "The Women" (1939). See more »

Goofs

Bess Ehrhardt is billed and introduced as 'Kitty Sherman', but an advertising placard in the movie uses her real name along with character names of some other actors. See more »

Quotes

Larry Hall: Well, what do you think of it, honey?
Mary McKay: It's lovely. It's beautiful. But it could have been even better with...
Larry Hall: With your close-up.
See more »

Connections

Referenced in Electrical Power (1938) See more »

Soundtracks

Happy Days Are Here Again
(1929) (uncredited)
Music by Milton Ager
Lyrics by Jack Yellen
Sung a cappella by Lew Ayres
See more »

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User Reviews

Joan Crawford, in Technicolor yet . . .
8 December 2004 | by (New York, N.Y.) – See all my reviews

Widely considered the worst film Joan Crawford made at MGM (it must have been a low point for James Stewart too, yet it forms no part of the lore about his long career) this is a real curiosity. It has the sort of B-movie plot Sonja Henie was getting in her hugely successful skating pictures at Fox, but this one is done with an A-budget. And because the stars can't skate, it is essentially two pictures in one -- a skating 'spectacular' featuring anonymous athletes which prefigures the ice-skating arena shows we know so well, and a soap opera about a two career couple who can't make their marriage work.

Forget trying to figure out how a major film from the most meticulous of studios could be such a hodgepodge. Simply go with it and happily register its many lapses in taste and logic. In the early scenes Crawford is actually more relaxed and likable than in other pictures from this period, though this changes once her character signs a movie contract. The idea of Crawford playing a star makes perfect sense and one wonders why no one thought of it before. At last her artificiality and posturing has a logical explanation. (But can someone explain why some of Max Steiner's score from GONE WITH THE WIND is played during Joan's drunk scene?) And in gorgeous three-strip Technicolor she looks at once terrifically glamorous and hard as nails. This hardness and the fact that it exposed her age is surely the reason she never gets a color closeup. And though she is a small part of the color portion of the film, she manages to wear no less than three Adrian outfits, the most striking being a brilliant green ensemble with gold and silver embroidery (the 18th Century court outfits the extras wear must have been recycled from MARIE ANTOINETTE).

Assuming Crawford had a choice, why did she do this film? To branch out to a broader family audience than she had before? To cash in on a popular box office fad? Or, at a time when Jeanette Macdonald was still considered Louis B. Mayer's favorite, did Crawford relish getting the Technicolor operetta treatment? Joan took singing lessons for years (her thin, unpleasant voice is briefly heard) and Macdonald had already been in one color film and was about to do another at a time when Technicolor carried the prestige of novelty and expense. Whatever the reason, it must have caused general hilarity in Hollywood -- one can imagine Billy Haines calling up George Cukor to chuckle over the latest bomb Joan had been saddled with. Only Sonja Henie can have been jealous over this turkey.


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