Tommy Williams desperately wants to get to Broadway, but as he is only singing in a spaghetti house for tips he is a long way off. He meets Penny Morris, herself no mean singer, and through... See full summary »
Rich kid Danny Churchill (Rooney) has a taste for wine, women and song, but not for higher education. So his father ships him to an all-male college out West where there's not supposed to ... See full summary »
Light bio-pic of American Broadway pioneer Jerome Kern, featuring renditions of the famous songs from his musical plays by contemporary stage artists, including a condensed production of ... See full summary »
Discovery by Flo Ziegfeld changes a girl's life but not necessarily for the better, as three beautiful women find out when they join the spectacle on Broadway: Susan, the singer who must ... See full summary »
Acrobat Eddie Marsh is in the army now. His first act is to become friendly with Kathryn Jones, the colonel's pretty daughter. Their romance hits a few snags, including disapproval from her... See full summary »
Talented small-town girl Lily Mars hounds producer John Thornway for a part in his new play, but he doesn't want anything to do with stage-struck amateurs. But when Lily follows him to New ... See full summary »
On a train trip West to become a mail order bride Susan Bradley meets a cheery crew of young women traveling out to open a " Harvey House " restaurant at a remote whistle stop to provide ... See full summary »
Jimmy Connors and his girl-friend want to take part in Paul Whiteman's highschool's band contest, but they cannot afford the fare. But per chance the meet Paul Whiteman in person and are ... See full summary »
Paul Whiteman and Orchestra
Towards the end of the "This Heart of Mine" number, as Astaire and Bremer begin to dance back to the palace, dancers in the background (screen left) are clearly struggling to stabilize some of the antler-tree props. See more »
Florenz Ziegfeld Jr.:
Ah... Saturday, September twenty fifth. Another heavenly day. Ah, yes. Always a heavenly day.
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Ziegfeld Follies credits are in alphabetical order. That is why "Bunin" comes before "Charisse" See more »
Don't bother (and don't judge) unless you can see a good Technicolor print
No doubt the jaded postmodern cynical viewer will find plenty to pick apart in this fluff (facile metaphysics, etc.). That is their loss.
This is not one of the great MGM musicals, but at its best it does what great musicals do: it sweeps you along in a kaleidoscope of color, movement and sound. And because of these qualities this trifle IS art as surely as Citizen Kane or La Promesse are. Cinema is not just an art of--or forum for-- philosophy; it is an art of the color palette, and with The Ziegfeld Follies the technical forces of a great studio created a sometimes exquisite canvas to behold. Unfortunately, like many old films, the canvas is fading.
I first saw this film 20 years ago projected from an exceptional 16 millimeter print that brought out the full richness of the Technicolor cinematography. None of the video versions I've seen since have come close. The same is true for the 1949 John Ford western, She Wore a Yellow Ribbon, which I saw many years ago in an unbelievably painterly 16mm Technicolor print. Prints of that film shown on the AMC network don't even come close to the richness of that print.
Its color alone is enough to make The Ziegfeld Follies visually entertaining for me, and that print I saw long ago convinces me that is one of the 10 or 20 most beautiful color films ever made. The merry go round scene (with Lucille Ball as I recall) in hot garish pink was particularly striking visually.
I contend that any film, even marginal or bad ones, made in the extinct and impossible to resurrect Technicolor process is worthy of seeing, because its very usage constitutes a lost art form in and of itself.
Like Ziegfeld Follies, middling films such as Kid Millions (1934), Trail of the Lonesome Pine (1936), Jesse James (1939), Down Argentine Way (1940), The Gang's All Here (1943) and The Captain from Castile (1947) are worth seeing almost exclusively because of their amazing color schemes.
The biggest crack about "Tech," as cine buffs call it, is that it was not "realistic" color. Bogus line of reasoning, as no cinematic color process can ever be realistic in the sense of replicating human sight. OK maybe Roger Deakins came close in "Sid and Nancy." Admiring Ziegfeld Follies solely for its color may not be enough for you, but it's enough for me in our era of dreary cinematic color.
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