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 »
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 »
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 »
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 »
Johnny Riggs, a con man on the lam, finds himself in a Latin-American country named Patria. There, he overhears a convent-bred rich girl praying to her guardian angel for help in managing ... See full summary »
Decca Records released a Judy Garland 78 containing two songs from the score not performed by her in the movie: "Love" (music and lyrics by Hugh Martin and Ralph Blane), a fervent air which Judy sang on radio the twice in 1945, then occasionally in her 1951-52 concerts as an encore, and two times on her CBS-TV series, The Judy Garland Show (1963): a duet with Lena Horne from the October 13, 1963 broadcast, and a solo version telecast on March 22, 1964. The Decca flip side was the radiant ballad, "This Heart of Mine" (music by Harry Warren and Arthur Freed). Judy's two commercial cuts, arranged and conducted by Victor Young, recorded on January 26, 1945 and released on March 22, along with an alternate take of "This Heart of Mine," have been presented on her CD box set from MCA, "The Complete Decca Masters (Plus)." See more »
During the "A Great Lady Has An Interview," Judy Garland is continuously pushing her hair back out of her face during the interview portion of the scene. However, when the musical part begins her hair is firmly fixed up off of her face and stays that way until the end of the number when her dance moves have obviously loosened it up enough to start falling in her face again. 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 »
Sparkly and fun but with next to no substance... Astaire shines though!
If you're watching ZIEGFELD FOLLIES expecting a plot of any kind, or even an attempt at one, you'd probably be quite horrifically let down by this film. It's best to approach and accept it for what it is--a crazy filmic patchwork of song and dance and sketches, with some that undoubtedly work better than others, and some that are best left forgotten in the annals of film history. If you *do* bear this in mind, ZIEGFELD FOLLIES is an amusing way to spend a couple of hours as you watch these famous stars, including Fred Astaire, Lucille Ball, Gene Kelly, Judy Garland and many many more trying their utmost best to entertain you. (Admittedly, some with better success than others!)
The film opens with William Powell as Florenz Ziegfeld (reprising his role in THE GREAT ZIEGFELD for what really amounts to a cameo), looking down from heaven as he plans to put up one last, great Ziegfeld follies using the best stars of the day. What immediately follows is the trademark very very pink number, with girls galore floating by on merry-go-round horses, that segues into a rather surreal bit with Lucille Ball (properly attired in a pink fluffy concoction) brandishing a whip (oh dear) against several girls in very sexily-cut black leather body suits. It's an... interesting way to kick the film off, let's leave it at that.
There's no real way to summarise ZIEGFELD FOLLIES except by singling out one's own favourite numbers. And in the forest of boring (Keenan Wynn wastes his talents in a grating and predictable phone sketch), over-the-top (feast your eyes on Esther Williams' water ballet or Kathryn Grayson's operatic warbling as Cyd Charisse dances through bubble mountains) and just plain weird (Judy Garland performing what could well be the first rap in Classic Hollywood--it's not an altogether pretty picture), all of Astaire's contributions to the film stand out.
Astaire is the ostensible star of the film, appearing no less than four times with three gorgeous dance sequences that could certainly count among his personal best. In two of them he's partnered with Lucille Bremer to pleasing effect. "This Heart Of Mine" features Astaire in his rogue persona as he romances Bremer with dance (doesn't he always?) only to steal her jewelry... and for her to steal his heart. The better of their collaborations is the odd but intriguing "Limehouse Blues" with the two of them made up like Chinese (Astaire almost--*almost*--carries it off but ends up looking a little silly). Leaving aside stereotypes, the ballet in Tai Long's fevered dreams is quite stunning, and impeccably staged. I'm still trying to figure out how Astaire and Bremer managed to remember the exact way in which to flip their fans... I hate to think how many times they must have reshot that just to get it all perfectly synchronised!
My favourite number in ZIEGFELD FOLLIES, small surprise, is the one I was looking out for: the penultimate number, "The Babbitt & The Bromide", featuring Astaire and Kelly together on screen, performing the same routine for once in their long illustrious careers. It's a funny little number, with the two fellows they play meeting each other at every stage of their lives, only to have the same inane, mundane conversation. Then follows a small bout of onemanupship as they try to out-dance the other, right into the gates of Heaven. Watching them together is a real treat, because you know these are probably the two best dancer/singer/actors ever committed to film. It's a bit of a shame that their styles don't quite gel: Astaire floats his way through the routine as Kelly pounds the ground as only he can, so their dancing is polished, in perfect time (the timing is absolutely amazing!), but just a little bit off-kilter. It's still the best number in ZIEGFELD FOLLIES though, with Kelly's irrepressible mischief playing against Astaire's ruffled charm.
ZIEGFELD FOLLIES is really just a big, sparkly candy box of a movie--if you bear in mind that a plot was never particularly high on the mind of writers, producers, or directors, and you have a good book by your side to tide you through the (fortunately not too numerous) stretches of boredom, you're set for the evening. Keep the video ready for whenever Astaire breaks onto the screen; that's always a sign of quality. 7/10
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