A matchmaker named Dolly Levi takes a trip to Yonkers, New York to see the "well-known unmarried half-a-millionaire," Horace Vandergelder. While there, she convinces him, his two stock ... See full summary »
The life of comedienne Fanny Brice, from her early days in the Jewish slums of the Lower East Side, to the height of her career with the Ziegfeld Follies, including her marriage to and ... See full summary »
Can a bickering odd couple in Manhattan become friends and maybe more? Owlish Felix is an unpublished writer who vents his frustration by reporting to the super that the woman in a ... See full summary »
Daisy Gamble, an unusual woman who hears phones before they ring, and does wonders with her flowers, wants to quit smoking to please her fiancé, Warren. She goes to a doctor of hypnosis to ... See full summary »
Henrietta Robins works out of her home and her husband Pete drives a cab to try to support her. When Pete gets a tip from one of his fellow drivers that a deal will be made by the Americans... See full summary »
Hillary Kramer, successful Perfume magnate awakes one morning to find that her accountant has robbed her blind and left for South America. Going through all of her remaining assets she ... See full summary »
A young wife and mother, bored with day-to-day life in New York City and neglected by her husband, slips into increasingly outrageous fantasies: her mother breaking into the apartment, an ... See full summary »
Executive George Dupler loses his temper and is demoted to the night manager at a 24 hour drugstore. After he suggests to his teenage son Freddie that he stop having an affair with suburban... See full summary »
A matchmaker named Dolly Levi takes a trip to Yonkers, New York to see the "well-known unmarried half-a-millionaire," Horace Vandergelder. While there, she convinces him, his two stock clerks and his niece and her beau to go to New York City. In New York, she fixes Vandergelder's clerks up with the woman Vandergelder had been courting, and her shop assistant (Dolly has designs of her own on Mr. Vandergelder, you see). Written by
Randy Goldberg <firstname.lastname@example.org>
When director George Roy Hill heard about the turn-of-the-century New York set constructed for the film, he wanted to use the set to film a brief sequence in which Butch Cassidy and the Sundance Kid (1969) and Etta Place visit the Big Apple. The producers were proprietary about the set, and didn't want it to appear in another movie. 20th Century Fox, however, allowed Hill to take still photographs of his stars Paul Newman, Robert Redford and Katharine Ross on the set, surrounded by the extras (who appear in the old-time, tinted photos as city crowds) which were used in a montage sequence that served as a transition between the U.S. West and Bolivia sections of the movie. See more »
During the "Elegance" number, Minnie Fay hands her money to the woman selling pretzels twice. See more »
It was fashionable to bash this film when it came out in 1969, and reviews remain - at best - mediocre. I've always found the hostility baffling. I loved the film the first time I saw it, and my appreciation remains undimmed after several viewings. The production is gorgeous (what awesome set design is displayed in the Harmonia Gardens and Central Park set pieces!); and the musical arrangements and choreography are first-rate. Note when Dolly tells Cornelius Hackl in the hat shop "Just give me five minutes, Mr. Hackl, and I'll have you dancing in the streets." She's as good as her word, and the ensuing sequence - with dancers leap-frogging over one another and throwing themselves off park benches into their beaus' arms - leaves you staring at the screen with an open mouth. Few of the principal actors could dance, but the hyper-kinetic Danny Lockin (playing Barnaby Tucker) is a joy to watch. I love it when he hops repeatedly over a bicycle before catching Minnie in his arms and riding off with her! Streisand and Matthau - personal animosity aside - make a wonderful couple. Their dialogue has a quality of one-upmanship that really tickles the viewer. One drawback to the film is that it typically plays on television shorn of its wide-screen format - a decision that ruins many of the compositions, especially in musical numbers. When I was a boy, I couldn't understand how the cinematographer got an Oscar nomination when he kept chopping actors on the end of a row out of the frame! Streisand's singing is to die for. It's amazing how she handles the first bars (repeating the single word "Good-bye") as she bids "So long, dearie," to Vandergelder. On the other hand, it's disorienting to hear Michael Crawford, now a superstar for his performance in "Phantom of the Opera," open his mouth and produce that grating, timorous little voice. I've always wondered, does he sing like that on purpose as part of the role. (It's probably just how Cornelius would sound in real life.)
All in all, the film's a true "10." One of the all-time great Hollywood musicals. Great score, marvellous cast, crackerjack production.
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