Matchmaker Dolly Levi travels to Yonkers to find a partner for "half-a-millionaire" Horace Vandergelder, convincing his niece, his niece's intended, and his two clerks to travel to New York City along the way.
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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>
The set for the Harmonia Gardens filled an entire sound stage at Fox Studios and occupied three levels: a dance floor, a main section that surrounded the dance floor and an upper mezzanine. The Harmonia Gardens sequence took an entire month to shoot. See more »
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Mrs. Malloy, I shan't bother you again. And I hope vice versa.
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Hired to secure a wife for a wealthy merchant, an 1890s marriage broker schemes to have the merchant fall in love with her instead in this lavishly produced musical starring Barbra Streisand and Walter Matthau. The songs are memorable and Michael Kidd's choreography is as imaginative as usual with a particularly remarkable sequence involving the wait staff at a fancy restaurant. The detailed period sets and costumes are great too. Pleasant as the film is to look at and listen to, it is nevertheless rather empty. The characters vary between dull and unappealing with Michael Crawford and Danny Lockin especially irksome as Matthau's young shop assistants who allow their grouchy employer to walk all over them. The film positions us to cheer for them trying to assert themselves and find love, however, they are so weak and timid (hiding under tables no less) that it is hard to care about their dilemmas. The most disappointing aspect of the film though is how woefully unfunny it is. The dialogue is certainly laden with wit but the banter between Streisand and Matthau is never really humorous; apparently the pair never got along on set and this comes across with the limited chemistry between them. That said, the film works best whenever Streisand or Matthau has the floor, as opposed to the mousy Crawford and Lockin. Say what one may about Streisand and Matthau's characters, both actors possess undeniable charisma and have their moments along the way. There are just less bright patches than one might expect in such a grandiose motion picture.
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