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Ziegfeld Follies (1945)

Approved | | Comedy, Musical | 8 April 1946 (USA)
The late, great impresario Florenz Ziegfeld Jr. looks down from Heaven and ordains a new revue in his grand old style.
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Cast

Cast overview, first billed only:
Fred Astaire ... Fred Astaire ('Here's to the Ladies') / Raffles ('This Heart of Mine') / Tai Long ('Limehouse Blues') / Gentleman ('The Babbit and the Bromide')
Lucille Ball ... Lucille Ball ('Here's to the Ladies')
Lucille Bremer ... Princess ('This Heart of Mine') / Moy Ling in 'Limehouse Blues')
Fanny Brice ... Norma Edelman ('A Sweepstakes Ticket')
Judy Garland ... The Star ('A Great Lady Has An Interview')
Kathryn Grayson ... Kathryn Grayson ('Beauty')
Lena Horne ... Lena Horne ('Love')
Gene Kelly ... Gentleman ('The Babbit and the Bromide')
James Melton ... Alfredo ('La Traviata')
Victor Moore ... Lawyer's Client ('Pay the Two Dollars')
Red Skelton ... J. Newton Numbskull ('When Television Comes')
Esther Williams ... Esther Williams ('A Water Ballet')
William Powell ... Florenz Ziegfeld Jr.
Edward Arnold ... Lawyer ('Pay the Two Dollars')
Marion Bell Marion Bell ... Violetta ('La Traviata')
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Storyline

In heaven, showman Florenz Ziegfeld Jr. fondly recalls his first Broadway revue, the Ziegfeld Follies of 1907. Even from heaven, he is hoping that he can, for one last time, create that same magic by mounting one last follies. As he thinks about who he would like to appear in these follies, he is assisted in realizing his fantasy, at least in his own mind, by such luminaries as Fred Astaire, Edward Arnold, 'Lucille Ball', Marion Bell, Lucille Bremer, Fanny Brice, Cyd Charisse, Judy Garland, Kathryn Grayson, Lena Horne, Gene Kelly, James Melton, Victor Moore, Virginia O'Brien, Red Skelton, Esther Williams, Keenan Wynn, and, of course, a bevy of beautiful girls. Written by Huggo

Plot Summary | Add Synopsis

Taglines:

Greatest Production Since The Birth Of Motion Pictures! See more »

Genres:

Comedy | Musical

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

8 April 1946 (USA) See more »

Also Known As:

Ziegfeld Follies of 1946 See more »

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Box Office

Budget:

$3,240,816 (estimated)

Gross USA:

$7,930,000, 31 December 1946
See more on IMDbPro »

Company Credits

Production Co:

Metro-Goldwyn-Mayer (MGM) See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Color:

Color (Technicolor)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

The lengthy shooting schedule ran between April 10 and August 18, 1944, with retakes plus additional segments filmed on December 22, 1944 and then between January 25 and February 6, 1945. See more »

Goofs

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 »

Quotes

[first lines]
Florenz Ziegfeld Jr.: Ah... Saturday, September twenty fifth. Another heavenly day. Ah, yes. Always a heavenly day.
See more »

Crazy Credits

"Bunin's Puppets" are listed as cast members just above Cyd Charisse. See more »

Connections

Referenced in Jeopardy!: Episode #26.181 (2010) See more »

Soundtracks

A Great Lady Has An Interview (Madame Crematante)
Music by Roger Edens
Lyrics by Kay Thompson
Sung and danced by Judy Garland & Male Chorus
See more »

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User Reviews

 
A Drop-Dead Gorgeous Show For The Serious Musical Fan
20 August 2005 | by gftbiloxiSee all my reviews

The Ziegfeld Follies were legendary stage shows that consisted entirely of musical numbers and comedy routines performed by some of the greatest stars of the day. When sound began to roar in the late 1920s, the movie studios followed the Ziegfeld form and quickly produced a series of films that were variety-show in nature. But the musical review is a form that really works best on stage before a live audience: in short order the movie-going public turned its back on the style in favor of musicals that offered increasingly complex, sophisticated, and sometimes unexpectedly dark stories.

In the 1940s MGM, famous for its musicals, unexpectedly decided to revive the form--and to do so in the style of producer Florenz Ziegfeld. The result was an outrageous budget that would have made Ziegfeld himself blanch, a wave of imaginative visuals that could have never been crammed onto even the biggest Broadway stage, a host of legendary performers, and the occasional comedy routine for relief from the sheer spectacle of it all.

The big hurdle for modern audiences is the fact that we have become accustomed to variety shows through television; they no longer have a unique appeal and it is difficult for us to sit through two hours of it. Even so, most musical fans will probably find ZIEGFELD FOLLIES worth the effort; although it has a few weak spots, it is easily one of the most visually stunning flights of fancy ever put on the screen.

The weakest links in the chain are the comedy routines, all of which seem insubstantial at best, slightly clunky at worst; still, they are amusing in an old-fashioned sort of way and it is always a pleasure to see the legendary Fannie Brice, no matter how inconsequential the script may be. Fortunately, the film weighs in heavily on the musical side, and while the actual material may be a bit weak at times the look of the thing is absolutely eye-popping.

The opening number is nothing short of stunning: Fred Astaire introduces a riot in pink and black that includes a spinning Cyd Charisse, a turning merry-go-round with real white horses, and a formidable Lucille Ball keeping a host of leopard-like women in check with a whip! Truly, musicals are the most surreal of all performing arts genres, but this seems to stretch the boundaries quite a bit.

The film is filled with notable performers. Virginia O'Brien, the great comic singer, dismisses the ladies in favor of the men--indeed, it seems, almost any man will do. Esther Williams swirls elegantly in front of lavish underwater sets. James Melton and Marion Bell offer memorable performances of the most famous duet from LA TRAVIATA in a memorably designed setting. Katherine Grayson is surrounded by some truly unexpected sets, walls of bubbles, and gold-clad bathing beauties. Certainly no one can complain that there is nothing to see on the screen! Along the way we also have some truly legendary moments, chief among them two amazingly beautiful dance numbers performed by Fred Astaire and Lucille Bremer. The first, "This Heart of Mine," finds Astaire playing a jewel thief bent upon seducing Bremer at a ball: red and white with elaborate costumes, hidden treadmills, and decoratively turning platforms, it is both clever and very elegant. Even so, "Limehouse Blues" is finer still, introducing a mysterious Chinatown--and then suddenly bursting into a fantasia of white and blue and red as Astaire and Bremer dance out a love story that never was and never could ever be.

The film also offers two of MGM's most celebrated singing stars. During her MGM career Lena Horne was typically saddled with excessive movement and frequently peculiar costumes--but both actually work to her advantage here, and her performance of "Love" has tremendous tropical sizzle, to say the least. It may be a bit more difficult for modern viewers to know how to react to Judy Garland's "The Interview," for its references are lost; not only is it very much an industry insider joke, it is very much a take-off on "serious" actresses of the time who specialized in playing biographical roles, with Greer Garson a very specific target. Still, Garland nails it as only Garland can, and that says a great deal indeed.

The film also contains a true rarity: the only serious pairing of Fred Astaire and Gene Kelly, who lightly send up rumors of their rivalry--and then proceed to demonstrate just how truly competitive they could be in some of the finest choreography ever put on the screen. "The Babbit and the Bromide" is truly a remarkable thing to behold; you are constantly torn in your attention between the two men, each with very different styles and yet each truly incomparable.

In spite of its array of stars and remarkable visuals, ZIEGFELD FOLLIES was not among MGM's box-office knockouts of the 1940s and it was rarely seen after its original theatrical release. It is presently available only in VHS, and although the print is good it isn't the best possible--and since the visual spectacle is a prime reason for seeing the show you may want to hold out (and cross your fingers) for a full restoration on DVD. On the other hand, the out-of-print but still available VHS package does include the soundtrack on CD, which is a very strong plus.

Final thought on the film: unless you are a serious fan of MGM musicals you may want to skip this one, but if you are willing to make the act of acceptance the film requires you'll find ZIEGFELD FOLLIES a drop-dead gorgeous show.

Gary F. Taylor, aka GFT, Amazon Reviewer


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