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As somebody who loves musicals and would see the likes of James Stewart, Judy Garland, Hedy Lamarr and Lana Turner in anything, checking out 'Ziegfeld Girl' was definitely something that held my interest in viewing.

'Ziegfeld Girl' is a decent if uneven film, after viewing it. It is less than great but a long way from a disaster. Where 'Ziegfeld Girl' particularly falls down is in the paper thin and preposterous story that is often little more than an excuse to string along the musical numbers and such and the very over the top melodrama that belongs in a leaden and out of date soap opera.

Love Stewart to bits, in fact he is one of my favourite actors but somehow this role didn't seem right for him and Stewart just seems too amiable and clean cut for a character that is somewhat more than that. Lamarr is breath taking in beauty but has little to do and looks lost for some of the film. Tony Martin sings beautifully but is pretty mannered and wooden.

However, the production values are very pleasing on the eye, it isn't Technicolor (and one at times can't help thinking that 'Ziegfeld Girl' could have been even better with it) but still beautifully photographed and the costumes are just splendid. The musical numbers are lovely and full of energy, with the ones making the most impression being "You Stepped Out of a Dream", "I'm Always Chasing Rainbows" and "Minnie from Trinidad". The choreography is graceful and exuberant, particularly in "Minnie from Trinidad".

Judy Garland steals the show here in a role that suits her like a glove. Lana Turner has the meatiest role and performs the heck out of it, emoting believably while resisting temptation to overdo it. Nice to see Charles Winninger and Edward Everett Horton.

All in all, not great but with much to enjoy. 6/10 Bethany Cox

There are actually three girls who get into the Ziegfeld Follies in this b/w MGM feature. Judy Garland of course has a fabulous voice (especially when singing 'I'm Always Chasing Rainbows' so quietly); Lana Turner has false poise; and Hedy Lamarr looks stunning.

As the men in their lives, we have James Stewart, Jackie Cooper (all grown up!), Ian Hunter, Dan Dailey, Tony Martin … plus Charles Winninger as Garland's father and vaudeville partner of Al Shean (playing himself).

The Follies numbers look good, but the film cries out for colour. Imagine how overblown, preposterous, and perfect it would have been then. As it is, it is a pleasant distraction, nothing more, and I found it quite distracting when towards the end some sequences were obviously taken from 1936's 'The Great Ziegfeld'!

For some reason Ziegfeld Girl has been panned and patronized by the critics, when in fact it was the last of a series of glorious black & white musicals turned out in the 1930' and early 1940's and one of the best.

Don't listen to the critics who say the musical numbers and the melodramatic story don't work well together. This well-directed musical does an unusually efficient job of melding them together. The "backstage" story itself is probably one of the best with more believable characters and situations than usual. I thought it better than that of the more highly rated 42ond Street. Don't listen to the hard-faced feminist doctrinaires who can't stand seeing women and men and their families portrayed as real human people instead of the social-engineered zombies they would prefer. When someone says this movie would have been been better if in color, cover your ears as if you were being subjected to a stream of blasphemous cursing. Ziegfeld Girl is a gem of sensuous, luminous, black & white cinematography. The costumes and the choreography were wonderfully designed for black and white, and both work better than those of any subsequent color musical.

Jimmy Stewart got top billing in this movie, and he admittedly dominates all of the modest amount of screen time he has. But this is fourth-billed Lana Turner's movie when it comes to the dramatic side of the story. In addition to being at her most glamorous, she turns in a bravura performance as the poor kid from Flatbush rising to stardom and riches only to descend into despair and alcoholism. Hedy Lamarr, billed ahead of Lana, doesn't have much to do except to look beautiful, but she could do that better than any other actress. Nevertheless, don't listen to the critics who say she couldn't act. Check out some of her other movies, such as Dishonored Lady (see my review) and Algiers. Never mind, when the musical numbers start, the show is all Judy Garland, Tony Martin, and Busby Berkley's musical direction. Especially Judy. She has never been cuter or more charming, both in her singing and her not inconsiderable acting talent. The lovable Charles Winninger, playing her hammy, vaudevillian father, is a nice foil for Judy dramatically as well as musically. Some people have found the early musical number performed by the two the best of the show. You can listen to them! But there are plenty of other good numbers.

If you would like two hours and twelve minutes of engrossing, thoroughly entertaining, glittering, spectacular entertainment as only MGM in its golden years could dish out, watch Ziegfeld Girl. They don't, couldn't, and wouldn't if they could make 'em like this any more.

The story of three girls who join the fabulous Ziegfeld Follies. One makes it big, one goes back to her husband, and one goes bad, Hollywood style.

It's too bad this movie was shot in black and white, most of the high points are the, uh, amazing production numbers. I mean, you haven't lived until you've seen a showgirl wearing a school of tropical fish or a flock of parrots. Or Judy Garland in an Xmas-tree tinsel dress. Also a big Judy Garland production number, "Minnie from Trinidad".

Other than the music and costumes, the fun is watching Lana Turner go BAD. Garland and Lammar are less than interesting away from the stage (blame the script), but Turner's rise-and-fall is classic bad-girl camp. (You know she's hitting the skids when men start giving her *fake* diamonds) And of course she dies of Old Movie Disease at the end, the kind that reunites you with your true love and leaves your hair and makeup perfect.

Lana Turner, Heddy Lamar, and Judy Garland get into the Ziegfeld Follies and promptly go to pot in this backstage soaper about the pitfalls of celebrity.

Lana is a saucy elevator operator who aspires to marry Jimmy Stewart--until a Ziegfeld talent scout sweeps her up. She soon turns into a fast-living, mean-tempered lush. Heddy accompanies violinist husband Philip Dorn to an audition; he doesn't get the job, but she gets snatched up to become a beauty queen. Offended by her admirers, Heddy's husband believes she is unfaithful and leaves her. Judy has worked her way up through the ranks of show business and is hired for her way with a song--but Ziegfeld doesn't want to the hire other half of her act, Judy's father Charles Winninger. How can she desert her father?

To say the actors are typecast is a gross understatement, and in truth Heddy is merely there for decoration and Judy tucked into the film for the occasional musical number. The film really belongs to Lana Turner, who--although somewhat wooden--has the most interesting role of the three, and to James Stewart, who like Lana is a good boy gone bad. Will Lana and Jimmy reform and get back together? Will Heddy be able to convince Philip that her love is true? Will Judy's father ever forgive her? Even though the movie is hokey and a bit overlong, it is still rather fun to watch--and such numbers as "Minnie From Trinidad" are lots of fun. But this is not one of MGM's great musicals by any stretch of the imagination, and it is pretty much for die-hard musical fans only.

Gary F. Taylor, aka GFT, Amazon Reviewer