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LILLIAN RUSSELL (20th Century-Fox, 1940), directed by Irving Cummings, is a nostalgic film tribute to Helen Louise Leonard, better known as Broadway legend Lillian Russell (1861-1922), as portrayed by Hollywood legend Alice Faye in one of her more challenging roles of her career. Faye doesn't attempt to act nor sing like Lillian Russell, although it's hard to determine the actual personality of this legend, yet makes her characterization simple, sweet and sentimental in the usual Faye manner without making it look too much like a typical Alice Faye musical.

The story opens in Clinton, Iowa, shortly before the outbreak of the Civil War, with the birth of the fifth daughter of Charlie Leonard (Ernest Truex), owner of a newspaper business, and Cynthia Leonard (Dorothy Peterson), pioneer for women's suffrage whom, after moving the family to New York City, runs and loses her bid as mayor. As for Helen, she grows up into an attractive young lady with a remarkable singing voice. Her grandmother (Helen Westley) wants her to be trained for grand opera by Leopold Damrosch (Joseph Cawthorn), who feels she'd be far more suited for something else. While "playing theater" in her backyard for her father, Helen is overheard by producer Tony Pastor (Leo Carrillo) who immediately hires her for his theater under the new name of Lillian Russell. Over the years she becomes a famous star, against her mother's objections, loved by wealthy suitors Jesse Lewisohn (Warren William) and the legendary Diamond Jim Brady (Edward Arnold). She eventually marries composer Edward Solomon (Don Ameche), settles in England for a time where she gives birth to their daughter, Dorothy. Before dying, Solomon completes a haunting ballad "Blue Lovebird" dedicated entirely to her. While going through fame and despair, Alexander Moore (Henry Fonda), a newspaper man, who has been coming in and out of her life for some time now, and assigned by his editor for her biographical interview, keeps to himself his everlasting love for the girl he known back home as Helen.

The motion picture soundtrack mixing old and new song standards include: "Back in the Days of Old Broadway" by Charles Henderson and Alfred Newman; "Under the Bamboo Tree," "Comin' Thru the Rye" (Scotch tradition melody by Robert Burns); "The Strawberry Blonde," "My Evening Star" by John Stromberg and Robert B. Smith; "My Blushin' Rosie," "Adored One" by Mack Gordon and Alfred Newman; "Blue Lovebird" by Gus Kahn and Bronislau Kaper; "Blue Lovebird," "Blue Lovebird" (reprises); "He Goes to the Church on Sunday" by E. Ray Goetz and Vincent Bryan; "Waltz is King" by Mack Gordon and Charles Henderson; "The Tales of the Vienna Woods" by Johann Strauss Jr.; "After the Ball" and "Back in the Days of Old Broadway."

A companion piece to ROSE OF WASHINGTON SQUARE (1939), with Faye in an unauthorized biography of Fanny Brice, along with supporting players assuming fictional names, ROSE and LILLIAN are met with production similarities. Originally a two hour piece, ROSE went through the editing process of 35 minutes, eliminating some great songs as well as comedy acts by the vaudeville comedy team of Joe Weber and Lew Fields. LILLIAN displays what ROSE might have been during its 127 minutes, indicating that maybe the wrong movie was dramatically downsized. A lavish scale musical-biography, LILLIAN succeeds most with its all-star cast, fine songs, plus added bonuses of Weber and Fields recorded on film, Eddie Foy Jr. playing his father, and for the second time on screen, Edward Arnold as Diamond Jim Brady, the role he originated in DIAMOND JIM (Universal, 1935). In spite of its pure accuracy in costume design and hair styles, recapturing the bygone era which ROSE didn't with its 1939 costumes in 1920s setting, the fault for LILLIAN lies on its weak script that might have be salvaged with Technicolor gloss instead of its standard black and white photography. Reviews then must have been mixed, but with fine support of big name and familiar actors, including Nigel Bruce and Claude Allister as Gilbert and Sullivan; and Una O'Connor as Marie, the maid, how could it fail? Yet, the big surprise is the third-billed Henry Fonda, straight from his triumph in THE GRAPES OF WRATH (1940). Not necessarily associated with musicals, it's been mentioned by various sources, including Bob Dorian, former host of American Movie Classics, where LILLIAN RUSSELL aired regularly prior to 1989, that Fonda was unhappy with this assignment, feeling that after several important projects under the direction of John Ford that he would be offered the chance to star mostly in prestigious assignments. As it stands, this project should have been an honor for him for that Fonda's name at this point, supported by a strong cast, to be beneficial to LILLIAN RUSSELL, but of course he didn't or couldn't see it that way. While the real Lillian Russell married four times, the movie only depicts one briefly and the fourth possible prospect, eliminating husbands two and three. Maybe adding a roaster of other popular 20th-Fox actors as substitute to the film's weak points might have helped some with the continuity.

How much can be said about Lillian Russell that could stir up interest to a new generation today? Hard to say. At least with this depiction on her life, whether it be fact or fiction, Lillian Russell's name continues to live on, especially now whenever this screen treatment plays on the Fox Movie Channel. Thank goodness for film and what it represents. (***)

Darryl Zanuck had high hopes for Lillian Russell, biographical picture of the turn of the last century stage star who was an American icon in the gaslight era. Even to hiring Irving Cummings as director. Cummings was a former stage actor who knew the great Ms. Russell back in her day. Alice Faye says he was of enormous help in capturing her character.

Unfortunately the film is not helped by a ponderous script that loses the character of Lillian Russell by trying to cram too much in. Though the main men in her life are dealt with, a lot of facts were taken liberty with including a couple of husbands that were dropped.

In her time Lillian was the most admired woman in America. She was a hefty woman in an era when that was the taste. Talk about full figured gal, take a look at a picture of Lillian if you can find one on the web. Jane Russell had absolutely nothing on her, in fact that is the only department where Alice Faye is deficient in her role.

Of course when Alice Faye sings that's when the film is really something to watch. Starting with In Old Chicago, Darryl Zanuck had the inspiration of casting her in these period costume dramas whereas previously Alice had been Fox's answer to MGM's Jean Harlow. These became her best work and most loved by her legion of fans.

Some new songs were brought in with some old standards. Alice's best moment is singing After The Ball twice during the film, a song very much identified with Lillian Russell. She also sings Come Down Ma' Evening Star which was the only song that Lillian Russell made an early gramophone recording of.

Henry Fonda hated the film. Hated it because he was lost in a whole crowd of male admirers of Faye that also included Don Ameche, Warren William, Leo Carrillo, Nigel Bruce. Fonda and Ameche played two of her husbands that didn't get left out of the script. Warren William was millionaire/gambler Jesse Lewisohn, Leo Carrillo was the fabled 19th century theatrical impresario Tony Pastor where Russell got her start, Nigel Bruce was W.S. Gilbert with whom Russell had a most unsatisfactory relationship when she went to star in one of the Gilbert&Sullivan operettas. And Edward Arnold who was born to play the role of Diamond Jim Brady and who had made it his own in a biographical film a few years ago, does the role again. I do believe Zanuck would not have done the film if he couldn't have gotten him.

Fonda in his memoirs felt he would get really top drawer parts after The Grapes of Wrath which he signed a studio contract with 20th Century Fox to get. Lillian Russell was not his idea of an upwardly mobile direction for his career. Though he did say he had nothing but good memories of working with Alice Faye.

Besides Russell and her men the film has Eddie Foy, Jr. once again playing his famous father and you have a once in a lifetime chance to see Weber&Fields probably the greatest vaudeville comics of their time doing one of their routines. If Lillian Russell has no other value, it's great that their art was captured on film for future generations.

So while the story leaves a lot to be desired, Lillian Russell is a great tribute to a star and her era as portrayed by another great star of another era, Alice Faye.

I don't know how much this fictionalized bio of Lillian Russell owes to the truth, but the truth is she led an awfully dull life to judge by the weak script developments. Yes, even for a gal who mingled with Diamond Jim Brady and married a well-known composer, she's awfully dull stuff to take, which is why so much footage was cut out of the final print.

Needless to say, when ALICE FAYE, costumed effectively in all those turn-of-the-century clothes and singing old-time songs in that breathy low-pitched voice of hers, gets to strut her stuff the story warms up a bit. But most of it is just so dull you want to fast forward and skip the bio completely.

No help is HENRY FONDA as a newspaper man who patiently waits his turn to have his fling with romancing the musical comedy star. And even the reliable DON AMECHE is at sea here. Not their fault. The script is the problem and it shows until the bitter end. EDWARD ARNOLD, in a comfortable role as Diamond Jim Brady, is the only bright spot in the supporting cast. HELEN WESTLEY, WARREN WILLIAM, LEO CARRILLO and NIGEL BRUCE are likewise not seen to advantage.

Maybe Technicolor would have brightened things. Hard to say, but I still think a livelier story and better backstage plot would have helped considerably. As it is, only ALICE FAYE's loyal fans will warm up to this one.

Some historical films are totally worthless as guides to the lives and careers of the people they discuss. PARNELL, for instance, is a dismal film about the great Irish nationalist leader. LILLIAN RUSSELL is not a good guide to the career of the the famed singer and entertainer of the 1890s. There are omissions and polite bowdlerizing. For example, her marriage to Edward Solomon the composer(played by Don Ameche) was not ended by his dropping dead from overwork. Effective movie moment that it is, the marriage ended when Lillian discovered her husband was a bigamist with a living first wife. The relationship with Gilbert and Sullivan was not ended on such a sad but friendly note. Lillian did appear in PATIENCE, but she never played IOLANTHE (Gilbert claimed she did not want to rehearse as much as he insisted his performers do; rumor said that Gilbert tried to get Lillian onto the "casting couch" at the Savoy but she said no). Also, it is highly unlikely that Sullivan would have agreed to Lillian singing another composer's song in his operetta (even if between acts).

Henry Fonda's Alexander Moore is a bland enough character - handsome and kindly in the film, but not as colorful as rivals Ameche, Edward Arnold ("Diamond Jim" Brady) and Warren Williams (Jesse Lewisohn). In real life he was an important newspaperman in Pennsylvania and the Midwest, and (less acceptable in hindsight) a close friend of Warren Harding and Harry Daugherty's "Ohio Gang" of political spoils-men. Lillian, by the way, died in 1922, in the middle of Harding's corrupt administration.

The best things in the film are Faye, as pretty as usual in 19th Century costume, and warbling songs like "Blue Love Bird" in her best voice. That is worth watching. Then there is the color of the theater in the mauve decade. Tony Pastor's, the Savoy Operas, the stage of 19th Century Broadway (back then down near 14th Street and Union Square). My favorite moment: Joe Weber and Lou Fields in costume as their "Dutch" characters of the 1890s, demolishing a game of "Casino". It is a priceless moment of theatrical magic, that briefly tells us more about the real 1890s than the fake movie script for this film. Watch it for Joe and Lou and Alice.

--sings some of the old songs, has beautiful costumes and hair styles(wigs?), and Don Ameche, Henry Fonda, Edward Arnold and Lynn Bari as co-stars. The facts of the story may be wrong, but who cares? What biographical movie is about facts? On a cold day in a warm house(or vice versa), just sit down and listen to Alice sing and enjoy an old-fashioned film. 7/10

In this Hollywood biopic of the famous singer Lillian Russell, Alice Faye is given plenty of her two fortes: late 1800s dresses and tons of songs. Do you want to see her singing "After the Ball"? Rent this movie.

At the beginning of the movie, Alice and her mother Helen Westley meet the handsome Henry Fonda. Then, he opens his mouth and Alice runs away to marry Don Ameche-I'm just kidding! She does run away to marry Don, though, which is no surprise given how many movies they made together. And, since there are other men in the movie, Warren William and Edward Arnold, and Alice is given plenty of songs to sing, Henry Fonda has hardly any spoken lines, which makes it much more enjoyable.

This was one of Alice's most famous films, so if you like her, or if you like classic musical biopics, you're going to want to rent this one, alongside Rose of Washington Square and The Girl in the Red Velvet Swing. These movies, lush and fluffy, are always fun, even when they're dramas. Endless musical numbers with beautiful costumes are the best type of escapism, aren't they!

The actors were brilliant in trying to portray such a complex person in such a complex time. The costumes were beautiful.

You do not have to use any imagination to try to figure out the characters and the way they dressed and the way they spoke.

Thank you for doing such a wonderful job. This movie is a true treasure. We are surely blessed with such wonderful artists.

These are truly gifted actors portraying a special time in our history.

The theatre was such a huge part of the American culture. It was the only form of entertainment.

It must of been very magical to witness a play by candle light.

In the 1930s and 40s, Hollywood made a ton of bio-pics. In most cases, the actual peoples' lives were only the barest of outlines for the films--with SIGNIFICANT padding (in other words, outright lying) to make the films more marketable. While the films were generally pretty enjoyable, they also were pure bunk--so when watching any biography from this period, take what you see and hear with a grain of salt. I say all this here because "Lillian Russell" is just one of those films--filled with fiction and is only a biography in name only.

While in some ways this film is accurate about the great stage actress Lillian Russell, here are a few ways where the film is total bull:

The film shows Lillian's parents as a loving couple. They actually separated when Lillian was 18 and she and her mother moved across country--leaving dad behind.

Lillian's first marriage in the film is the biggest problem in the film. Her creepy husband (Don Ameche) dies--leaving her a sad, sad widow who then sings HIS song as a tribute to him. In reality, it turned out this total louse was ALREADY MARRIED!!!! When Lillian discovered he was a bigamist, she divorced him! Some love story!!! He also was her second husband--and she'd been cheating on her poor old first husband!

Lillian was married four times...but not in this movie! She only married once and there is an implied marriage at the end.

Her beautiful baby is important in the film. The fact that it died as an infant was never mentioned!

Lillian herself was a feminist and suffragette--writing articles and speaking out for the cause. None of this is in the film and only her mother's political aspirations are discussed--odd considering the film is supposed to be about Lillian.

The film, despite having a completely dull and inaccurate plot, was a big-budget film--with AMAZING sets and lots of stars. It was odd, however, that despite having many big-name actors in the film that they were often used very poorly. Don Ameche, probably Fox's #1 male star at the time, plays a simpering loser--who also behaves VERY creepy 80 minutes into the film (where he basically says she can NEVER, NEVER leave him--even if she wants to!). Clearly it was NOT a role suited to such an illustrious star and might have been better for Boris Karloff! Henry Fonda basically plays a love-sick loser....and a creepy one who has stalked her from afar. Warren William is in the film...and that's all that can be said about his part. Pretty much the same can be said for Leo Carillo. Edward Arnold isn't bad as Diamond Jim Brady, however, and Helen Westley is GREAT as grandma. And as for the star, Alice Faye, this is one of her best films and the makeup and costuming folks have made her radiant. Clearly the women in this film outshine the men--as if the men, for a change, are more window dressing than people.

The overall verdict is that although the film looks great and has some decent moments, it's a dull, bloated and incredibly inaccurate film. By the way, there is a VERY funny glitch at the 89 minute mark. Lillian picks up her crying baby. The closeup of the kid is of a completely different kid--with the hair changing from brown to blond before your very eyes--and with a completely different face!! Didn't they think anyone would notice.

FYI--This film was wildly inaccurate that there is a special feature on the DVD entitled "A Woman Like No Other: The Real Lillian Russell"! It is worth seeing. It also shows that Lillian's life was FAR more interesting than the 20th Century-Fox film!

It is such a rare treat to see a biographical film which treats its subject with respect and class. Lillian Russell was kind of a wild woman; she would be an easy target for the right. However, instead of pandering to the right or left, this film presents her as completely charming, human, and lovable. There is something admirable about a film which is not afraid to show only the good in people, and forget the rest.

Alice Faye is a treasure. The songs are first-class. The supporting cast is terrific; Henry Fonda is in particular easy on the eyes. Faye gets ample screen time, for once, and is lovingly photographed and gowned in every scene.

The Fox DVD looks and sounds perfect.

Henry Fonda is thrown into action by trying to halt two spirited horses charging down the street with an open carriage. This is the kind of incident that propels a story forward. Without it, there's no need for Fonda to be in the film.

You get a clear sense of who Lillian Russell is. She wants to sing on stage just like an actor wants to act in the theatre. She is consumed by her ambition and cannot see herself doing anything else.

I'm not particularly a fan of Don Ameche and I'm not sure if he contributes anything to this film.

It touches on the Suffragette Movement, but that's just a backdrop. It's not the story.

Overall, it plods along without any engagement in terms of story or character. Fonda fans would do well to stay away from this film.

I mostly agree what the others have said about "Lillian Russell", dullest biographical film ever made but Alice Faye is beautiful. "Lillian Russell" is lush, sweet but overly sentimental biography of the famous stage singer through her affairs with Edward Salomon (Don Ameche) and Alexander Moore (Henry Fonda). I'm a big Alice Faye fan and though "Lillian Russell" is throughly unexciting, I kept watching it because of Faye's presence. Her singing was a big plus.

I was delighted by this little known film about a successful and talented woman entertainer before the time of film-making. A popular and alluring entertainer, according to her biography (which is an extra on this film) with surprising results. There were a number of things about the original Lillian Russell character that were played down in the film for some reason. This i found somewhat disappointing because it would have been nice to see more of her daring eccentricity, versatility and more of her entertaining potential instead of just swooning deep melodies by the luscious Alice Faye (and of her 4 marriages).

The film was beautifully led by Alice Faye though, who is a star in her own right and who shines like the classy madonna she is; very beautifully and alluringly entertaining, but this seems to almost misplay the character of the true Lillian Russell. They have their own styles that don't seem quite to match. The plot was also somewhat adjusted to disclude her first child and husband from the picture all together which is a tragedy significant to impact anyone's life story. Regardless, I did not find this story boring like other watchers. Instead I found a delightful classic: a surprisingly gentle and pleasant tale conserving the memory of a fading star. In doing so, it drew someone like me, of generations separated, to gain some insight and appreciation for a lady of an age where women were just beginning to arise in society to a more reasonable social compatibility.

... this time with music, from 20th Century Fox and director irving Cummings. Helen Leonard (Alice Faye) hopes for a career in the opera, but is told her voice isn't good enough. However, since she's so stunningly beautiful, she should still get musical training for the traditional theater, because that's how that works. Theatrical producer Tony Pastor (Leo Carrillo) discovers her and, changing her name to Lillian Russell, he makes her a stage star. Her talent wins her fans the world over, as well as the admiration of many powerful men, such as Diamond Jim Brady (Edward Arnold) and songwriter Edward Solomon (Don Ameche), but her heart truly belongs to hometown reporter Alexander (Henry Fonda).

People spend a lot of time in this movie telling Alice Faye as Lillian Russell how beautiful she is. A lot of time, repeatedly warning her that her beauty is so magnificent that her life will be difficult because of it. Faye is told how gorgeous she is so many times that it starts to seem like a self-esteem exercise rather than a narrative. And I don't find Faye that pretty, to be honest, so it makes the repetition that much more noticeable. Ameche plays a grouch, and Fonda has to do his wide-eyed sincerity good-guy shtick, while Arnold hams it up repeating a role he had played in an earlier film, and Warren William is completely wasted. Fonda was said to have regretted this movie the most of any he did under contract to Fox.

The musical aspects are also lackluster, with no major musical numbers, just pieces of songs here and there, and a couple of minor full performances. Like many of these biopics, it's also an excuse for some nostalgia wallowing, this time with Eddie Foy Jr. Playing his father doing an old stage bit, and vaudeville comedy duo dinosaurs Weber & Fields doing some hoary bits. The movie earned one Oscar nomination, for Best Art Direction (Richard Day, Joseph C. Wright).

The costumes and some musical numbers keep this movie from being a total flop, but you have to give the makers a hand, they really tried for awful and only missed by a little bit. Alice Faye is at her bland worst. The songs are well sung with all the life of overdone spaghetti.

Lillian Russell was a fascinating woman with an incredible life. Her fame within her lifetime was enormous. She had an early childhood that gave her independence and made her an early suffragette. Her four husbands, the long time affair with Diamond Jim Brady, her later career when her voice failed, her activities during WWI all add up to a movie that should be made in the future. Maybe someday a movie will do her justice. This one isn't it.

The restored DVD version of this film is a joy to watch. The black and white contrasts are sharp and clear, doing justice to the lavish sets and absolutely gorgeous costumes (certainly would have been nominated for an award in this category, had it existed in 1940). Alice Faye's rich voice is, as always, unmistakable and haunting, and she gets a chance to sing a variety of songs, including "After the Ball" and the beautiful "My Evening Star." She was convincing in a surprisingly nuanced role...and quite moving as the film develops. It's a treat to see her, Don Ameche, Henry Fonda, Edward Arnold and a host of supporting character actors. OK, the plot is not true to Lillian Russell's life, and Alice Faye is not a soprano, as was Russell, but as a piece of nostalgic entertainment, this movie delivers...and is testimony to Alice Faye's talent and appeal.

In 1940, Faye and Ameche were at their very peak, and Fonda was getting there. Why the team behind the camera wasn't in equal shape, is beyond me. The script depicts the life of Faye in random and mostly boring or over-romanticized episodes, which force both Faye and Fonda merely to gaze into the air longingly for most of this long, long picture. Ameche fares a bit better, at least he gets to die and thus bow out of this boredom gracefully. Everything screams out for Technicolor, but it never arrives.

Lillian Russell led an exciting, greedy, full life on both sides of the Atlantic. I never believe she came close to the wide eyed angel Alice Faye is on the screen. Another thing: Russell was a renowned lyric soprano, who sang for large audiences in opera houses. She sang a lot of Gilbert and Sullivan - but there's not a bar of G&S sang in the film. Edward Solomon composed about a dozen comic operas during his short life, and Lillian Russel starred in many of them both in the US and in London. Not a bar of Solomon's music is heard in the film. Instead we are smothered by two very typical 1940 sob ballads to represent his music. Even though Alice Faye wasn't a bright soprano but a husky contralto, these facts make the film musically very implausible.

Also, the events represented as facts are pure fiction or selective at best. Russell's first marriage to an elderly orchestra leader, the birth and death of her first daughter are totally omitted. So is her London career - we are left with the impression that she languished in London until Mr Gilbert took pity on her and let her do one number of Mr Solomon on Savoy stage. In fact she had several London hits starring in both G&S and Solomon's operas. Solomon didn't drop dead in their London apartment, but died of typhoid fever after their marriage had been annulled. Russell didn't even sing After the Ball over the long distance to the President, because this song hadn't been composed yet (she sang The Sabre Song by Offenbach).

The film is finally cut short as she realizes Fonda is the love of her life and falls into his arms. Russells later life is omitted, even though she became an honorary Sergeant during the WW I and president's special envoy to Europe after the war.

I can't help but think that this picture would have fared much better with, say, Deanna Durbin in the lead role. At least we would have heard some proper music. This must have been one of the weakest films for every star cast.

Alice Faye is a sheer delight in this biography of singer Lillian Russell, from her discovery in 1890 by bandleader Tony Pastor until her marriage and retirement in 1912. In between Faye sings the American classics that Russell made famous, including "The Band Played On" and "After the Ball." --Musicals on the Silver Screen, American Library Association, 2013

Prolific actor/director Irving Cummings had past form with biopics and big musical extravaganzas and was also used to helming vehicles for big female stars such as Betty Grable, Shirley Temple and the leading lady here, Alice Faye. This is a lavish, big budget affair but a highly sanitised account of American songstress and actress Lillian Russell's life. She is depicted here as nothing short of a saint and though one wouldn't wish a hatchet job, it stops her from being a fully rounded, complex human being. That's not to say that Faye is bad, the fact we buy into this saintliness, shows how magnetic her presence is. Director Cummings marshalls a superb cast and does just enough with the musical segments without over egging the pudding. There are too many good performances for me to list them all here but in the main cast Henry Fonda is wonderfully earnest and Edward Arnold wonderfully hearty as two of her suitors, Helen Westley brings cheekiness and twinkle to Russell's grandmother and Leo Carillo is charismatic as the man who 'discovers' her and gives her her stage name. The support is no less good with Weber & Fields appearing as themselves and Eddie Foy Jr playing his own father in thoroughly enjoyable music hall skits (even though we don't really need them!). Una O'Connor also pops up and gives warmth to her role as a maid and finally, Nigel Bruce and Claud Allister are great fun as a bickering Gilbert & Sullivan who put you in mind of Waldorf & Statler! Bruce is on particularly good form, cantakerous but still loveable and funny. The duo have three short scenes and it is a pity we don't see more of them. Recommended viewing then but look elsewhere if ou want the true story!

"Lillian Russell" is a disappointing biopic about a famous American performer and celebrated singer of the late 19th and early 20th centuries. As others have noted, this is a very sanitized and fictional story. It has three strikes against it. The first is its historical inaccuracies, deletions and fabrications (a polite way of saying something is a lie). The second is its failure to develop the character and persona of Lillian Russell. It doesn't let the audience see what it was about her that made her so all around liked and loved. She was known for her beauty, voice, and stage presence. There is a little bit of it in Allice Fay's portrayal, but it just plops onto the screen. The third is the singing - specifically, a lack of much music and especially of knowing what Russell sounded like. What was her voice like and what were the songs that so endeared her to the public?

Now, I enjoy Alice Faye and her singing. She was a very good singer. But her low, sultry voice was far different from the voice of Lillian Russell's. Perhaps that's why there is so very little singling by Faye in this film. And, that 's a waiving sign that this would not be a film very much about the talents and the person.

Lillian was born Helen Louise Leonard on December 4, 1861, and raised in Iowa. In real life, her mother left her father and moved to New York with Helen, in the hopes of her becoming an opera singer. It wasn't her father or grandmother who supported her singing, as the film shows. She did get training, as shown, from Leopold Damrosch. And, her voice was near operatic soprano. Alice Faye's voice, on the other hand, was a low or husky contralto. One can hear a recording of Lillian Russell on You Tube. It's from 1912, after her return to performing, and she sings "Come Down Ma Evenin' Star."

One can't fault Alice Faye for her excellent voice, because it's different than Russell's. But one can wonder why someone closer to Russell's character and voice wasn't cast in the part for this film. For instance, Jeanette MacDonald. There are pictures of Russell and MacDonald in which they even look somewhat alike. A person's size and physical shape otherwise isn't very important in making biopics, with the possible exceptions of portrayals of prize-fighters and Olympic weight-lifters. Except for Russell's buxom and full shape, at five and half feet, she was just one inch taller than Faye and two inches taller than MacDonald

And, Jeanette MacDonald had more going for her. She had made many musicals and had the persona and character of someone with a great stage presence. Indeed, with her soprano voice, the film could easily have had some more songs that Russell sang.

This film has one huge plus that enables me to rate it five stars. And that is the very good and considerable portrayal of Russell's relationship with Diamond Jim Brady. Edward Arnold was the right choice to play Brady, since he had played the lead role in the 1935 biopic about him, "Diamond Jim." That was a very good biopic, and while it showed some of Brady's relationship with Lillian Russell, it begged for more on that. Binnie Barnes played the role of Lillian Russell in that film and sang one number that very closely resembled Russell's voice. Early in her career, Barnes had worked as a chorus girl.

Hollywood has made many movies about the lives of historical figures and famous people of the past. Most of the good biopics have been based on biographies or autobiographies. While some have included a number of scenes at different times in a persons life, most of these concentrate on special adult years of achievements, discoveries, or works. Naturally, condensing a life's story or even a period of a few years into a movie of less than two hours requires many short cuts. But most movies about historical figures have tried to include the key aspects of the person's life and relationships that were of prominence during their lives. And, while some things are touched up, softened or glazed over, the films seldom tried to completely cover up some aspects of the life of the person.

Many musical biopics also have tried to closely follow the lives of their subjects, including controversies, conflicts and personal problems and trials. So, there are many very good and great musical biopics, such as: "The Fabulous Dorseys" of 1947, "With a Song in My Heart" (Jane Froman) of 1952, "The Glenn Miller Story" of 1954, "The Benny Goodman Story" of 1956, "The Five Pennies" (Red Nichols) of 1959, "Amadeus" of 1984, "Ray" (Ray Charles) of 2004, "Walk the Line" (Johnny Cash) of 2005, "La Vie en Rose" of 2007 (Edith Piaf).

Perhaps one day there will be a very good biopic done about Lillian Russell. One with a truer portrayal of her life. And, with an actress with a similar voice, beauty and presence. And with some good songs and scenes from operettas and shows that Russell performed in.

With quite a cast and that Lillian Russell was quite a colourful entertainer, 'Lillian Russell' could have been a great film and should have been better than it was. It's certainly not unwatchable, not by a long shot, but it isn't good enough for repeat viewings.

The best thing about 'Lillian Russell' is the production values, so good in fact that one feels cheated that they didn't have the rest of a good film to match. Not just that the film is very beautifully and intricately shot, but the settings and costumes are just so exquisitely lavish. Also great are the music and songs, filled with energy and emotion as well as giving a real sense of period.

Alice Faye lights up the screen with her allure and she is a real charmer in the acting stakes, injecting enthusiasm and substance despite the script fighting her a lot of the time. Helen Westley and especially Edward Arnold also significantly rise above their material, and Joe Weber and Lew Fields' scene is agreed theatrical magic that makes one pine why the rest of the film wasn't up to the same level.

Henry Fonda is as stiff, colourless and as miserable-looking as one could possibly get, if he did indeed hate the film or making it that certainly comes through loud and clear. Don Ameche's role should have been tailor-made for him, but it is so blandly written that he is practically lost at sea. Leo Carrillo and Nigel Bruce are wasted.

Crippling 'Lillian Russell' in particular are two big things. The very dreary script, high in clichés and awkwardness and very low on depth. Even more so the over-stretched and bloated story, with an incredibly plodding pace to boot, suffering from trying too cram in too much and too many scenes being over-produced. Despite an eye for detail, 'Lillian Russell' is very lethargically directed too, almost like a lot of care and effort went into the production values and song selection but lost enthusiasm for almost everything else.

On the whole, visually exquisite but plodding and bloated, there are few biopics duller. 5/10 Bethany Cox