Ziegfeld Follies

If a star-studded Hollywood cast from the 'Golden' years makes you enjoy a film, that alone will be enough to tide you over the nearly 2 hours of this musical bonanza. It seems nearly everyone is present.

True to the nature of the revue, there's no story and just a series of vignettes that come and go. Among them, Fred Astaire and Gene Kelly have a dance show-off, your only chance to see one from this time. Esther Williams gives us a lovely underwater ballet, I would like to see more of her.

In spite of the scale of the production, the lavish sets and elaborate costumes, this is not, of course, aristocratic entertainment for those with a refined taste in music and dance but low brow frill aimed at the broad audience.

The revue was television of its time - an opportunity to shift among a few fluffy entertainments after a long day, nothing demanding our engagement beyond the few minutes of a skit. These days it seems to survive in SNL. The bits here alternate between broad comedy skits and song and dance numbers.

It's not bad, not particularly great either. It's not what I look for in a musical, and I will always opt for the fuller engagement of long narrative.

More interesting for me here are all the self-referential bits.

In the Astaire/Kelly show-off Fred, established musical royalty, plays a joke of pretending to not know who Kelly is.

Judy Garland enters her segment as herself, musing to a chorus of reporters about preferring song and dance roles rather than dramatic.

These people are here as themselves, the veneer of fiction is thin, opportunity for scenery and costume. You'll see some gorgeous examples of both, among the standouts for me being the all red ballroom in which Astaire swindles the rich countess and the dreamy finale, with chorus girls swirling through billows of bubbly foam. Briefly glimpsed among them is Cyd Charissee in her first appearance.

The whole is framed as Ziegfeld in heaven reminiscing about the shows he put on.

My favorite bit is the Chinatown skit with Astaire as a poor coolie dreaming about a woman he passes by on the street. His unrequited love becomes a dance they have together holding hand fans.

When I first heard about this movie, & saw that the real Fanny Brice, Red Skelton, Judy Garland, & all the other greats from this era were in this, I knew I had to see it. I only wish the whole film lived up to the sum of its parts. The star power in this movie would blow anything over.

I think the fault here is that the film comes off as a lot of dis-jointed performances which while well-staged & good, have nothing to tie you to the film & stay interested in it. The great musicals such as 2006's DreamGirls have that kind of thing. As a result, the main interest for someone watching this is to take a DVD of it with a scene menu & go to you favorite performers part in it.

After seeing Streisand play Fanny Brice, it is interesting to see the real woman as she was versus Bab's portrayal of her. This film is lavish & MGM's Technicolor is great as usual. The film just doesn't flow very well which is a shame. It looks like no one wanted to hire good writers for a script.

MGM made this on the presumption that just the stars would put people in the theater seats. I bet it did in it's time, but I only wish it had been done better now.

Let's give this movie credit for one thing: it doesn't claim to be anything other than what it is: an unconnected series of musical numbers and comedy sketches, meant to honor the late Florenz Ziegfeld. So, if that is what you want, terrific. If a particular scene bores you, you can fast-forward through it without missing anything.

The strength of the film was the wise decision to let Fred Astaire appear in more than one number. His dancing and on-screen personality are always delightful, because his joy in performing is obvious and catching. The highlight of the movie comes in the last performance, when he performs a wonderful tap-dance and singing number with Gene Kelly. They are so palpably having a good time that you almost forget how dreary so much of the rest of the film was!

The comedy sketches are absolutely the most miserable and un-funny things ever captured on celluloid. Painful, painful, painful. Good grief, do they drag on forever. Keenan Wynn performs an old Vaudeville sketch in which a man cannot get the operator to put his call through to a nearby number, while a parade of other characters have no problem putting calls through to the most obscure and distant locations on the planet. Potentially funny, yes? Well, yes, when Lou Costello did it two years earlier in "Who Done It" - that was the definitive version of the sketch. It is one of the funniest things Lou ever did. Why in the world would MGM have Wynn try to do the same sketch - he tries very hard to mimic Lou Costello's facial contortions and grunts and squeals of frustration - but it stinks.

And the "Pay him the two dollars" routine with Victor Booth and Edward Arnold - well, if this represents Vaudeville at its best, then I guess I don't regret not having been alive to see it after all. And Victor Hume takes a rare stab at comedy too; he appears to be trying to mimic Shemp Howard, and none too well at that.

The musical numbers in general are what you would expect from MGM - lavish, expensive-looking, and otherwise spectacular.

While it may not be everyone's cup of tea, I actually enjoyed the claymation at the beginning of the movie. One of the most bizarre and surreal scenes in any MGM movie ever has to be the 45 seconds of Eddie Cantor, in glorious claymation, and in blackface, for goodness sake, singing "If you knew Susie". It is hilarious, and the claymation really captures Cantor's performance style to a Tee - for comparison, I strongly suggest you watch "A Few Minutes with Eddie Cantor" (1923, in sound) on Youtube.

And speaking of classic Hollywood racial insensitivity, a long "drama in pantomime" features Fred Astaire and as a Chinese, stalking another white actress pretending to be Chinese. You really have to shake your head. And are Fred and Gene dancing in front of a statue of Civil War General Nathan Bedford Forrest? Perhaps not, but he sure looks Confederate....

Like I said, Ziegfeld Follies gives you get exactly what it claims to give you. But have the fast-forward ready.

If you get easily bored with those old movies that seem to roll and roll forever, this is for you. It really has no plot, but you really don't need one. You could call this movie the Grand Ball, because it really is a set of dances. (Except for a few comedy scenes) Overall, I strongly believe that it is a really good movie, especially in those Fred Astaire numbers (Here's to the Girls, This Heart of Mine, and the Limehouse Blues) This movie is a real MUST for classic movie and Ziegfeld lovers alike.

Ziegfeld Follies is a musical comedy from 1946, from the time when they made lots of musical movies.There really isn't a plot in this movie, but who needs one anyway.As long the musical numbers are working, you really don't need a plot in a movie like this.And then there are also some really funny sketches in the movie.Especially I liked Red Skelton's and Keenan Wynn's acts.They really make you laugh.And then it is great fun to watch Fred Astaire's and Gene Kelly's musical number.This was their only musical act together.Ziegfeld Follies has many great musical numbers.The younger generation doesn't care so much about musical movies, but I'm a teen ager and I like these old musical movies.These kind of movies make me miss those times, and I wasn't even born back then!