Rating: NR
Genre:
Musical
Release Date: 04/25/2006
SubTitles: English/French/Espanol
Dubbed: English
Sound: DD2
Run Time: 117 Minutes
Distributor/Studio: Warner Home Video
The presence of
William Powell as legendary showman
Flo Ziegfeld at the beginning of
Ziegfeld Follies might lead an impressionable viewer from thinking that this 1946 film is a Technicolor sequel to the 1936 Oscar-winning
The Great Ziegfeld. Not so: this is more in the line of an all-star revue, much like such early talkies as
Hollywood Revue of 1929 and
Paramount on Parade. We meet a grayed, immaculately garbed
Ziegfeld in Paradise (his daily diary entry reads "Another heavenly day"), where he looks down upon the world and muses over the sort of show he'd be putting on were he still alive. Evidently
Ziegfeld's shade has something of a celestial conduit to
Metro-Goldwyn-Mayer studios, since his "dream" show is populated almost exclusively by
MGM stars.
Vincente Minnelli is given sole directorial credit at the beginning of the film, though many of the individual "acts" were helmed by other hands. The Bunin puppets offer a tableau depicting anxious theatregoers piling into a Broadway theatre, as well as caricatures of
Ziegfeld's greatest stars. The opening number, "Meet the Ladies", spotlights a whip-wielding (!)
Lucille Ball, a bevy of chorus girls dressed as panthers, and, briefly,
Margaret O'Brien.
Kathryn Grayson and "The Ziegfeld Girls" perform "There's Beauty Everywhere."
Victor Moore and
Edward Arnold show up in an impressionistically staged adaptation of the comedy chestnut "Pay the Two Dollars".
Fred Astaire and
Lucille Bremer (a teaming which evidently held high hopes for
MGM) dance to the tune of "This Heart is Mine." "Number Please" features
Keenan Wynn in an appallingly unfunny rendition of an old comedy sketch (performed far better as "Alexander 2222" in
Abbott and
Costello's
Who Done It?)
Lena Horne, strategically placed in the film at a juncture that could be edited out in certain racist communities, sings "Love".
Red Skelton stars in the film's comedy highlight, "When Television Comes"-which is actually
Skelton's classic "Guzzler's Gin" routine (this sequence was filmed late in 1944, just before
Red's entry into the armed services).
Astaire and
Bremer return for a lively rendition of "Limehouse Blues".
Judy Garland, lampooning every Hollywood glamour queen known to man, stops the show with "The Interview". Even better is the the historical one-time-only teaming of
Fred Astaire and
Gene Kelly in "The Babbitt and the Bromide". The excellence of these sequence compensate for the mediocrity of "The Sweepstakes Ticket", wherein
Fanny Brice screams her way through a dull comedy sketch with
Hume Cronyn (originally removed from the US prints of
Ziegfeld Follies, this sequence was restored for television). Excised from the final release print (pared down to 110 minutes, from a monumental 273 minutes!) was
Judy Garland's rendition of "Liza", a duet featuring
Garland and
Mickey Rooney, and a "Baby Snooks" sketch featuring
Fanny Brice,
Hanley Stafford and
B. S. Pully. A troubled and attenuated production,
Ziegfeld Follies proved worth the effort when the film rang up a $2 million profit.
~ Hal Erickson, All Movie Guide
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