Ziegfeld Follies, seeing it again takes me back to the first time I did see it. At the old Ziegfeld Theater now converted to a movie house where for $2.00 I could spend the day with Ziegfeld. A triple feature ran that day. The Great Ziegfeld, Ziegfeld Girl, and Ziegfeld Follies ran back to back. Things started around 10:30 am. and I didn't leave the theater until 7:30 pm.

This film was MGM's attempt to create the Ziegfeld Follies and what it was like to see it on stage. At a time when every studio was creating all star musical films as morale boosters for the war, Ziegfeld Follies is the only one of the whole bunch that has absolutely no mention of the war. In fact it's a one and only throwback to the all star musical films that sprouted out at the beginning of the sound era. It more properly belongs with films like Paramount on Parade, Fox's Movietone Follies, and The King of Jazz.

MGM had more musical talent at its studio than any other and in Ziegfeld Follies they used it all and then some. The introduction is provided by William Powell reprising his role as Florenz Ziegfeld. He's in his heavenly digs now, reminiscing about the great times on earth and the great shows he put on. If he were doing a show today, he'd first begin it with a great star like Fred Astaire. Then Fred takes over and the show begins.

Arthur Freed who also contributed some lyrics here as well, produced Ziegfeld Follies and under his banner various directors and writers and performers all got to do their thing. Two performers Fanny Brice and Victor Moore got to do some of the comedy they did back on the stage and for Ziegfeld. It's a pity Eddie Cantor who was still alive and very much active couldn't be brought in. He's only seen at the beginning in an animated version. W.C. Fields who also starred in the Follies as well on stage probably was in bad health, bad temper or both.

I'm sure that Ziegfeld would have loved the talent assembled here. It ranges from the Metropolitan Opera's James Melton to vaudeville's Red Skelton. In fact my favorite comedy number from the film is Red Skelton doing the Guzzler's Gin Program and lamenting the fact that next time he gets oatmeal for a sponsor.

My favorite musical number is Lena Horne singing the song Love in a Caribbean setting. One of Ziegfeld's famous headliners was the famous black comedian Bert Williams. To not have a black performer in this cast would have been an insult to Ziegfeld's memory as well as a whole race of people. Lena Horne's act isn't exactly the same as Bert Williams's, but her singing of Love is the musical highlight of the film.

Until That's Entertainment II, Ziegfeld Follies was the only film in which Fred Astaire got to dance with Gene Kelly. Although Astaire has a few numbers here, this is Kelly's only appearance. They do George and Ira Gershwin's The Babbitt and the Bromide which Astaire did with his sister Adele back in the Twenties. It's not the best work for either of them, still it's a twice in a lifetime treat.

Films like Ziegfeld Follies can never be done again because the studios that had all that talent under contract are gone. But Arthur Freed shot almost double the amount of numbers and many things were cut. I think it would be great if we could get the footage restored if MGM bothered to save it.

A director's cut Ziegfeld Follies. To really fill your day with the magic of a Ziegfeld show.

There are two main sorts of musical fans--those who really want to see singing and dancing and those who want a plot as well as SOME singing and dancing. I am definitely in the latter category and absolutely demand a strong plot to anchor the film. Because of this, "Ziegfeld Follies" is exactly the sort of film I do NOT like, as there really is no plot. It's much more like an MGM talent show with one skit after another tacked together. Each segment stands on its own and is either a BROAD comedy skit or a musical number.

The film begins with what is supposed to be a plot--but it really isn't incorporated into the rest of the movie. The film begins in Heaven--with Flo Ziegfeld thinking how great it would be if he could do one last show--then the skits follow. They are all very pretty--with lovely sets, top actors and vivid color. But, on the other hand, none of the many segments is particularly good. No plot--just a nice looking MGM talent show.

If you don't care about a complete absence of plot and don't mind watching second-rate dancing and singing and third-rate comedy, then by all means watch "Ziegfeld Follies". However, MGM made many, many musicals that are simply better--and with engaging plots. Not exactly my sort of film.

By the way, there is an Esther Williams swimming number in this film that is SUPPOSED to be a stage show. How in the heck could ANY audience sitting in a theater really see an Esther Williams dance number?! This has always perplexed me about a lot of her films, as there is no way the audience could even see most of the water ballet in these numbers unless they are up on stage or sitting in the rafters!

There is a lot of talent on display in Ziegfeld Follies, including some of MGM's finest, and while it is a very uneven film there's a lot to enjoy. Those expecting a good story or comedy that makes one laugh will be disappointed, but those who love great production values, even better music and dancing and some great performances will find a lot of pleasure.

Ziegfeld Follies is practically plot less(being more of a comedy and musical revue and nothing else),and does suffer from some uneven pacing. Most of the time the film zips along nicely, but some segments like Love and the La Traviata segment I wish were longer(lovely, beautifully performed scenes but too short) and a lot of the comedy sketches do go on for too long, which sags the pacing. Most of the comedy scenes don't work, with the exceptions of the amusing if slightly over-the-top Fanny Brice sketch and Pay the Two Dollars. Keenan Wynn's however is grating and embarrassingly out of place and Red Skelton's is a little overplayed and goes on for too long.

However, the Technicolor is glorious and the costumes and sets dazzling in rich colour. Limehouse Blues and especially This Heart of Mine, with its beautiful framing, are particularly strong in this regard. The film is very charming and was clearly done with a lot of heart and affection, and while it's uneven a lot of it entertains. It's solidly directed, the songs are spirit-rousing and exquisitely beautiful, Love and This Heart of Mine being the standouts. The choreography has a lot of energy and very accomplished in moves and execution. Esther Williams' water ballet while not one of the film's most memorable moments is very nicely done, but the heart-stopping Pas De Deux for This Heart of Mine and the amazing energy of The Babbitt and the Bromide.

Of the numbers, while Limehouse Blues was fun, Lucille Ball's number was interesting and Ball is more tolerable than usual and Love was beautiful, three stood out. One was Judy Garland's very witty The Great Lady has an Interview, which shows that Garland had some good comedy acting chops. Two was The Babbit and the Bromide, interesting for being the first time for Fred Astaire and Gene Kelly to dance together, and while it doesn't see either man at their best it's a superbly danced and exuberant routine. The third one, and my personal favourite, is the heavenly This Heart of Mine, a perfect marriage of visuals, music and dancing.

In conclusion, patchy, with the lack of story, uneven pacing and flat comedy, but very enjoyable, thanks to how good it looks and sounds and how well it's performed on the most part. Not a must see, but definitely worth a look at least once. 7/10 Bethany Cox