Mädchen im Rampenlicht

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.

Three girls get a chance to being new Ziegfeld girls. Elevator girl Sheila Regan (Lana Turner) with boyfriend Gilbert Young (James Stewart) finds herself pursued by a millionaire. Susan Gallagher (Judy Garland) has to abandon her vaudeville act with her father. Sandra Kolter (Hedy Lamarr) is a mystery woman from overseas.

The cast is filled with legendary names. That alone makes this an interesting movie. Each girl's story is compelling to some extent. At least, it's interesting to watch the legendary beauties. The least interesting is the actual Ziegfeld Follies. It's only a line of beauties walking down the stairs in costumes. The song and dance for the three is mostly walking around. It's not much of a song and dance play. Judy Garland doing vaudeville with her show business father is far more interesting. Of course, she is perfectly comfortable with that. Lana Turner gets to play opposite Jimmy Stewart and has the juicier story. Hedy Lamarr has the least compelling story which ends with simply walking away. All in all, it's a great star watch and a functional musical.

Very odd MGM musical that mixes huge production numbers with depressing, heavy-handed melodrama. The main characters are played by Judy Garland (great and full of life), Jimmy Stewart (looks and acts miserable), Hedy Lamarr (incredibly beautiful but vacant), and Lana Turner (pretty good until she goes bad and REALLY overdoes it). Everybody looks fantastic...even Turner when she falls apart.. The production numbers are astounding with unbelievable costumes (this film really should have been in color). They're very long but never dull...the standout numbers are "You Stepped Out of a Dream" and "I'm Always Chasing Rainbows". The one problem is the melodrama is really overwrought and overdone. It drags the movie down and makes it seem much longer than it is (there's no reason for this to be dragged out over 2 hours). Still, see this for the songs and costumes.

I first saw this film at the old Ziegfeld Theater in Manhattan back in the Sixties. The theater was showing a triple Ziegfeld feature: The Great Ziegfeld, Ziegfeld Follies and Ziegfeld Girl. It ran over 8 hours and I was blinded by the sun as I emerged from the darkened theater.

It was all worth it because as the cliché goes, they really don't make them like that any more.

Seeing it today or even in 1967 one probably wonders why one doesn't see Mr. Ziegfeld in this film. He's a shadowy genius and his two aides Paul Kelly and Edward Everett Horton are in operational charge of his shows in Ziegfeld Girl.

My answer is that William Powell who made such an impression as the great Broadway producer in The Great Ziegfeld five years earlier was probably not available for this film, that Louis B. Mayer had him committed to other projects. And Mayer probably decided that no other player would stand comparison.

Anyway this film is the story of three women who are picked for the Ziegfeld Follies. Three beauties as it were; Lana Turner, Judy Garland, and Hedy Lamarr.

Lamarr has her fling with success and a fling with married singer in the show, Tony Martin. After that she decides to work on her own marriage to violinist Philip Dorn.

Garland of course has real talent and she has the success similar to what she normally has in her 'let's put on a show' movies with Mickey Rooney. Like in her own life, her character is a child vaudeville trooper and her dad is played by Charles Winninger. The family name for Garland and Winninger is Gallagher. And this plot device allows Al Shean to revive his old vaudeville act with Winninger. Shean himself was a Follies veteran with his late partner Ed Gallagher and the two of them had a great patter number, Mr. Gallagher and Mr. Shean and it was revived very nicely here with Winninger pinch hitting.

Turner is the quintessential girl from Brooklyn who's discovered while operating an elevator for the Follies. She's a girl with a taste for the material things that her truck driver boyfriend James Stewart can't provide. She gets them though, fame, wealth, expensive grown up toys for girls; but at a big price.

Except for the Gallagher and Shean number the musical chores here are carried out by Garland and Martin. Judy's numbers are nice, especially Minnie from Trinidad. But the hit of the film was sung by Tony Martin with You Stepped Out of a Dream. That song was the last lyric written by Gus Kahn who was one of the great Tin Pan Alley lyricists back in the day. Kahn died after this film was completed.

Fans of Judy Garland who are still legion will love this film. Fans of musicals in general will find it very entertaining.

I was expecting more from this, because it has a promising cast and the same director as *The Great Ziegfeld*, which MGM had released five years earlier.

Granted, the premise is hackneyed: three young women are accepted into the Follies and have to deal with the problems that come with fame, especially fame for appearing in a (for its day) skimpy costume.

But, with the exception of Garland's character, the others don't get any good dialogue, no chance to become more than cardboard characters.

At one point, we see Al Sheen do (parts of) his famous vaudeville routine with Charles Winninger replacing his old colleagues Pat Gallagher. Part way through we cut away to an uninteresting moment of drama, rather than getting the whole of what could have been one of the highlights of this film.

The musical numbers here are often lavishly staged, but not in an interesting manner. If you compare it to MGM's *The Great Ziegfeld*, you can see the difference.

That is especially true of the last number, which reuses the wedding cake set used so spectacularly at the end of *The Great Ziegfeld*. The way it is filmed is bland, however, and nothing like the breathtaking finale in the previous picture.

Lana Turner and Hedy Lamarr both look beautiful in this picture, but they are largely just window dressing here.

In short, a pretty but disappointing picture.