The Goldwyn Follies

THE GOLDWYN FOLLIES (United Artists, 1938), directed by George Marshall, produced by Samuel Goldwyn, who doesn't appear, is a lavish scale musical revue with a slight plot focused on Oliver Merlin (Adolphe Menjou) a prominent movie producer. While attending a sneak preview of his latest movie, "The Happy Tango" he finds audiences laughing at leading lady Olga Sanava's (Vera Zorina) death scene. On location for his upcoming production, Merlin overhears Hazel Dawes (Andrea Leeds), a simple country girl, watching a rehearsal, telling her friend Ada (Nydia Westman) how movies really need to be more true to life. Because of her honesty about film-making, Merlin takes her back with him to Hollywood, hires her as technical adviser, "Miss Humanity," where she is to watch "The Forgotten Dance," an upcoming production, and offer opinions on what should or should not be done. While incognito with Glory (Ella Logan) acting as her chaperon, she meets Danny Beecher (Kenny Baker), a hamburger flipper in a lunch wagon, with a pleasing singing voice. Hazel succeeds in launching his movie career playing a singing gondolier. After Merlin, who plans on marrying Hazel upon completion of "The Forgotten Dance," discovers her love for Danny, he intends on taking him taken out of the movie unless Hazel agrees on becoming his wife.

On the musical program: "Romeo and Juliet Ballet" (performed by Vera Zorina/American Ballet Company); "Here Pussy Pussy" (by Ray Golden and Sid Kuller, sung by Ritz Brothers); "Love Walked In," "Love Walked In" (by George and Ira Gershwin, both sung by Kenny Baker); La Travita Arias: "Libiam Nei Lieti Calici" (sung by Charles Kullmann and Helen Jepson)/ "Sempre Libra" (Jepson and Kullmann); "Love Walked In" (sung by Baker and Andrea Leeds, singing dubbed by Virginia Verrill); "I Was Doing All Right" (sung by Ella Logan); "Love Is Here to Stay" (Kenny Baker); "La Serenata" (Helen Jepson); "Spring Again" (by Kurt Weill and Ira Gershwin, sung by Kenny Baker); Water Nymph Ballet (performed by the American Ballet, Vera Zorina); "Serenade to a Fish" (The Ritz Brothers); "Spring Again" (Kenny Baker); "I Love to Rhyme" (sung by Phil Baker, Charlie McCarthy and Edgar Bergen); and "Love Walked In" (finale with entire cast).

In spite of Menjou heading the cast (even with his misspelled first name reading Adolph), it's Andrea Leeds who carries the film. With such a fine assortment of talent, lavish Technicolor, with the final score composed by the legendary George Gershwin, this Goldwyn production reportedly flopped, understandably, yet a failure that could have been avoided. A "Ziegfeld Follies" Goldwyn style, his attempt to please the masses with comedy, opera, ballet choreographed by George Ballachine, upscale music and lavish production numbers, doesn't always work. At nearly two hours, the final result is a mixed bag, ranging from entertaining to extremely dull. On my initial viewing of this musical hodgepodge on broadcast television (WPIX, Channel 11, in New York City) back in the 1970s, it was one of the few classic films that had me changing channels or turning off the TV at midway point. With the first 20 minutes being close to perfect entertainment, what drew me away were the ballet numbers; and Kenny Baker's tenor-izing singing. Granted, "Love Walked In" is a wonderful song, but quite corny when sung in the lunch wagon and/ or at the public beach. Sadly, Baker, simply fails to register well on screen. The highlights enjoyed, however, were the ventriloquist act of Edgar Bergen and Charlie McCarthy; The Ritz Brothers' running from the studio guards only to return in studio guard uniforms, followed by their wacky audition in Merlin's casting office singing "Here Pussy, Pussy, Pussy" climaxed by an abundance of running kitty kats. This scene is reminiscent to the Yacht Club Boys' audition act for Warren William in STAGE STRUCK (Warner Brothers, 1936), but the Ritz rendition comes off hilariously better, at least in one's humble opinion. Their comedy antics are a matter of taste, yet this is one of the few times these three zanies were in rare form. Their subsequent two comedy acts, however, don't come off as well. Although not an opera buff, "La Traviata" performed by Metropolitan Opera Star Helen Jepson is well done. Bobby Clark, formerly part of the Clark and McCullough team, as a casting director, along with Phil Harris, do provide some amusing moments. For star gazers, try to locate Jerome Cowan playing a movie director and future movie tough guy, Alan Ladd, as one of the audition singers!!!

Although my personal feelings remain basically the same, I'm a bit more tolerable towards THE GOLDWYN FOLLIES than I once was. In spite of its pros and cons, it did enjoy frequent revivals during the cable channel years, first on American Movie Classics (1993-94), and Turner Classic Movies (TCM premiere: January 1, 2006). It's also available on video and DVD.

Did Sam Goldwyn have his very own "Miss Humanity" before preparing for this one? Hard to say, yet THE GOLDWYN FOLLIES being a Goldwyn folly, had no serious damage done to his reputation as one of the finest Hollywood Moguls of his time, especially with great film hits into his future before retiring in 1959. (***1/2)

I agree that the film is in many ways a mess, but what grand songs! Some of the last songs George Gershwin composed (a few actually finished by Vernon Duke). Especially lovely is Kenny Baker slinging hamburgers in a diner, singing "Love Walked In," and later "Love Is Here To Stay." It is also a very early example of a Technicolor film. So although often quite dumb, this film has its moments of fine entertainment.

Some reviewers hated this movie and, admittedly, it is relatively plot-free, but it's such a time capsule of movies, acts, and music of the period that I love it. If you ignore the script and realize you're listening to some FABULOUS Gershwin songs and that you're seeing The Ritz Brothers, Edgar Bergen/Charlie McCarthy and others, it can be pretty great. Unlike the some others, I love the Ritz Brothers' specialty about the cats. Some people just don't appreciate silly. Later on, they get bogged down in the plotlessness, but WOW!! . . the kitty cat number is hilarious!!!!!!!! "Where is the gosh, darn cat?????" Some people just don't appreciate silly. Lighten up, people!!

Face it, the movie studios of the day used to trot out all their stars for these Cast of Several movies. Take it for what it is. It was never meant to be "Gone With the Wind". It's more along the lines of "Hollywood Party" (1934) . . Enjoy!!

For starters - (If nothing else) - I thought that this 1938 film's Technicolour effects were nothing short of being absolutely astounding to behold. You could clearly tell that great attention to colour co-ordination was very much a major issue in this $2 million production.

Now almost 80 years old - The Goldwyn Follies definitely had its good points, as well as its not-so-good points. Featuring 7 Gershwin songs - This picture's story of comedy, music, and romance was obviously very much a product of its time. And, because of this it did make it difficult for this viewer not to scrutinize it just a little too critically.... (But I still give it a 6-star rating)

And, finally - When it came to watching famed ventriloquist, Edgar Bergen constantly moving his lips whenever it was his puppet/sidekick Charlie McCarthy's turn to speak - I thought that he was one of the most amateurish and unconvincing performers in his specialized profession that I have ever seen.

A sweet romance, good character actors, vivid Technicolor, a little behind-the-scenes work at a major studio, and great songs make this a pleasant way to spend two hours. It's also interesting historically because it marks the transition between the end (for only a few decades, thankfully) of tap and the beginning of ballet in film musicals.