Tanz auf dem Eis

He puts on his own ice show.

Joan Crawford was 34 (according to her) when she made this film with 31-year-old James Stewart. She would do some terrific films over the next five years before Louis B kicked her out of MGM, and she bounced back immediately at Warner's. It's a credit to her that after a dog like this, she was able to show her face at the studio. This is the film that she was making at the beginning of "Mommie Dearest," by the way.

"Ice Follies of 1939" was an attempt, I think, to cash in on the interest in figure skating and ice shows, thanks to that little Norwegian, Sonja Henie, who was making skating films over at 20th Century Fox.

The story concerns a young couple, Larry McCall and Mary McKay (Stewart and Crawford) who work in a show as ice skaters along with Stewart's old partner Eddie (Lew Ayres). When they get fired, Mary knows it's because she's not very good, and she's holding Larry back. What Larry wants is to produce and direct his own ice show. When their car is hit by a film casting agent (Lewis Stone), Mary, now Mrs. Hall, goes personally to collect the money he owes them for the car. She pretends to have no interest in films and gets a contract for $75 a week. Mary starts moving up in the film world, and Larry leaves, not wanting her to support him. He says that when they've both made it, they can get back together. That proves a little more difficult than they expected.

There are two HUGE skating segments in this film, and there is some terrific skating. The thing is, after watching the film for a while, where there has been just a bit of skating, it's a surprise that these scenes go on and on. The script itself is completely formulaic and predictable and not worthy of any of the stars.

Stewart and Crawford don't make the best couple. She's too sophisticated for him and, as a strong woman, she was better with a tough type like Gable. Well, they were under contract and made what they were handed. One of the negatives of being with a studio.

Poor Joan, I can see why she worked so hard for the role of Crystal Allen in "The Women" her next picture after this dreg.

Bad script bad director just bad everything, the only part worth watching is the Technicolor ending which is quite interesting and it is Joan's first color picture. Joan's drunken scene is also good and Lew Ayres was such a cu-tie when he was young but the rest of it is pure yuck! and I thought Trog was bad. For true Joan fans only. I suggest renting it NOW ON DVD, the transfer is very good and the sound quality is good. This has to be the worst picture Joan was in and it didn't have to be, minor changes to the script would have helped this picture a lot. Minor reworking to the "Joan becomes a star overnight" storyline could have worked out in a believable fashion. The story seems thrown together and I don't think anyone at MGM actually watched it before it was released. This was no cheap budget either, the sets are impressive but everyone seems to know they are in a clunker.

This harmless piece of fluff is moderately interesting for reasons having nothing to do with its intentions, which must have been to tap into the lucrative ice skating fan base that was packing theatres to see Sonia Henie in 20th Century Fox features at the time. This opus does have a stellar cast (Joan Crawford, James Stewart, Lew Ayres, Lewis Stone) all at their best even though utterly wasted and a vivid Technicolor ice show sequence at the end in which we get to see the above-mentioned personages in color. It is also a way to satisfy the curiosity of MOMMIE DEAREST viewers who have always wondered what FOLLIES was about since it figures in the plot of that biopic. Well, it's about nothing much and was a good example of why Joan Crawford's career wasn't a bed of roses, even though she triumphed in THE WOMEN the same year. She's actually quite good in this, playing a nice girl who chooses marital bliss over movie stardom. For half the movie she is coiffed in an unusually severe and darkly tinted manner which accentuates the severity of her features, giving her a rather cruel and drawn appearance. In some of these scenes she strongly resembles Merle Oberon. Stewart gets a chance to practice pratfalls and inventive prop handling and excels at both. At one point after his character hears joyous news, he does a somersault from a chair onto a bed and back onto the floor like a skilled acrobat. He was a consummate actor even then.

Experts tell us that MGM had high hopes for this strange movie pastiche, but it's hard to believe that from the tired on-screen shenanigans. With Sonia Henie making millions for 20th Century Fox in her kitschy skating musicals, Metro imported (at no small cost) the famed International Ice Follies and paired them with Crawford, one of their top-ranked, but skidding, stars.

I still find it hard to fathom WHY Metro executives could ever have thought that this lumbering, tired film could serve any use in reversing Crawford's diminishing box-office drawing power. She, James Stewart, and Lew Ayres, seem to be walking through their roles in a most obvious case of movie-making by the numbers, with a plot that is nothing but insulting to its audience.

This is not to say that certain pleasures can't be found in the film, if you want to take the time to look. Joan is as beautiful as ever and the Ice Follies finale (in which Joan does NOT skate) looks great in Technicolor. Happily and ironically, it was this film's total failure that brought Crawford one of her best screen roles, that of Crystal Allen in George Cukor's THE WOMEN. Reckless and with a feeling of nothing to lose, Crawford went after that unsympathetic part with a vengeance, AGAINST the advice of LB Mayer, who said it would finish her (but then again, what did HE know.....he LIKED the idea of this one!!)Not nearly as interesting as either THE BRIDE WORE RED (1937) or THE SHINING HOUR (1938), Crawford's other box-office flops of the period, this one is strictly for Crawford or Stewart completists.

... and that is about the best thing I can say about it.

This was one of MGMs' biggest bombs of the 1930's, critically and financially. If this was the quality of scripts Joan Crawford was getting, she definitely did the right thing in campaigning for the role of Crystal in The Women (1939). Joan Crawford and James Stewart played married skaters (stop laughing!). We are told that Joan is a terrible skater and that is why they are losing jobs, but we never see it as that would require Stewart and Crawford to skate. Complications ensue, but not terribly interesting or original ones.

The real purpose of "Ice Follies of 1939" was to hype the latest MGM find, "The International Ice Follies" show, and a long sequence at the end of the film features a technicolor ice extravaganza, with Joan and Jimmy sitting in the audience. Crawford was supposed to have at least five songs, and all were cut except a fragment of one; judging by that fragment, MGM was wise to cut them.

It's also rumored that by 1939 MGM was giving these terrible scripts to the Irving Thalberg era actresses, including Norma Shearer and Greta Garbo so Louis B. Could use the poor showings to clean house and bring in fresh faces, and three years later he did do just that. James Stewart's star was rising at the time, and so I have no idea how he ended up in this dog, but he was the best thing in it with his pratfalls, acrobatics, and energy.

This is the film for which, at the beginning of "Mommie Dearest", Joan Crawford was rising before dawn and going through her morning routine in preparation. I can tell lots of money went into this for art and costume design, but it just has no soul.