Hello, Dolly!

Rip-snorting musical from 20th Century-Fox, turning its backlot into New York City, circa 1890 while telling the tale of widow Dolly Levi, an indefatigable meddler and matchmaker who hopes to deliver herself into the arms of an eligible storekeeper from Yonkers. Producer Ernest Lehman adapted his screenplay from the popular stage musical with a book by Michael Stewart, based on Thornton Wilder's "The Matchmaker" (itself filmed without music in 1958). Director Gene Kelly attempts a breathless pace right from the start, which leaves the early scenes feeling rushed and hyperactive. Professional critics in late 1969, perhaps put off by the unimaginable-for-its-time $25 million budget, complained that the picture was overblown; however, in hindsight, this is inconsequential, as the scenario begs for a huge presentation...and a huge star in the lead. Barbra Streisand (deemed too young to be portraying a widow) is a marvelous Dolly: a firebrand (and a firecracker) who knows nothing of subtlety, she goes for the gut, as the role requires. As her reluctant intended, Walter Matthau looks unhappy and seems stuffy, but repeat viewings reveal this to be the character and not necessarily Matthau's disposition at the time (he and Streisand failed to get along while filming). The song numbers, particularly "Just Leave Everything To Me", "Before The Parade Passes By" and the celebrated title tune, are joyous, and Michael Kidd's line-'em-up choreography is often stunning in widescreen. The film does run too long, and it loses some vitality whenever Streisand is busy and the pixilated juveniles take over, but Kelly is determined to give his audience a showcase--a slam-bang, old-fashioned musical parade with pearls and feathers and floor-length gowns. At that, he succeeded. *** from ****

The miscasting of Barbra Streisand is an interesting topic of discussion regarding this movie. She's way too young, as everyone else has said; despite slight changes to the script and giving everyone the benefit of the doubt, it's silly to think that a woman in her mid twenties would have built up both the social contacts and worldly sangfroid that the character possesses. That said, however, she does about as well as anyone could ask playing a role she was 3 decades too young for. The animosity between Barbra and Walter Matthau is another problem--they have no chemistry together whatsoever. While his annoyance with her at the beginning is believable, the turnabout at the end comes across completely false. Fortunately, the movie has many other charms to make up for that central problem.

My favorite part of the movie, and the heart of the film, is the "courtship" of Cornelius & Irene and Barnaby & Minnie Fay. Michael Crawford and the late Danny Lockin are absolutely adorable as Cornelius and Barnaby. The "Dancing" and "Elegance" numbers and the dinner scene at the Harmonia Gardens are worth the price of admission alone. Barbra plays better with the rest of the cast too; she's more believable as a "woman of the world" when she's with the younger cast members. The production design is wonderful as well. While the movie was outrageously expensive for its time, just about every dollar is visible on screen. The claustrophobic musicals they've made since the Seventies really look deficient when compared to the wide-open dance scenes and crowd shots in classic musicals like this one.

All in all, Hello, Dolly has much to offer. It's not the best musical ever made by a long shot, but it's undeniably fun to watch. It would be fun to see Barbra play the role now that she's a more appropriate age for it. Unfortunately, she doesn't do musicals anymore. Maybe Tyne Daly would take the part.

While some of the cast of "Hello, Dolly! leaves something to be desired, its sets, costumes, general production values, and choreography cannot be beat. Striesand is miscast, but nobody can fault her for that. She gives it her all, and frankly, I prefer her performance in this film, over her inexplicable star-making turn in "Funny Girl". Lots of money was spent on making this film, and every cent of it can be seen in the finished product. The film is leaps and bounds over almost everything made today. Every musical number is first-rate. This film should ONLY be seen in WIDESCREEN. To view a cropped video tape would be silly, since you would be seeing only half the film. "Hello, Dolly! is lots of fun, and a true testimony to the lost art of fine film-making.

This gargantuan musical was the last of its kind. It's like a dinosaur ear-marked for extinction and yet it's highly entertaining. Parts of it are terrible, (mostly those scenes in which Babs doesn't appear), and Gene Kelly's direction is never as light on its feet as his dancing used to be but when the aforementioned Miss Striesand is on screen, the movie soars. Critics complained that at 27 she was much too young for the part of Dolly Levi but she's a bona-fide star, so what the heck; her Dolly is ageless and as musical-comedy performances go this is one of the best.

The Jerry Herman score is decidedly old-fashioned Broadway. Sondheim may be the greater composer but Herman gave us tunes we could hum and the production numbers here are terrific, in particular the title song which gives us Striesand, high-kicking waiters and Louis Armstrong. Purists will always prefer the Joseph Anthony version of Thornton Wilder's original play "The Matchmaker" but this is no disgrace, so put on your Sunday clothes and let's have a whale of a time.

One of the last of the lavish Old Hollywood musicals. The performances are all fine, with Streisand the obvious standout, vocally and otherwise. Michael Crawford is a little goofy but I guess he's supposed to be. He's a little Dick Van Dyke-ish at times. Your mileage may vary on whether that's a good thing or not. I was less interested in his plot than the one involving Streisand and Walter Matthau. Pretty much anytime Babs is on screen things are much more lively. I say this as someone who isn't her biggest fan, but she really does own this film. The direction from legend Gene Kelly is solid and appropriately old-school for its time. It really feels like a throwback to the MGM musicals of the 1940s and 50s, with great sets and costumes and big production numbers. The cinematography is also very beautiful. So it's a great-looking movie with an upbeat tempo throughout and some very nice songs. The length is the biggest negative, and I did find myself checking my watch during a couple of the lengthy Crawford segments. But it's still a good movie with a lot to recommend, especially for fans of older musicals.