¡Hello Dolly!

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.

perfectly directed by the wonderful and legendary gene kelly, with a note perfect cast. i was 20 years old when i first saw this film, beforehand, i had no desire to see it as i really did not like streisand. but having seen all the new releases that week, a friend pushed and shoved my into the theatre to see this. after the film we came out floating and dancing and singing, i have since seen it countless times, many times in glorious 70mm. the songs the dances the amazing sets and productions, all have gained in stature and enjoyment. yet again the public and quite a few critics got it so wrong, the film alas sank at the box office, and killed off an uplifting genre. sad also to see junk like chicago get kudos and box office, a film that is so cynical, tuneless and full of noise and empty bombast. performed by people who cannot sing or dance.bring back the old style Hollywood musical i say

The strange history of the making of Hello Dolly could make a fine motion picture itself. The feuding between Barbra Streisand and Walter Matthau during the filming is well known and documented. The incredible costs of the thing has also become an object lesson for movie producers who are not operating in the days of the studio system and actually have to pay the talent involved what they're worth. It's the biggest reason why musical films are now so few and far between.

But I read a fascinating story in the Citadel Film series book on the films of Gene Kelly who directed Hello Dolly. It seems as though 20th Century Fox after scoring so big with The Sound Of Music decided on buying other big budget Broadway musicals hoping for lightning to strike twice. They bought the rights of Hello Dolly from producer David Merrick with the proviso that the film not be shown until the Broadway run concluded.

So Fox made the film with huge production costs with borrowed money from bankers who wanted their loans paid back as soon as possible. What Merrick did and certainly the demand was there was to keep the show running. Hello Dolly wrapped in early 1968 and was over a year sitting on the shelf not earning a dime. In the meantime the finance boys had to be repaid and with heavy interest.

Fox went to court to get out of the contract and release the film and Merrick did for some hefty financial consideration. By the time Hello Dolly sold its first ticket there was no way it could ever payback the cost. In fact it was the fifth highest grossing film of 1969 and still Fox lost big money on it. In the words of Barnaby Tucker, "Holy Cabooses".

Well they spent big money on it and it shows. The production numbers are expensive, the entire town of Garrison, New York was made up to look like Yonkers at the turn of the last century. The New York scenes were lovely to look at and expensive to the bean counters. And what the biggest musical star of her time commanded in salary ate a lot of that budget as well.

It's a great film that Kelly put together however and certainly Gene Kelly was a man who knew his way around the musical film. Between Streisand and Matthau feuding he must have felt like a referee. But both were professional enough to turn in good performances though the chemistry isn't quite there.

Louis Armstrong's record of the title song is an American classic and it was almost mandatory that he appear in the film. His duet with Barbra Streisand is a piece of cinematic musical history. A fitting end for a man who brought the joy of living to his art and shared it with a grateful world.

Besides the immortal title song Jerry Herman's score has some other gems in it as well. Streisand has one of the best numbers in her career with When The Parade Passes By and young Michael Crawford and Danny Lockin as Matthau's employees sing and dance a storm in It Only Takes A Moment.

I can't finish this review without a word about Danny Lockin who left this earth way too soon the victim of a brutal murder. His performance as Barnaby Tucker is so winning that you can't help a tear coming to your eye when you read about his fate. His dancing reminded a whole lot of Donald O'Connor, I'll bet Donald O'Connor thought so as well if he saw Hello Dolly. He lived a life that convention dictate as a gay man he could not be open about it. The closet eventually killed him, but he left us this wonderful performance to remember him by.

And to you, the late Danny Lockin this review is respectfully dedicated to. Holy Cabooses Danny, I'll bet you're giving Terpsichore a lesson in high stepping.

Possibly more enjoyable (needed) today than even in the 60s HELLO DOLLY has aged very well and now has the respect it deserves. The astonishing budget was almost a record breaker at the time and the 70mm production certainly gives the audience a spectacular serving. The 60s musicals are getting a new audience because of the fantastic and very welcome DVD transfers... and I am pleased to see a new generation find them and be very happy and delighted. Criticism is easy if so inclined and I have always disliked the Cornelius Hackl nonsense, but 35 years later and happy to sail along with the sheer hilariousness of the tone and the massive and quite thrilling spectacle, I am glad the film exists. The absolutely gigantic and detailed parade and the restaurant scenes are simply unforgettable... especially the Waiter's gallop stunt dancing and very funny contrivance of the choreography. HELLO DOLLY is a great production, a very good comedy, sensational orchestrations and a genuine spectacular musical. Kids would love it if you encouraged them to see it. Yes it does look like Imogen Coca or Carol Burnett or even Barbra Eden in the sub roles but as we know it isn't. The opening sequence is so wonderful, with the city coming to life and rhythm and the rail journey thru the credits is just sublime. It was a big hit in Jan 1970 and ran for months in Australia in huge 70mm cinemas. I saw it that way then and love the DVD now which gives equal effect for those not around in the 70s. Matthau is hilarious.