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 ****

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.

Forget the stories about miscasting and squabbles on the set. This production of HELLO, DOLLY! is big and bright and brassy with Barbra Streisand taking center stage as Dolly Levi, the matchmaker with a mind to marry a crusty "half-a-millionaire" from Yonkers.

The story line is familiar. The musical is based on Thornton Wilder's play THE MATCHMAKER and was a Broadway sensation for Carol Channing in 1964. This film version trims the story, drops a couple songs, and adds a new one ("Love Is Only Love"). Directed by Gene Kelly and choreographed by Michael Kidd, the film makes good use of location shooting around New York State.

Streisand, in only her second film, is in great voice and shows a nice comic touch. Yes, Dolly is supposed to be "middle aged," but it really doesn't matter. And with those turn-of-the-century hair styles and clothes, you can't tell anyway.

Walter Matthau is good as crusty Horace (though his accent wanders) and Michael Crawford makes for a delightful Cornelius Hackl. Marianne McAndrew is Irene, E.J. Peaker is Minnie, and Danny Lockin is Barnaby. Others in the cast include Judy Knaiz as Gussie, Tommy Tune as Ambrose, Joyce Ames as Ermengarde, David Hurst as Rudy, and Louis Armstrong as the bandleader.

The songs by Jerry Herman are wonderful and have witty lyrics. Two huge production numbers dominate the film. In the first half, "Before the Parade Passes By" is a stunner, sung by Streisand, it turns into a gigantic parade beneath a summer sky and it's as big and brassy a musical number as you'll ever see.

Of course the title song is a show stopper and well staged in the Harmonia Gardens on 14th Street. Streisand makes her famous entrance (and return to life after a period of widowhood) down a grand staircase. She wears a glittering gown of gold as she sings and dances with a battery of waiters. She also does a memorable duet with Armstrong (in his final film appearance).

Yes, it's old fashioned. But the film is so bright and tuneful, it never lags. It was the #4 box-office hit of 1969.

Bottom line: Streisand makes for a great Dolly, and this is a great film musical.

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.

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.