Bella, affettuosa, illibata cercasi...

Well now, who are the only two people could pull it off playing Dolly Levi? There are only two: Carol Channing and Shirley Booth! "Shirley Booth??? Who's She?" Or maybe "Ah, come on!!!" Well it's true! Ms. Booth ranks up there right in the same spot with Carol Channing. What a gal! People who don't know who she was should take the time to see this film. It proves her innate talent for playing sappy frumps all the way up to lovable, hilarious, wisecracking characters. Oh, and did I forget conniving? There's a wonderful cast here supporting her as well. The costumes are superb, the timing is excellent.

One thing I must mention here though is, that although I also consider Barbra Streisand a great talent, she seemed to be more or less mis-cast in the role in "Hello Dolly." She merely played herself. Shirley Booth fit the bill as a strong, rather overbearing character. I will repeat though that she had proved previously that she could play just the opposite.

Another SB "must see." Even in black and white and with no music.

This movie is a truly funny comedy. I'm not sure why it isn't more well-known. The entire cast is great, particularly Shirley Booth and Anthony Perkins. The dialogue is hilarious, and it's interesting how the major players "break the fourth wall" throughout the film. The basic premise: Shirley Booth is a professional matchmaker who decides she wants to marry her latest client (Paul Ford) herself. Meanwhile, Anthony Perkins is interested in Shirley MacLaine, who is simply interested in getting married. The result is a lot of deception, but the characters are all so nice and likeable that you can't help but root for them all. The next time you're in the mood for a classic comedy, try this one.

The history of THE MATCHMAKER is quite interesting from an academic point of view. In 1835 English playwright and drama critic created a one-act play titled A DAY WELL SPENT, a lightweight comedy of mismatched lovers, mistaken identities, and foolish misbehavior. In 1842 Austrian playwright and actor Johann Nestroy developed Oxenford's work into a full-length comedy titled EINEN JUX WILL ER SICH MACHEN, which was (and remains) very popular in German-language theatre. American writer and scholar Thornton Wilder came to the material in the 1930s--and in 1938 returned the story to the English language under the title THE MERCHANT OF YONKERS. It was an instant disaster, receiving incredibly dire reviews and running all of 39 performances in its New York debut.

It was quite a setback for Wilder, who had previously won Pulitzers for the novel THE BRIDGE OF SAN LUIS REY and the play OUR TOWN. Even so, actress Ruth Gordon and Tyrone Guthrie strongly felt the play was sound, and in the 1950s both began to pressure Wilder to rework his script. With Gordon starring and Guthrie directing, and with the title changed to THE MATCHMAKER, it opened on Broadway in 1955--and was a smash hit. It attracted the attention of Hollywood, and in 1958 it became a vehicle for Tony and Academy Award-winning actress Shirley Booth.

The film version alters Wilder's script quite a bit, and not always for the better, occasionally over-reaching itself in a grab for broad farce; all the same, it does manage to capture the innate charm of the original. Much of this is due to Shirley Booth. Although she is not well recalled today, she was easily among the finest actresses of her era, and her performance here is a warm and glowing jewel, clever, witty, and very gently sly. The remaining cast follows suit--and what a cast it is! Memorable character actors Paul Ford, Perry Wilson, and Wallace Ford; rising stars Anthony Perkins and Shirley MacLaine; and even a very young Robert Morse. Few films can lay claim to an equally gifted line up. The production values are also quite fine, capturing the charm of the 1880s without recourse to the gaudy edge one so often sees in films set in that period.

The story itself is equally beguiling. Miserly businessman Horace Vandergelder (Paul Ford) is eager to marry and employs professional busy-body Dolly Levi (Shirley Booth) to fix him up--but when he takes the day off to visit prospective bride Irene Malloy (MacLaine) his two clerks (Perkins and Morse) follow suit. A series of chance encounters bring all concerned together--and with a little not-so-gentle nudging from Dolly, Vandergelder makes the discovery that the matchmaker herself is his own perfect match. If all this sounds a bit familiar, it should, for THE MATCHMAKER had yet another, slightly later incarnation: with music by Jerry Herman and book by Michael Stewart, it became HELLO, DOLLY!, one of Broadway's most celebrated musicals, which itself reached the screen in 1969.

There is nothing in the way of bonus materials--a tremendous pity given the astonishing cast--but the DVD does offer the film in near-pristine transfer, and while THE MATCHMAKER doesn't quite rise to the level of the stage play's spark, it is nonetheless a gentle, amusing, and extremely well performed film, an overlooked gem from late-1950s Hollywood.

GFT, Amazon Reviewer

I have always loved the "straight play" version of the Dolly story. Actually Thornton Wilder's play had a previous incarnation set in Austria, in the German language. He had written it for Broadway in the fifties, it was filmed in 58 in this version, and Jerry Herman must have seen it and fallen in love with it for the musical "Hello, Dolly!". Parts of this are superior to the original stage version of the musical. The film version of the musical is dreadfully over danced and Streisand was way too young for the lead role. Shirley Booth, here in this "Matchmaker", is much closer, in a way to Channing's Dolly of Broadway. I have often wished that SOMEONE would re-do the musical for either video or film. I saw the 1964 Channing production and it was magical. Hollywood so often trashes these brilliant stage works. Anyway, rent this film when you can and compare it to the Streisand "Dolly".

After a lifetime of arranging couplings for others Dolly Levi has decided it's time that she settle down with somebody. Her target in her sights is merchant Horace Vandergelder in turn of the last century Yonkers, New York. Of course Horace the old goat is looking at young Irene Molloy. What to do, especially since his young clerk Cornelius Hackl has eyes for her also.

Shirley Booth who originated many parts on the Broadway stage, but had few screen credits up to that time takes over the role that Ruth Gordon played on stage in the 1955-1957 season for 481 performances. Another Shirley named MacLaine with few screen credits at that point to her name plays young Irene.

And the object of all this fuss is potbellied old Paul Ford giving one of his patented bellowing performances. It was interesting to read how Ford had come to the acting profession rather late in life. He certainly is ham enough that you wonder why didn't do this all of his life. Ford had just completed a four year run as the harried and harassed Colonel Hall, object of many of Sergeant Bilko's con games in the Phil Silvers Show. For most of his career Ford was a blusterer whether here or in The Music Man or Never Too Late. He looked a lot like Edgar Kennedy, but his boiling point was always quickly reached.

Anthony Perkins who really did other things besides Norman Bates in Psycho is just fine as the wistful young clerk at Ford's mercantile and he's partnered in his adventures by young Robert Morse who repeated his stage role as Barnaby Tucker.

Of course most know The Matchmaker as the basis for Hello Dolly and seeing it now is like seeing Shaw's Pygmalion which for better or worse is now known as My Fair Lady without the songs. Still The Matchmaker is fun to watch for the nostalgically inclined.