Hello, Dolly! (1969)

Plenty to Like, Plenty to Dislike

A movie that not only functions as a solid scarefest but a razor-sharp satire.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

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.

Just as if you have a bad Blanche DuBois in A Streetcar Named Desire, the entire play will fall flat, if you have a bad Dolly Levi in Hello, Dolly, the musical won't be any good. This Broadway musical is a highly sought after role for middle aged women, a tour-de-force they hope to play, usually to warm up for or coast after playing Mama Rose in Gypsy. Barbra Streisand would have been an excellent choice for the famous matchmaker, except in 1969 she was too young. Dolly Levi is supposed to be a middle-aged widow who sings the show-stopping song "Before the Parade Passes By" because it's a metaphor for her life, not a twenty-seven-year-old woman with impeccable makeup and a hair color that's as flattering as her clothes.Unfortunately, the lack of a gray wig on Babs is not the only flaw in Hello, Dolly! Michael Crawford plays Cornelius, and it takes an enormous amount of suspension of disbelief to buy into the love story between him and Marianne McAndrew. In the original film The Matchmaker, starring Shirley Booth, the young romantic leads were played by Shirley MacLaine and Anthony Perkins. Anthony is handsome and sweet, so it makes sense that Shirley M considers giving up a fortune for true love. Michael Crawford is bumbling, gangly, and almost acts like he's mentally off. Plus-sorry Phantom of the Opera fans-but his voice leaves much to be desired. Ironically, his romantic companion did have her voice dubbed! Walter Matthau plays Babs's love interest, and there's no feasible reason why she would ever want him, let alone when she's so young and still could have any number of men she wanted. He's unattractive, incredibly grumpy, walks through his song like it's the last thing in the world he wants to be doing, and acts like he hates the very sight of his pursuer-which, he actually did. Rumor has it that he hated Barbra Streisand so much he actually refused to kiss her! So, my great question, as it seems to be with everyone in this movie, is why was he cast? Gene Kelly directed this movie, and while he had enormous attention to detail in the costumes, production designs, and choreography, he didn't seem to have a great eye for his cast. Why didn't he pick his old sailor-suit buddy Frank Sinatra for Walter Matthau's part? He would have been the right age, he could sing without making audiences cringe, and Jerry Herman could have written him a couple of extra songs-as he did for Barbra. It would have been totally believable why Babs moves Heaven and Earth to be with him, and when he sings his song "It Takes a Woman" it would have been incredibly cute for the Guys and Dolls star to sing another ode to the fairer sex.I know I've been dissing this movie adaptation quite a bit, but there are some good parts to it. Obviously, if Hello, Dolly! is one of your favorite musicals, you're going to want to rent the movie. Barbra Streisand in her gold dress during the title song is a pretty famous image. And Barbra does have a wonderful voice, so it's fun to watch her take control of the screen, especially in the show-stopping "So Long Dearie". Also, if you're a fashion fanatic, you'll probably want to rent this one just to look at Irene Sharaff's gorgeous dresses. Besides that, this is one of those movies you'll watch once to say you did and then not really want to show your friends.

Probably one of the most underrated musicals of all time (next to THE WIZ), it is a shame that this movie is labeled overblown and excessive, which it is NOT; it is lavish and elegant and larger-than-life.Barbra Streisand is as magnificent here as she is in FUNNY GIRL, and at least very deserving of an Oscar nomination for her splashy, vibrant and effortlessly spontaneous and vivacious performance.Gene Kelly not being nominated also for directing this classic is as much a travesty as Steven Spielberg not being nominated for directing the best film of 1985, THE COLOR PURPLE, then again, A.M.P.A.S has made many faux pas over its existence. Here's to you Dolly Levi, and Barbra Streisand, so glad to have you both where you belong, in such a beloved and highly admired musical film.

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 ****