Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

Phonearl Good start, but then it gets ruined

SeeQuant Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

Sienna-Rose Mclaughlin The movie really just wants to entertain people.

JohnHowardReid Copyright 23 February 1938 by Samuel Goldwyn. New York opening at the Rivoli, 20 February 1938. Released through United Artists. U.S. release: 4 February 1939 (sic.). Australian release: 9 June 1938. 13 reels. 115 minutes.SYNOPSIS: Harassed film producer seeks a new star.NOTES: Academy Award, Edgar Bergen "for his outstanding comedy creation, Charlie McCarthy". Bergen received a wooden statuette. Oddly, although The Goldwyn Follies was his first feature film and not released until early 1938, the award was made at the ceremony (on 10 March 1938) honoring the 1937 year. Bergen had made one-reel shorts for Vitaphone since 1930, including Double Talk (1937).Also nominated (on 12 February 1939) for Art Direction (The Adventures of Robin Hood), and Best Music Score (Alexander's Ragtime Band).Screen debut of Vera Zorina. George Gershwin died while writing the film's songs (on 11 July 1937).Negative cost: nearly $2 million.COMMENT: No-one would say that The Goldwyn Follies is a good film. It is, alas, despite the beauty of its pastel-toned Technicolor photography, often plain dull or even irritatingly banal. Partly despite and partly because of the over-strenuous efforts of its cast, it is at best a mixed blessing. There are so many things wrong with the movie (flat direction, thin script, over-zealous acting, ho-hum choreography, unfunny comics, a sissy hero, never-never-land sets — have you ever seen a hamburger stand so impossibly squeaky clean?), it's a miracle that the total effect is one of a slightly bemused ennui rather than anger or loathing. Fortunately, it's impossible to put good tunes down. Both "Love Walked In" and "Love Is Here To Stay" are so delightfully catchy and melodious, we can even excuse the circumstances in which they are introduced. And thanks to Miss Leeds and the decorative Goldwyn girls — and the rewarding efforts of Messrs Toland and Rennahan — the picture is always attractive to look at. And it has a certain nostalgia value. In fact, if you're prepared to be indulgent and overlook its many shortcomings, The Goldwyn Follies has such undeniable charm it's almost entertaining. If only it were not so dull!

jacobs-greenwood Notable for being in Technicolor, this below average Musical was producer Samuel Goldwyn's failed attempt to recreate the kind of revue that made showman Florenz Ziegfeld famous. Years in planning, it was ultimately directed by George Marshall, with writing credits attributed to: Ray Golden, Ben Hecht, Sid Kuller, Sam Perrin, and Arthur Phillips. Richard Day's Art Direction and Alfred Newman's Score, which includes George (and Ira) Gershwin's last song "(Our) Love is Here to Stay", received Academy Award nominations.Hecht's basic plot actually pokes fun at the legendary producer, Adolphe Menjou plays Oliver Martin, a film producer that falls in love with someone who's unaware of his affections. Goldwyn himself was infatuated to the point of obsession with one of the film's leading performers Vera Zorina, unbeknownst (only) to the ballerina, according to A. Scott Berg's excellent biography.Unless you love ventriloquist Edgar Bergen and his dummy Charlie McCarthy, or more improbably the Ritz Brothers (Al, Harry, Jimmy) and their antics, you're unlikely to enjoy much of this movie; both acts are used as filler between the story and its musical performances which include Zorina's stunning Water-nymph ballet, which begins with her rising out of a pool of water and ends with her disappearing down into it. Kenny Baker's radio performance of the aforementioned Gershwin brothers song ("It's very clear, our love is here to stay") is also memorable.Film producer Oliver Merlin (Menjou) is trying to complete his latest picture titled "The Forgotten Dance" on location when he overhears a couple of locals making fun of the ridiculous dialogue spoken between his lead, prima donna actress Olga Samara (Zorina) and an actor. The most outspoken one is Hazel Dawes (Andrea Leeds), whom the producer convinces to become his filter for what is "real", because he'd lost touch with the public; he dubs her Miss Humanity. He brings her to Hollywood and sequesters her in a home so that she doesn't fall under the town's influence and become jaded like he has.Oliver's casting director Basil Crane (Bobby Clark) assigns Hazel a chaperone named Glory (Ella Logan), but she still manages to meet (and subsequently fall in love with) a hamburger slinger, who's also a terrific singer and an ex-wannabe actor Danny Beecher (Baker). Hazel surreptitiously uses her influence to manipulate Oliver into "discovering" Danny and putting him in the production. She also likes an opera singer, Helen Jepson as Leona Jerome, who's added (along with Charles Kullmann) as well. "Comedian" Phil Baker plays accordion playing actor Michael Day, whose part keeps getting changed.Jerome Cowan plays the film's director. Of course, the Goldwyn girls are also featured, though uncredited. Ultimately, Oliver learns that Danny's inspiration, and love interest, is Hazel, when she disobeys the producer and sneaks on to the set for the final shooting day. Then there's a brief, contrived conflict to interrupt the natural flow of things and allow the director (of this film) to wedge in a few more scenes. But everything works out as the audience expects it to, with a sentimental ending and cast party at Oliver's home, which gives all the performers a final "curtain call".

jpickerel OK, OK, everyone, save a few, think this movie is a real mish-mosh. The title is misleading, in that you would expect a Broadway type atmosphere to what you are going to see. Not so. You have to think of this effort as a Waldorf Salad. Loved the nuts, hated the raisins. The apples were OK, the dressing, an abomination. Vera Zorina delightful, Kenny Baker pathetic. Andrea Leeds certainly no actress, Menjou could sleep walk (and did) through his part. See what I mean? Pick yer spot. For instance, not many people understand or appreciate the Ritz Brothers today. Me, I think they were super talented, European night club trained comedians with a finely honed edge to their bits, especially the pussy cat number. Edgar Bergen's lips moved. So what? His timing and handling of his partner, Charlie, and his wit are superb. The American Ballet (and I'm no fan of the Ballet) were a treat for the eyes and they certainly knew their craft. There's just enough to make you appreciate it, not enough to make you fast forward. The same goes for the Opera segments, just enough. Forget the story. It's an insult to the intelligence of a 10 year old. A girl gets picked to become an adviser to a movie producer, after he overhears her comments on a movie in progress at a location near her home. Gee, just like real life! Did I enjoy it? Yeah, I guess. Would I buy it to watch again? Probably not.

DeborahPainter855 A sweet romance, good character actors, vivid Technicolor, a little behind-the-scenes work at a major studio, and great songs make this a pleasant way to spend two hours. It's also interesting historically because it marks the transition between the end (for only a few decades, thankfully) of tap and the beginning of ballet in film musicals.