Ziegfeld Follies (film)

• Fred Astaire as Fred Astaire
• Lucille Ball as Lucille Ball
• Lucille Bremer as Princess
• Fanny Brice as Norma Edelman
• Judy Garland as The Star
• Kathryn Grayson as Kathryn Grayson
• Lena Horne as Lena Horne
• Gene Kelly as Gentleman
• James Melton as Alfredo
• Victor Moore as Lawyer's Client
• Red Skelton as J. Newton Numbskull
• Esther Williams as Esther Williams
• William Powell as Florenz Ziegfeld Jr.
• Edward Arnold as Lawyer

Dance director was Robert Alton, Astaire's second-most-frequent choreographic collaborator after Hermes Pan. All of Astaire's numbers were directed by Vincente Minnelli. The movie's opening featured William Powell as Ziegfeld, who does the prologue.

• Here's To The Girls/Bring On The Wonderful Men: by Roger Edens and Arthur Freed. Sung by Astaire with a short solo dance by Cyd Charisse, followed by Lucille Ball cracking a whip over eight chorus-girl panthers, and finally Virginia O'Brien spoofs the previous scene by singing "Bring on those Wonderful Men"
• This Heart of Mine: Classic standard by Harry Warren and Arthur Freed and written specially for Astaire who sings it to Bremer and then leads her in an extravagantly romantic dance of seduction and power-play. The choreography integrates rotating floors, concealed treadmills and swirling dance motifs.
• Love: Another standard, this time by Hugh Martin and Ralph Blane, sung by Lena Horne.[5]
• Limehouse Blues: Conceived as a "dramatic pantomime" with Astaire as a proud but poverty-stricken Chinese labourer whose infatuation with the unattainable Bremer leads to tragedy. The story serves as bookends for a dream ballet inspired by Chinese dance motifs in a vast and extravagant setting, as both Astaire and Bremer perform in yellowface.
• The Great Lady Has An Interview: Written by Kay Thompson originally for Greer Garson (she turned it down). Judy Garland spoofs a movie star who can only be cast in Oscar-winning dramas, but wants to play "sexy" roles (a la Greer Garson, or Katharine Hepburn) giving an interview to dancing reporters about "her next picture": a bio-pic of Madame Cremantante (the "inventor of the safety pin"). Originally to be directed by Garland's friend Charles Walters, Vincente Minnelli ended up directing the sequence (the two were dating at the time), and Walters was reassigned as choreographer.
• The Babbitt And The Bromide: Astaire and Kelly team up in a comedy song and dance challenge in three sections, to music and lyrics by George and Ira Gershwin. All choreography was by Astaire (third section) and Kelly (sections one and two). This was the only time Astaire and Kelly appeared on screen together in their prime. In spite of efforts by Freed and Minnelli, the two would not partner again on film until That's Entertainment, Part II in 1976.
• There's Beauty Everywhere: Originally filmed as a balletic finale with tenor James Melton singing and Fred Astaire, Cyd Charisse, and Lucille Bremer dancing in a melange of soap bubbles. But when the bubble machine malfunctioned (leaving only a fragment of the number filmed) and the formula flowed into the hallways of the soundstage, the number had to be restaged and the Astaire and Bremer part of this number was cut out altogether." Kathryn Grayson replaced Melton. Segments of the "bubble dance" with Charisse remain in the final film.

An early concept was to have the film introduced by a stop motion animated puppet of Leo the Lion. Although cut before release, this outtake footage survives today.[6]

The New York Times: "The film's best numbers are a couple of comedy skits, especially one done by Red Skelton. Fanny Brice plays a Bronx hausfrau quite funnily. Judy Garland is also amusing as a movie queen giving an interview. Ziegfeld Follies is entertaining – and that's what it's meant to be!" (Bosley Crowther).

Newsweek: "At least three of the numbers would highlight any review on stage and screen. In A Great Lady has an Interview, Judy Garland, with six leading men, displays an unexpected flair for occupational satire. With Numbers Please Keenan Wynn demonstrates, once again, that he is one of Hollywood's foremost comedians. But the dance act for the archives is The Babbitt and the Bromide Fred Astaire and Gene Kelly trade taps and double-takes to a photo finish."[7]

According to MGM records, the film earned $3,569,000 in the US and Canada, and $1,775,000 elsewhere - but because of its large cost, it incurred a loss to the studio of $269,000.[1][8]

1947 Cannes Film Festival Best Musical Comedy (Prix de la meilleure comédie musicale) Won[9]

The film is recognized by American Film Institute in these lists:

• 2006: AFI's Greatest Movie Musicals – Nominated[10]

• John Mueller: Astaire Dancing – The Musical Films of Fred Astaire, Knopf 1985, ISBN 0-394-51654-0

• Monder, Eric (1994). George Sidney:a Bio-Bibliography. Greenwood Press. ISBN 9780313284571.

Wikiquote has quotations related to: Ziegfeld Follies (film)

• Ziegfeld Follies at IMDb
• Ziegfeld Follies at the TCM Movie Database
• Ziegfeld Follies at AllMovie
• Ziegfeld Follies at the American Film Institute Catalog
• The Judy Garland Online Discography "Ziegfeld Follies" pages.