Hello, Dolly! (1969)

Good movie, but best of all time? Hardly . . .

best movie i've ever seen.

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

One of the most extraordinary films you will see this year. Take that as you want.

Don't compare a film to a stage play. Film has more range in which to perform. A stage is very limited in size and scope.I loved the dancing and singing in this movie. I feel that the choreography was excellent. I feel that the costuming is beautiful and quite period-specific.Barbra is the greatest here. Don't compare her to other actresses who portrayed Dolly on stage. Barbra makes the role of Dolly her own. She deftly handles the foibles of Horace/Walter Matthau. Barbra as Dolly coyly and deliberately sets Horace up to be turned down by two other women, so that he can be ripe for the picking when she triumphantly gets her hooks into him. It is all a setup. Barbra has that glint and twinkle in her eye. She, as Dolly, has set up the main characters to appear in the restaurant when Horace has a major comeuppance. Barbra/Dolly knows all of this in advance.Horace can hug his cash registah at night, but he will certainly miss the companionship that he could have if only he would consider settling down with someone of the feminine persuasion. Wasn't Matthau the slob character in The Odd Couple? In Hello Dolly, Matthau gets all dolled up for the restaurant, plus his wedding suit and top hat make him look just wonderful. Besides, didn't Horace/Matthau look pretty cute in that green, feathery boa? You go your way, and I'll go mine. That boa did him in. It changed him from a stubborn, cranky old bachelor into a surprisingly nice looking bridegroom waiting at the church for Dolly/Barbra.Clothes. Clothes. Clothes. Dancing. Dancing.I like the dark red colors in the costuming of Irene Malloy.I love the gold, slinky, glitzy gown worn by Dolly as she stands at the top of the stairs in the restaurant. She is ready to make her grand entrance, after several years away from this place.Clothes of the tons of extras/dancers. These costumes and hats are quite a large group of designs, for both men and women. They are quite period specific. There is a dance scene where they are dressed like tennis players. They wear white and light blue striped outfits. They carry tennis rackets in their dancing.I love the red jacketed waiters and their intricate dancing. They are just superb, the way in which they handle brooms and swirling tablecloths.Horace is a jerk, saying several nasty and rude things about women. He is such a curmudgeon. Later, he softens toward women. He finally realizes that a softer kind of life beats the heck out of his formerly solitary and lonely way of life.I just love the parade scene. It was very complicated to organize, choreograph and execute. I enjoy seeing the different groups marching in this parade. There are groups of women devoted to several causes, and there are men who belong to fraternal organizations.I like seeing the bygone era of horse drawn vehicles. Viewing these scenes quiets one down, who is used to seeing the modern rush of motorized buses, automobiles, trucks, etc.A half a millionaire might today be a half a gazillionaire???A-plus for Louis Armstrong.Ten out of ten.

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 ****

In 1890 New York City, well-dressed young widow Barbra Streisand (as Dolly Levi) sings along city streets while soliciting customers for her job as a marriage broker. As "matchmaker" business dictates, she is off to beautiful uptown Yonkers, where wealthy older client Walter Matthau (as Horace Vandergelder) desires a wife to help with housework. She may not be interested in cooking and cleaning, but Ms. Streisand is aware of Mr. Matthau's great wealth. Streisand secretly schemes to make Matthau her husband...Twentieth Century Fox gambled on the casting of Streisand in "Hello, Dolly!" and we lost. At times, Streisand is clearly doing an impression of Mae West. She's also photographed most attractively. Matthau is grumpy in his funny way, but has zero chemistry with Streisand. At least she can sing, though lyrics in the title song ("Look at the old girl, now") and "Before the Parade Passes By" betray the ruse. The new movie star demanding, "Don't Rain on My Parade" in "Funny Girl" (1968) more accurately captured Streisand...There are other reasons to watch. Witness how director Gene Kelly guides the supporting cast through heavily produced numbers. Michael Crawford (as Cornelius Hackl) and Danny Lockin (as Barnaby Tucker) have all the "Elegance" (a highlight) you need. While obviously dubbed with "Ribbons Down My Back", Marianne McAndrew (as Irene Molloy) is lovely. E.J. Peaker (as Minnie Fay) and others contribute a stage aura nicely. And, hearing Louis Armstrong sing a few lines of his great hit is cause for applause.***** Hello, Dolly! (12/16/69) Gene Kelly ~ Barbra Streisand, Walter Matthau, Michael Crawford, Danny Lockin

for me, it is unique. sure, for admirable performance who, after so many years ago, remains full of grace. the story is only stage for few great actors to define a wonderful world. Barbara Streissand shining and Walter Mathau is ideal choice for the rich and gloomy character. and scene in which Louis Armstrong and Barbara sings is out of definition. because all, each part is a unbelievable show. costumes, dialogs, songs, the force of great work, the rules of musical as bones of a impressive construction, the humor, the nuances, the nice details, the extraordinary costumes - all at perfect place, all - touching are elements of a real show. and, if story becomes confuse after a long time, it remains the flavor of performance. the essence. and the air of pure joy.