Great Film overall

In truth, there is barely enough story here to make a film.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

With quite a cast and that Lillian Russell was quite a colourful entertainer, 'Lillian Russell' could have been a great film and should have been better than it was. It's certainly not unwatchable, not by a long shot, but it isn't good enough for repeat viewings.The best thing about 'Lillian Russell' is the production values, so good in fact that one feels cheated that they didn't have the rest of a good film to match. Not just that the film is very beautifully and intricately shot, but the settings and costumes are just so exquisitely lavish. Also great are the music and songs, filled with energy and emotion as well as giving a real sense of period.Alice Faye lights up the screen with her allure and she is a real charmer in the acting stakes, injecting enthusiasm and substance despite the script fighting her a lot of the time. Helen Westley and especially Edward Arnold also significantly rise above their material, and Joe Weber and Lew Fields' scene is agreed theatrical magic that makes one pine why the rest of the film wasn't up to the same level.Henry Fonda is as stiff, colourless and as miserable-looking as one could possibly get, if he did indeed hate the film or making it that certainly comes through loud and clear. Don Ameche's role should have been tailor-made for him, but it is so blandly written that he is practically lost at sea. Leo Carrillo and Nigel Bruce are wasted.Crippling 'Lillian Russell' in particular are two big things. The very dreary script, high in clichés and awkwardness and very low on depth. Even more so the over-stretched and bloated story, with an incredibly plodding pace to boot, suffering from trying too cram in too much and too many scenes being over-produced. Despite an eye for detail, 'Lillian Russell' is very lethargically directed too, almost like a lot of care and effort went into the production values and song selection but lost enthusiasm for almost everything else.On the whole, visually exquisite but plodding and bloated, there are few biopics duller. 5/10 Bethany Cox

Henry Fonda is thrown into action by trying to halt two spirited horses charging down the street with an open carriage. This is the kind of incident that propels a story forward. Without it, there's no need for Fonda to be in the film.You get a clear sense of who Lillian Russell is. She wants to sing on stage just like an actor wants to act in the theatre. She is consumed by her ambition and cannot see herself doing anything else.I'm not particularly a fan of Don Ameche and I'm not sure if he contributes anything to this film.It touches on the Suffragette Movement, but that's just a backdrop. It's not the story.Overall, it plods along without any engagement in terms of story or character. Fonda fans would do well to stay away from this film.

It is such a rare treat to see a biographical film which treats its subject with respect and class. Lillian Russell was kind of a wild woman; she would be an easy target for the right. However, instead of pandering to the right or left, this film presents her as completely charming, human, and lovable. There is something admirable about a film which is not afraid to show only the good in people, and forget the rest.Alice Faye is a treasure. The songs are first-class. The supporting cast is terrific; Henry Fonda is in particular easy on the eyes. Faye gets ample screen time, for once, and is lovingly photographed and gowned in every scene.The Fox DVD looks and sounds perfect.

I don't know how much this fictionalized bio of Lillian Russell owes to the truth, but the truth is she led an awfully dull life to judge by the weak script developments. Yes, even for a gal who mingled with Diamond Jim Brady and married a well-known composer, she's awfully dull stuff to take, which is why so much footage was cut out of the final print.Needless to say, when ALICE FAYE, costumed effectively in all those turn-of-the-century clothes and singing old-time songs in that breathy low-pitched voice of hers, gets to strut her stuff the story warms up a bit. But most of it is just so dull you want to fast forward and skip the bio completely.No help is HENRY FONDA as a newspaper man who patiently waits his turn to have his fling with romancing the musical comedy star. And even the reliable DON AMECHE is at sea here. Not their fault. The script is the problem and it shows until the bitter end. EDWARD ARNOLD, in a comfortable role as Diamond Jim Brady, is the only bright spot in the supporting cast. HELEN WESTLEY, WARREN WILLIAM, LEO CARRILLO and NIGEL BRUCE are likewise not seen to advantage.Maybe Technicolor would have brightened things. Hard to say, but I still think a livelier story and better backstage plot would have helped considerably. As it is, only ALICE FAYE's loyal fans will warm up to this one.