I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

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 movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

One of the worst ways to make a cult movie is to set out to make a cult movie.

Winner of what we now call the Best Picture award, "The Great Ziegfeld" is a tribute to Florenz Ziegfield, Jr., the prolific promoter whose entire life might be summed up by the word "extravagant". The film was released in 1936, only four years after Ziegfeld's death, which might explain why there are some departures from truth.William Powell is Flo Ziegfeld (a role he would again embrace in 1945)--part Barnum, part Svengali, a man with big ideas and business acumen. The script paints him as a likable man and, to some extent, glosses over the womanizing aspect of his personality, though he is clearly a man who likes the ladies. Ziegfeld was an impresario who lived as lavishly as his productions, which were celebrations of excess and ostentation. One of the best aspects of the film is its depictions of entire stage numbers, featuring unique camera movements, complex stage machinations, and hundreds of performers. The choreography is fantastic and the costumes are beautiful. Louise Rainer portrays Ziegfeld's first wife--Anna Held--one of the stars he created. Much has been written about Rainer's performance, which won the Best Actress award, but has its detractors. She plays the French Anna very dramatically, rather Garbo-esquely.Myrna Loy pairs with William Powell (again) as his second wife, Billie Burke--a devoted wife who forges a successful film career when Flo's health falters. She wisely does not try to imitate Billie's unique voice and mannerisms.In between, he dallies with Audrey Dane (Virginia Bruce), a hateful and ambitious alcoholic. In real life, she was Lillian Lorraine, who remained a part of Ziegfeld's life for many years, if only in the shadows.The rest of the cast includes some entertainers portraying themselves (Will Rogers, Fanny Brice) and other noteworthy actors (William Demorest, Frank Morgan). There is so much talent, they practically have to shoe-horn the performances into the film, but somehow it all fits together well.Watch for the circus ballet number that features lead dancer Harriet Hoctor. It is literally a dog and pony show.Even though this film might diverge from reality, it captures the milieu of the late 20s and the 30s. It also includes plenty of entertainment. The parts that were edited out could probably make another entertaining film of their own.

A large-scale musical biography, going for sentimentalism more than accuracy. Incredible talent by Ray Bolger and others; Fanny Brice steals the picture in a memorable performance. Attractive models, talented chorus girls and guys, and dancers of all sorts populate this spectacular film in big production numbers. And Frank Morgan is delightful in an upbeat, fun performance.The two lines spoken in the restaurant about cheese and coffee are quick and funny. There is some good writing in the script. The women involved with Ziegfeld's personal life are captured in essence, not in specifics; since many of them were alive at the time this film was made they couldn't be portrayed in any detail that could get the film makers sued for defamation. Luise Rainer is very miscast as a French musical entertainer, but she does try to capture the general essence of her character's offstage circumstances. Ms. Rainer got an award for her hard-drama portrayal here, but why the heck do you need a gut-wrenching dramatic style in a musical movie portraying a music hall entertainer? Great actress, dramatic performance, wrong role. After all, she isn't portraying the life story of Sarah Bernhardt here. Extravagantly mounted and staged musical productions are highlights over the sentimental biography. The biography is totally dependent on William Powell's immense charm. To me the biographical parts of this film are shallow and more of a tribute to Powell than to Ziegfeld, while the musical parts are clearly Ziegfeld.

This biography follows the ups and downs of Florenz Ziegfeld (William Powell), famed producer of extravagant stage revues.For some reason, this film is epic, with a long overture and an extended running time. This is completely pointless, and it would probably be more enjoyable if they cut the fat and got this down to a reasonable length. What hurts it ever more today (2015) is that few people anymore even know who Ziegfeld was.I do not want to be too harsh on the movie, because William Powell is excellent (as always) and part of it is shot by the world's greatest cinematographer, Karl Freund. But really, I cannot see this being a lost classic or anything of the sort.

AS WE CHOSE to make this our next, lucky victim to be vetted before America and the World, we first did our homework. Consulting such esoteric sources of knowledge as the World Book Encyclopaedia and our own personal favourite, Wikipedia, we stockpiled a treasure trove of background information about the famous Mr. Florenz Ziegfeld, Jr.BORN IN CHICAGO (coincidently our home town!), he was the product of a German Lutheran Immigrant and a Belgian Roman Catholic Mother. Father ran the CHICAGO MUSICAL COLLEGE and opened a nightclub, the Trocadero, in time to ca$h in on the glut of business in the Windy City during the WORLD'S COMUMBIAN EXPOSITION of 1893.IT WAS AT this point when Ziegfeld the Younger contracted with European Stage Strongman, Eugen Sandow and proceeded to employ his act at the Trocadero, as well as at the Midway* of the Fair; which was being held at the Jackson Park Lakefront sight.HERE IS WHERE our story begins in the film, THE GREAT ZIEGFELD (MGM, 1936).THE STORY OPENS with Sandow's feats of strength bringing only modest receipts at the gate. Ziegfeld (William Powell) suggests that Sandow** (Nat Pendelton) should put the Barbell lifting and Horse Shoe bending on the back burner in favor of physique display. Striking various poses, from all angles, Sandow would animate the presentation with routines employing "muscle control"; which is the contraction and relaxation of the various muscular groups, without actually moving anything.ZIEGFELD QUICKLY MOVES on to the vaudeville stages and to Broadway, producing musicals, discovering lovely female performers and culminating with his greatest triumph, the ZIEGFELD FOLLIES.TAKING THE NAME from the famous Parisian FOLLIES BERGERE, they were the most widely popular musical extravaganzas in America or even the World. The story traces their development and chronicles their year by whomever kit is that Flo is featuring as his headliner. Will Rogers, Fanny Brice, W.C. Fields and Eddy Cantor were among his finds.A VERY HUGE AND outstanding cast was assembled in order to give the film the importance that such a biography deserves. In addition to William Powell, we have: Myrna Loy (Billie Burke-wife # 2)), Louise Rainer-Wife # 1), Frank Morgan, Fanny Brice (playing herself), Virginia Bruce, Reginald Owen, Ray Bolger (as Eddie Cantor) and a cast of hundreds (at least).THE NEARLY THREE hour film traces a career that was built on manic energy and confidence. It has highs and lows with romance and heart break, family and solitude, reverence and vulgarity. It covers his life respectfully, right up to his death bed in 1932.WE HAVE TO address on point before waving bye-bye. As to the notion that Ziggy launched the career of Sandow, many feel that it was really the other way around; for, without Sandow, we'd have never known Mr. Ziegfeld.THIS MARATHON OF a movie gets a highest mark from us, just be in the mood to invest the time.***NOTE * The term "Midway" originated at the 1893 Fair; being the roadway leading to the Fair Grounds, which was lines with all of those "Side Show Attractions." In this case, Sandow and Fan Dancer, Sally Rand were among them.NOTE ** Nat Pendelton's characterization of Sandow makes him sound more like a Hollywood Indian, rather than the German, which he was. He was born in Prussia, April 2, 18967 as Frederick Mueller. He is considered to be the Father of Modern Bodybuilding, Physical Culture and Physique Display (Those "Mr." Contests). The Trophy for the Mr. Olympia contest is called the 'Sandow' Trophy.NOTE *** The popularity of the movie spawned a sort of Musical/Fantasy follow-up with ZIEGFELD FOLLIES (MGM, 1945); again featuring William Powell as a now resident of Heaven, scanning how things are on Planet Earth through telescope and making commentary directly to the audience!