Hello, Dolly! (1969) User Reviews (164)

Somewhat overblown musical, but still excellent and entertaining

[DennisJOBrien · 8/10 · 20 January 2006]

This film was certainly beautiful to look at and listen to. I was lucky to see it in 70 mm during its initial roadshow release. It was one of the few movies to have the negative actually filmed in 70 mm, rather than having the standard 35 mm merely blown up to 70 mm for the roadshow. "The Sound of Music" was another picture originally filmed in 70 mm, and we all know how beautiful the cinematography was in that. Sadly, the high cost of 70 mm has essentially ended the use of that type of film format.

"Hello, Dolly!" deserved the Oscars it won, such as musical direction, sound, and art direction-set design. About 15 years ago I stopped in the riverside village of Garrison, New York, to see where it was partially filmed. The real building that was adapted into Vandergelder's Hay & Feed was still there at the time, and "Vandergelder" was etched on the window pane from its use in the film. The bridge over the railway tracks is still there.

As much as I like the film as a whole, it does have some problems that could have been easily corrected. The early scene with Walter Matthau and Tommy Tune arguing over Ermengarde is overly dramatic and simply too theatrical. It might have been fine on Broadway, but the genre of cinema requires a bit of toning down. I blame this purely on Gene Kelly, the director, who should have known better. He is the one who is supposed to sense the pacing and delivery of lines. I get the impression he was trying to speed things up, knowing that there is a lot to fit into the picture. The screenplay was naturally required to closely follow the original material, but it could have been simplified a bit without sacrificing anything important. An example of this is the endless number of times that the audience is reminded that the main characters are going "to New York" by train. Once was enough.

Still, the music and choreography are superb, and carry the picture. Not everyone in it can sing as beautifully as Barbra Streisand, but it succeeds nonetheless. The number "Put On Your Sunday Clothes" is one of Hollywood's golden moments in terms of production quality. I have seen Carol Channing do the stage version and she was great, but I also feel that Barbra Streisand was perfectly adequate here. She can sing better than Ms. Channing and has real star quality.

If you visit the interesting Hudson River area of New York state, you will be warmly reminded of the scenic beauty in "Hello, Dolly!" Drop by the U.S. Military Academy at West Point to take the public tour and you will see the magnificent setting where the final wedding scene was done, minus the church of course.

I'd kinda like to see Barbra do this role now

[budikavlan · 7/10 · 17 October 2003]

The miscasting of Barbra Streisand is an interesting topic of discussion regarding this movie. She's way too young, as everyone else has said; despite slight changes to the script and giving everyone the benefit of the doubt, it's silly to think that a woman in her mid twenties would have built up both the social contacts and worldly sangfroid that the character possesses. That said, however, she does about as well as anyone could ask playing a role she was 3 decades too young for. The animosity between Barbra and Walter Matthau is another problem--they have no chemistry together whatsoever. While his annoyance with her at the beginning is believable, the turnabout at the end comes across completely false. Fortunately, the movie has many other charms to make up for that central problem.

My favorite part of the movie, and the heart of the film, is the "courtship" of Cornelius & Irene and Barnaby & Minnie Fay. Michael Crawford and the late Danny Lockin are absolutely adorable as Cornelius and Barnaby. The "Dancing" and "Elegance" numbers and the dinner scene at the Harmonia Gardens are worth the price of admission alone. Barbra plays better with the rest of the cast too; she's more believable as a "woman of the world" when she's with the younger cast members. The production design is wonderful as well. While the movie was outrageously expensive for its time, just about every dollar is visible on screen. The claustrophobic musicals they've made since the Seventies really look deficient when compared to the wide-open dance scenes and crowd shots in classic musicals like this one.

All in all, Hello, Dolly has much to offer. It's not the best musical ever made by a long shot, but it's undeniably fun to watch. It would be fun to see Barbra play the role now that she's a more appropriate age for it. Unfortunately, she doesn't do musicals anymore. Maybe Tyne Daly would take the part.

possibly the last great Hollywood musical

[grumpy-3 · 8/10 · 8 January 2005]

perfectly directed by the wonderful and legendary gene kelly, with a note perfect cast. i was 20 years old when i first saw this film, beforehand, i had no desire to see it as i really did not like streisand. but having seen all the new releases that week, a friend pushed and shoved my into the theatre to see this. after the film we came out floating and dancing and singing, i have since seen it countless times, many times in glorious 70mm. the songs the dances the amazing sets and productions, all have gained in stature and enjoyment. yet again the public and quite a few critics got it so wrong, the film alas sank at the box office, and killed off an uplifting genre. sad also to see junk like chicago get kudos and box office, a film that is so cynical, tuneless and full of noise and empty bombast. performed by people who cannot sing or dance.bring back the old style Hollywood musical i say

"Holy Cabooses"

[bkoganbing · 9/10 · 11 October 2009]

The strange history of the making of Hello Dolly could make a fine motion picture itself. The feuding between Barbra Streisand and Walter Matthau during the filming is well known and documented. The incredible costs of the thing has also become an object lesson for movie producers who are not operating in the days of the studio system and actually have to pay the talent involved what they're worth. It's the biggest reason why musical films are now so few and far between.

But I read a fascinating story in the Citadel Film series book on the films of Gene Kelly who directed Hello Dolly. It seems as though 20th Century Fox after scoring so big with The Sound Of Music decided on buying other big budget Broadway musicals hoping for lightning to strike twice. They bought the rights of Hello Dolly from producer David Merrick with the proviso that the film not be shown until the Broadway run concluded.

So Fox made the film with huge production costs with borrowed money from bankers who wanted their loans paid back as soon as possible. What Merrick did and certainly the demand was there was to keep the show running. Hello Dolly wrapped in early 1968 and was over a year sitting on the shelf not earning a dime. In the meantime the finance boys had to be repaid and with heavy interest.

Fox went to court to get out of the contract and release the film and Merrick did for some hefty financial consideration. By the time Hello Dolly sold its first ticket there was no way it could ever payback the cost. In fact it was the fifth highest grossing film of 1969 and still Fox lost big money on it. In the words of Barnaby Tucker, "Holy Cabooses".

Well they spent big money on it and it shows. The production numbers are expensive, the entire town of Garrison, New York was made up to look like Yonkers at the turn of the last century. The New York scenes were lovely to look at and expensive to the bean counters. And what the biggest musical star of her time commanded in salary ate a lot of that budget as well.

It's a great film that Kelly put together however and certainly Gene Kelly was a man who knew his way around the musical film. Between Streisand and Matthau feuding he must have felt like a referee. But both were professional enough to turn in good performances though the chemistry isn't quite there.

Louis Armstrong's record of the title song is an American classic and it was almost mandatory that he appear in the film. His duet with Barbra Streisand is a piece of cinematic musical history. A fitting end for a man who brought the joy of living to his art and shared it with a grateful world.

Besides the immortal title song Jerry Herman's score has some other gems in it as well. Streisand has one of the best numbers in her career with When The Parade Passes By and young Michael Crawford and Danny Lockin as Matthau's employees sing and dance a storm in It Only Takes A Moment.

I can't finish this review without a word about Danny Lockin who left this earth way too soon the victim of a brutal murder. His performance as Barnaby Tucker is so winning that you can't help a tear coming to your eye when you read about his fate. His dancing reminded a whole lot of Donald O'Connor, I'll bet Donald O'Connor thought so as well if he saw Hello Dolly. He lived a life that convention dictate as a gay man he could not be open about it. The closet eventually killed him, but he left us this wonderful performance to remember him by.

And to you, the late Danny Lockin this review is respectfully dedicated to. Holy Cabooses Danny, I'll bet you're giving Terpsichore a lesson in high stepping.

SIMPLY STUNNING STREISAND

[drednm · 2 July 2018]

Forget the stories about miscasting and squabbles on the set. This production of HELLO, DOLLY! is big and bright and brassy with Barbra Streisand taking center stage as Dolly Levi, the matchmaker with a mind to marry a crusty "half-a-millionaire" from Yonkers.

The story line is familiar. The musical is based on Thornton Wilder's play THE MATCHMAKER and was a Broadway sensation for Carol Channing in 1964. This film version trims the story, drops a couple songs, and adds a new one ("Love Is Only Love"). Directed by Gene Kelly and choreographed by Michael Kidd, the film makes good use of location shooting around New York State.

Streisand, in only her second film, is in great voice and shows a nice comic touch. Yes, Dolly is supposed to be "middle aged," but it really doesn't matter. And with those turn-of-the-century hair styles and clothes, you can't tell anyway.

Walter Matthau is good as crusty Horace (though his accent wanders) and Michael Crawford makes for a delightful Cornelius Hackl. Marianne McAndrew is Irene, E.J. Peaker is Minnie, and Danny Lockin is Barnaby. Others in the cast include Judy Knaiz as Gussie, Tommy Tune as Ambrose, Joyce Ames as Ermengarde, David Hurst as Rudy, and Louis Armstrong as the bandleader.

The songs by Jerry Herman are wonderful and have witty lyrics. Two huge production numbers dominate the film. In the first half, "Before the Parade Passes By" is a stunner, sung by Streisand, it turns into a gigantic parade beneath a summer sky and it's as big and brassy a musical number as you'll ever see.

Of course the title song is a show stopper and well staged in the Harmonia Gardens on 14th Street. Streisand makes her famous entrance (and return to life after a period of widowhood) down a grand staircase. She wears a glittering gown of gold as she sings and dances with a battery of waiters. She also does a memorable duet with Armstrong (in his final film appearance).

Yes, it's old fashioned. But the film is so bright and tuneful, it never lags. It was the #4 box-office hit of 1969.

Bottom line: Streisand makes for a great Dolly, and this is a great film musical.

"All the facts about you are insults!"

[utgard14 · 7/10 · 23 April 2016]

One of the last of the lavish Old Hollywood musicals. The performances are all fine, with Streisand the obvious standout, vocally and otherwise. Michael Crawford is a little goofy but I guess he's supposed to be. He's a little Dick Van Dyke-ish at times. Your mileage may vary on whether that's a good thing or not. I was less interested in his plot than the one involving Streisand and Walter Matthau. Pretty much anytime Babs is on screen things are much more lively. I say this as someone who isn't her biggest fan, but she really does own this film. The direction from legend Gene Kelly is solid and appropriately old-school for its time. It really feels like a throwback to the MGM musicals of the 1940s and 50s, with great sets and costumes and big production numbers. The cinematography is also very beautiful. So it's a great-looking movie with an upbeat tempo throughout and some very nice songs. The length is the biggest negative, and I did find myself checking my watch during a couple of the lengthy Crawford segments. But it's still a good movie with a lot to recommend, especially for fans of older musicals.

A breathtaking cinematic production.

[npvarley · 9/10 · 4 January 2016]

Well, right off the bat, I will admit that I love this movie. I know it almost bankrupted 20th Century Fox and that the critics were lukewarm about it on release in 1969, but they were flat-out wrong. And the perspective afforded by the passage of time has seen this become one of the most-loved of the Hollywood blockbuster musicals.

The principals in the cast are all wonderful. Streisand is simply gorgeous and sings beautifully, as does Marianne McAndrew. Matthau is, well, typical Matthau: all wonderful hang-dog expressions of exasperation and a grouchy exterior hiding a warm-hearted soul. Michael Crawford, in an early role, doesn't quite have the voice he developed later in life, but it suits the part of the shy and nervous Hackl.

The music is fabulous. It is one of Jerry Herman's very best pieces of work, in my opinion. It's full of great songs and the finale set-piece, when Dolly returns to the Harmonia Gardens, is magnificent, along with Louis Armstrong's great singing.

Gene Kelly had Michael Kidd onboard as choreographer and he produced some superb set-pieces. The parade scene is incredible and required hundreds of extras. The story might be a bit thin, but the production values more than make up for it. The sets are remarkable, as are the costumes. The fact it was shot in 65mm Todd/AO means that it is a great visual experience, with tremendous detail visible.

This is a truly great musical movie. If you haven't seen it, you really, really, should. You'll been for a treat.

Worth a look!

[johnm_001 · 7/10 · 5 October 2000]

While some of the cast of "Hello, Dolly! leaves something to be desired, its sets, costumes, general production values, and choreography cannot be beat. Striesand is miscast, but nobody can fault her for that. She gives it her all, and frankly, I prefer her performance in this film, over her inexplicable star-making turn in "Funny Girl". Lots of money was spent on making this film, and every cent of it can be seen in the finished product. The film is leaps and bounds over almost everything made today. Every musical number is first-rate. This film should ONLY be seen in WIDESCREEN. To view a cropped video tape would be silly, since you would be seeing only half the film. "Hello, Dolly! is lots of fun, and a true testimony to the lost art of fine film-making.

A Classic not be missed!

[musicalphan1216 · 10/10 · 7 December 2006]

This generation (I'm ashamed to say MY generation) just doesn't seem to appreciate a good musical, much less one that came out when our parents were young-ens, heaven forbid! It will be a sad day when these classic films are forgotten, but fortunately, they are all being remastered and re-released on DVD for this generation to enjoy if only they would give them a chance.

I bought the special edition of 'Hello, Dolly' because I adore musicals, especially those from the 50s and 60s when Hollywood really knew how to do it right! The top 3 billings were all people I had heard off... Streisand may not be the easiest person to love, but her voice is astounding... Who could forget Walter Matthau in 'Dennis the Menace', a film slightly more known to my age group... and last but certainly not least, Michael Crawford, a voice I had been listening to since age 3. I grew up listening to his solo albums as well as the original cast recording of 'Phantom.' I will say, he was my main incentive for seeing this film.

'Dolly' is musically and visually stunning. All the principle cast members sing on their own, always a bonus, and the songs are accompanied by some of the most entertaining and memorable dance numbers next to 'A Chorus Line.' One could expect no less since this film is directed by the infamous Gene Kelly. Need I say more? 'Hello Dolly' is by far my favorite of the classics, and believe me, I've seen them all. Sure, you can complain that Barbra was too young to play Miss Dolly Levi, but the woman has talent, you can't deny it no-matter how you feel towards her as a human being. She can sing and she can act, why settle for for someone who fails to meet the former and resort to dubbing? That's the one flaw in 'My Fair Lady.' Matthau is astounding as always, and I have already stated how much I love Crawford. He is just so positively adorable in the role of Cornelius Hackl! Understanably, his gorgeous tenor isn't nearly as developed at age 27 as it was at age 44 when 'Phantom' opened in London, but it's pleasant none-the-less, and his acting is superb as always, flawlessly hiding his lovely accent behind the mousy but sweet demeanor of a Yonkers store clerk.

I love 'Hello, Dolly!' and I would recommend it to anyone who loves the classics. It's funny, uplifting, and heartwarming... what more could a person want in a movie? Don't miss this movie, you're never too young to enjoy the classics.

"I don't want my wings cut!" ... "No man does, Horace, no man does."

[moonspinner55 · 7/10 · 4 October 2015]

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 ****

My wife watches this so often

[BandSAboutMovies · 5/10 · 25 February 2020]

While Hello, Dolly would win three Academy Awards for Best Art Direction, Best Score of a Musical Picture and Best Sound - while also being nominated for four other Academy Awards including Best Picture - the movie was a failure and took years to finally break even.

The filming of the movie was filled with arguments between nearly everyone. Co-stars Barbara Streisand and Walter Matthau came to blows on the hot June day with Robert Kennedy was killed. All it took was a sneeze to set the cantankerous Matthau off, who supposedly yelled, "You might be the singer in this picture, but I'm the actor! You haven't got the talent of a butterfly's fart!"

Streisand remembered it differently, that Matthau just went off on her, leaving her crying for days.

Director Gene Kelly saw it as a typical dispute about stepping on each other's lines and thought that a quick meeting resolved everything.

But to the public, the story became the diva Streisand against the henpecked and suffering Matthau.

Matthau definitely had no love lost for the singer. When he and co-star Michael Crawford visited a nearby racetrack and noticed that a horse named Hello Dolly was racing. Matthau refused to bet on it because it reminded him of Babs. Crawford placed a bet anyway and that horse won the race. As a result, Matthau now also refused to talk to Crawford.

That said, Streisand also battled Kelly over the "Before the Parade Passes By" scene, with the singer going over the director's head and bringing in the producer, behind Kelly's back.

To top all that off, choreographer Michael Kidd warred with costume designer Irene Sharaff and Kelly to the point that he and the legendary song and dance man were no longer speaking to one another.

This was an incredibly expensive film and the costs started when the movie hadn't even been filmed yet. In order to get the play off Broadway - a clause in the 1965 film sale contract specified that the film could not be released until June 1971 or when the show closed on Broadway, whichever came first - Fox had to pay $2 million dollars for an early release escape payment.

The film's final budget - $24 million dollars ($186 million in today's money) nearly took down 20th Century Fox.

But hey - the movie is awesome. Seriously, it's the loudest, biggest, play it to the back row musical extravaganza ever. Just by 1968, did the kids want to see a musical like this any longer? One wonders, as the same studio also released Star and Doctor Doolittle, two more musical stinkers. Only a re-release of The Sound of Music in 1973 would reverse the studio's fortunes.

All of New York City is excited because Dolly Levi (Streisand) is back in town. Never mind that Barbara was about twenty or more years too young to play this part, robbing the original play of its emotional resonance.

She's here to find a wife for Yonkers-based half-a-millionaire and full grump Horace Vandergelder (Matthau), but of course, she really wants him all for herself. There's also the matter of artistic Ambrose Kemper (Tommy Tune), a young artist who wants to marry Horace's niece Ermengard. And then there are the two employers of Vandergelder's Hay and Feed, Cornelius Hackl (Michael Crawford, yes, Condorman) and Barnaby Tucker (Danny Lockin, who played the role on Broadway afterward; he was killed after being stabbed a hundred times in the 70's) who are looking for love themselves.

One of the women they're after is Irene Molloy, who is played by Marianne McAndrew. After this movie, she'd marry Stewart Moss and star with him in The Bat People. The other is Minnie Fay, who is played by E.J. Peaker, who is also in Graduation Day.

The highlight of the film is the Harmonia Gardens scene, where Dolly arrives to great bombast and Louie Armstrong singing in a scene that never fails to make me cry. Hijinks, of course, ensue and everyone winds up with the person they deserve and all live happily ever after, even if it seems like Matthau's character will always be cantankerous.

Seriously, that Harmonia Gardens set is unlike anything we'll ever see again. In all, this sequence took an entire month to film. It filled an entire sound stage and had three levels, with a main section, a dance floor and an upper mezzanine. It's so massive that the wall behind the check-out girl is the same wall as the ballroom from The Sound of Music and the ornate glass windows were reused to create the dining room skylights in The Poseidon Adventure. You can also see the sets reused as the mutants' Grand Central Station tribunal room and ruined St. Patrick's Cathedral in Beneath the Planet of the Apes. And the fountain also shows up in The Towering Inferno.

If we didn't have this movie, how else would WALL-E learn about love? And believe it or not, this was the first movie commercially released on home video in the United States.

Put on your Sunday Clothes

[MOscarbradley · 8/10 · 30 October 2007]

This gargantuan musical was the last of its kind. It's like a dinosaur ear-marked for extinction and yet it's highly entertaining. Parts of it are terrible, (mostly those scenes in which Babs doesn't appear), and Gene Kelly's direction is never as light on its feet as his dancing used to be but when the aforementioned Miss Striesand is on screen, the movie soars. Critics complained that at 27 she was much too young for the part of Dolly Levi but she's a bona-fide star, so what the heck; her Dolly is ageless and as musical-comedy performances go this is one of the best.

The Jerry Herman score is decidedly old-fashioned Broadway. Sondheim may be the greater composer but Herman gave us tunes we could hum and the production numbers here are terrific, in particular the title song which gives us Striesand, high-kicking waiters and Louis Armstrong. Purists will always prefer the Joseph Anthony version of Thornton Wilder's original play "The Matchmaker" but this is no disgrace, so put on your Sunday clothes and let's have a whale of a time.

Hello Dolly-Music for A Yenta ***

[edwagreen · 7/10 · 8 January 2008]

Though she was definitely far too young for the part of Dolly Gallagher Levi, Barbra Streisand shines in the part because of that golden voice allowing her to express the story going forward.

What makes this film even better was on the constant off-screen bickering between Streisand and Walter Matthau, who portrays the curmudgeon Horace Vandergelder.

Matthau is Vandergelder in every way. Thanks to the crisp dialogue in the film, he delivers his line faithfully. He is a sourpuss in every way of his life and he never lets the audience forget that with his sharp biting responses.

Had Streisand been older, she would have been even more ideal for the part. She possesses that nosy body quality from "Funny Girl" and delivers a great performance.

The music and choreography here are a delight to watch.

Nothing About This Movie Works

[evanston_dad · 2/10 · 7 July 2020]

Dear holy hell nothing about this movie works at all.

And why doesn't it? On paper, it had everything going for it. Tried and true material? Check. Hugely popular star? Check. Lavish budget? Check. Gene Kelly, who maybe hadn't had a lot of directorial experience, nevertheless knew his way around a movie musical. Producer/writer Ernest Lehman had adapted two of what were arguably the most successful movie musicals of all time, "West Side Story" and "The Sound of Music." Good grief, is this the same man who had brought "Who's Afraid of Virginia Woolf?" to the screen just three years earlier?

Barbra Streisand and Walter Matthau deliver a master class in how to have absolutely no chemistry together. Streisand struts through the film like she's Mae West, but then will inexplicably slip into a Southern accent here and there, which is super confusing because aren't they in New York? Matthau growls and barks at everyone, and yet is so irresistible that he has two beautiful women willing to die for him, and that's even after they've heard him sing. O.k. one of those women seems slightly demented and sings an entire song about hats, but still. The other is Dolly herself, who spends the movie setting up overly-complicated scenarios in order to make him realize he loves her instead, or at least just decides to marry her by default. I didn't understand any of this. Meanwhile, there are some young 'uns whose love lives Dolly also interferes with, leading me to conclude that this woman needed a hobby. One of them is Tommy Tune, who's fourteen feet tall and in love with Matthau's niece (or daughter or some other kind of relation -- who cares?). The other is Michael Crawford, who tries as hard as he can to make this movie unwatchable all by himself. Crawford can't deliver a line without opening his mouth really wide and making the sound of someone trying to tell someone else that he's having a stroke. Dolly never seems to figure out what the rest of us do, which is that both of these young lads are gay and would be better off matched with each other.

The title song comes in the second half of the movie. It's all about how much everyone has missed Dolly and how great it is to have her back in society. This song doesn't make any sense either, because the first song of the movie is all about how well known Dolly is and literally every person who lives in New York City recognizes her as she walks down the street. Why is it so nice to have her back where she belongs if she was never gone in the first place? For a musical that isn't about anything, it's really hard to follow. I also felt bad for all the people in the restaurant who were just waiting for their food but instead had to watch 20 waiters in a half-hour long dance number. They manhandle all the food so much during this number that I would certainly not want to eat whatever was put on my plate.

Did I mention that nothing in this movie works?

At the end, Matthau realizes he loves Dolly and wants to marry her, not because anything leading up to that point prepares us for it, but just because the movie wants him to. I was fine with it, because it meant the movie was almost over.

The Academy nominated "Midnight Cowboy" for Best Picture in 1969 and then had a panic attack that they would lose the family audience for their award show. This is the only conceivable reason I can come up with for them nominating this lumbering abomination for Best Picture as well. Just let that sink in for a minute -- "Hello, Dolly!" competed with "Midnight Cowboy"(!) for the Best Picture of 1969.

"Dolly" did win three Oscars, for Art Direction, Adapted Musical Score, and Sound. It received nominations for Best Cinematography, Best Costume Design, and Best Film Editing. Yes, film editing. As if there isn't about an hour and a half of padding in this movie that could have been removed. In fact, maybe this would have been better as a short film. Or maybe just listen to the Broadway cast recording?

Grade: D

Still Terrific!

[itaught34 · 10/10 · 9 June 2019]

Ventured back to this superior musical with my family. Every number is memorable, with outstanding Michael Kidd choreography. No one can deny Barbra Streisand's talent. I was a big Michael Crawford fan pre-Phantom, so it was great again seeing how versatile he is. The supporting players were all excellent. Gene Kelly's direction was amazing - huge cast; spectacular presentations. Wonderful!

I love this movie

[shadowcountess · 16 February 2001]

I'm still not sure why I like this movie as much as I do. I'm not overly fond of Barbara Streisand, but this movie showcases her in just the right light. The music is wonderful, the dancing, especially durning the Harmonia Gardens dinner scenes, is fantastic. Louis Armstrong, who originally recorded the song without ever seeing the Broadway show, adds just the right touch to the showmanship of the picture.

$24,000,000 in 1968 = wow!

[ptb-8 · 7/10 · 14 October 2008]

Possibly more enjoyable (needed) today than even in the 60s HELLO DOLLY has aged very well and now has the respect it deserves. The astonishing budget was almost a record breaker at the time and the 70mm production certainly gives the audience a spectacular serving. The 60s musicals are getting a new audience because of the fantastic and very welcome DVD transfers... and I am pleased to see a new generation find them and be very happy and delighted. Criticism is easy if so inclined and I have always disliked the Cornelius Hackl nonsense, but 35 years later and happy to sail along with the sheer hilariousness of the tone and the massive and quite thrilling spectacle, I am glad the film exists. The absolutely gigantic and detailed parade and the restaurant scenes are simply unforgettable... especially the Waiter's gallop stunt dancing and very funny contrivance of the choreography. HELLO DOLLY is a great production, a very good comedy, sensational orchestrations and a genuine spectacular musical. Kids would love it if you encouraged them to see it. Yes it does look like Imogen Coca or Carol Burnett or even Barbra Eden in the sub roles but as we know it isn't. The opening sequence is so wonderful, with the city coming to life and rhythm and the rail journey thru the credits is just sublime. It was a big hit in Jan 1970 and ran for months in Australia in huge 70mm cinemas. I saw it that way then and love the DVD now which gives equal effect for those not around in the 70s. Matthau is hilarious.

Severely underrated musical extravaganza

[robb_772 · 8/10 · 20 April 2006]

This mega-expensive film adaptation of the enormously popular Broadway musical never quite became the mammoth blockbuster that 20th Century Fox obviously intended it to be. Although HELLO DOLLY was generally popular with audiences and even became the fifth-highest grossing film of 1969, it was still unable to recover it's tremendous budget (over $25 million in 1969, more than $140 million when adjusted for inflation), and it is unfortunately viewed as a flop by the majority of the public. Elaborate and old-fashioned, DOLLY must have appeared terribly outdated to the EASY RIDER generation at the time of it's premier, and film has never been able to complete shake it's archaic reputation ever since. Contrary to such criticism, when removed from the high expectations that surrounded it at the time of it's release, HELLO DOLLY is actually thoroughly enjoyable musical comedy, featuring strong performances from it's cast and some truly stunning production numbers.

Of course, many people criticize the casting of the then-27-year-old Barbra Streisand as the widowed Dolly Levi, but Streisand amazingly manages to overcome such physical miscasting with the sheer force or her tremendously engaging performance. Streisand literally ignites the screen with her raid-fire wit and unsentimental vulnerability, delivering a multi-layered portrayal of the fabled matchmaker. As usual, Streisand is in phenomenal voice, belting out Jerry Herman's score as no one else ever could. She also looks quite ravishing in Irene Sharaff's sumptuous costumes, managing to appear quite sexy in addition to being funny, feisty, and touching.

Walter Mathau is great romantic foil; he and Streisand develop a combative comedic chemistry that rivals even the best of the classic 1940's screwball comedies. The incredibly young Michael Crawford and Danny Loklin, both already accomplished stage actors, are thoroughly likable and create a memorable "Laurel and Hardy"-like comedy pairing - it's a shame they never appeared together in film again. The appropriately prim Melanie McAndrew makes a very sweet and pretty ingénue, but it is sort of jarring that her "young woman" actually looks older and more matronly than Streisand's supposedly middle-aged Dolly Legendary actor/dancer Gene Kelly manages to keep the various story threads running smoothly, and the picture's momentum builds nicely as the various plot elements reach a simultaneous climax at the Harmonia Gardens restaurant. Michael Kidd's trademark choreography is typically complex and challenging, and the entire cast appears to be giving their all in each and every number. Herman's score is neither complex or challenging, but his songs contain both strong hooks and instantly memorable melodies, with Streisand's incomparable renditions of "Before the Parade Passes By," "So Long, Dearie," and the immortal title song remaining some of the most astonishing moments in musical movie history. Although unfairly savaged upon it's original release, HELLO DOLLY is truly delightful film that seems to only improve with age.

Romantic Subterfuge

[kz917-1 · 7/10 · 31 January 2018]

Barbra Streisand & Walter Matthau star in this classic of Hollywood. Also cast is Michael Crawford (in his youth) who will later star at the Phantom of the Opera in both the West End & Broadway and Tommy Tune's first film.

Matchmaking is Dolly's game and she has her eye set on someone for herself!

I didn't realize how many of the songs I've heard before elsewhere.

Entertaining if you love musicals and any of the stars...

Hello Dolly a fun film

[Theatergurl · 10/10 · 26 January 1999]

Hello Dolly is really a fun film, it's based on Thorton Wilders "The Matchmaker" And thats just what Dolly is, She interferes with peoples lives for a living. From this ensues a lot of toe tapping music and enthusiastic energy. I really love this film, and I think it's one of the great musicals and people can't help but be swept up by it. It's brassy and loud but a great film to see. Barbra Streisand is not my favorite actress, but she brings vitality and loud mouth approch to the role that is pretty funny. My favorite characters are Cornelius Hackl and Baraby Tucker, they make a good comedy team (one tall, one short). I love the way they get nervous when first entering Miss Malloy's Hat shop. I enjoyed every minute of the movie. If you're in the mood for a good old fashioned musical with great energy, go for Hello Dolly.

A big huge musical circus, Barbra nearly succeeds in holding up this elephant.

[gbrumburgh · 6/10 · 15 March 2001]

The biggest beef everyone always has about the cinematic version of "Hello Dolly!" is that Barbra Streisand was too young to play widow and professional meddler Dolly Levi. Of course, if we trace the history of Dolly, I can't refute the fact that the role is closely identified, synonymous even, with two Broadway legends – Carol Channing, who was 43 at the time she created the musical version, and Pearl Bailey, who was 49. Ruth Gordon was 58 when she played Dolly in the Broadway play "The Matchmaker" and Shirley Booth was 60 in the 1958 non-musical movie version. So O.K., Dolly is usually an old broad. I get it.

The 27-year-old Streisand had just come off a smashing, Oscar-winning success in just her first vehicle, "Funny Girl", and had Hollywood at her feet. As a result, she was handed the part on a silver platter – to the understandable distress of Channing. Unfair as it may be, Channing had never carried a musical film (Bailey either) and had the fatal reputation of coming off too weird a personality for film (Bailey too). Channing had offered flashy support in only two features up until 1969. And despite receiving a Golden Globe award and Oscar nomination in the thoroughly mediocre "Thoroughly Modern Millie" just the year before, it was not enough for producers to entrust Channing with the most expensive musical ($24,000,000) ever made at the time. With `Funny Girl' and now "Hello Dolly!", the triumphant Barbra was singlehandedly bringing back MGM-styled blockbusters back to the movie houses.

Well, the musical was not a financial success anyway. But I insist not because of Barbra Streisand. Yes, yes, yes, she was far too young for the part, but after the wonderful, vibrant introductory number "Just Leave Everything to Me", she takes full command and makes the role her own, never losing steam. More importantly, she makes the age of the character a non-issue. Barbra shows a maturity beyond her years in Dolly and her comic timing is absolutely impeccable – especially the Irene Malloy shop scene and the exquisite dinner sequence with Horace Vandergelder at the Harmonia Gardens. I suggest the dissenters (and there are many) rewatch this movie again, throwing away all preconceived attitudes about La Streisand as a person or perfectionist and just watch real star power at work. And as an added plus, Dolly's song were finally sung by a singer! With all due respect to Pearlie Mae and Carol, it was sheer heaven to hear Barbra wrap those gorgeously golden tonsils around "Before the Parade Passes By", "Put On Your Sunday Clothes" and the added `Love Is Only Love'. Beautiful songs deserve to be sung beautifully.

The problem with this grandiose production is not Barbra but what's around Barbra. Walter Matthau practically sleepwalks through the Vandergelder role. Granted, his chemistry with Barbra was zilch due to their volatile off-camera relationship. But still, you gotta have some kind of charm even when playing a miserable grouse, and he ain't got a bit of it here. Michael Crawford is a constant irritant as Cornelius Hackl. Some very weird, annoying mannerisms and tonal qualities make him a most unwelcome guest in these proceedings. Marianne McAndrew is lovely and quite pleasant, but limited and, ultimately, forgettable as Irene Malloy, while E.J. Peaker as Minnie Fay looks like she was coached by Crawford, suffering from the same kind of giddy, gulping, annoying affectations that apparently afflict actors trying to play "hilariously gawky." Tommy Tune is, well, just so TALL!!! I forget he's suppose to be playing a person! The late Danny Lockin, an energetic worker here, comes off best among the supporting cast as Barnaby Tucker, beaming with a huggable `aw shucks' innocence while showing off his extensive dancing prowess. Sadly, Lockin was murdered (stabbed to death) a few years after the completion of `Dolly.' He was only 34.

As directed by Gene Kelly, "Hello Dolly!" deserved to be the big circus-like entertainment it was. But not even Barbra can be expected to hold up an elephant like this alone. It has a hollow, empty feel whenever she's not on camera. The all-important choreography by Michael Kidd seemed tired and uninspiring as well. But Babs gives it her all, Mae West be damned, and she nearly pulls it off.

Agonizing

[collings500 · 2/10 · 23 January 2022]

What do they mean, "Hello Dolly"? Has this lady been out of town or something? The Dolly Levi character is so embarrassingly ill-defined that I thought there had to be a missing reel somewhere in vaults of 20th Century Fox. She appears fully-formed without the slightest hint of any character arc, and the plot has her pop in and out of the action only when a song is required to break up all the boredom. She's also charmless, meddling, and unfunny. I found the incessant chit-chat between the supporting players mostly pointless, and the musical score lacks a single hummable tune - with the possible exception of the title number, which never grabbed me in the first place and which I've now heard 80,724 times (give or take) over the last 50+ years. I know that the musical theatre genre requires us to accept some thinly drawn characters and the usual cornball romantic plotlines, but Hello Dolly! Stretches our patience to the max. Why on this earth would a snobby, hyper-expensive New York restaurant that caters to the barons of the Gilded Age make such a fuss over an irritating blabbermouth like Dolly and then top it all off with an endless song and dance number in some sort of fawning tribute? Why does professional matchmaker Dolly set her sights for her own marriage upon a jowly, wholly loathsome feed-and-tack merchant from Yonkers? Not only is there zero chemistry between these two (the age difference alone is downright embarrassing), but this odd couple seem to become increasingly wrong for each other as the silly plot grinds on. Why Tommy Tune, or the dancing waiters, or the hat shop girl subplot, or the bloated street parade with zillions of extras? And why Walter Matthau at all? Agonizing from start to finish.

Lavish and hugely enjoyable musical

[TheLittleSongbird · 8/10 · 14 November 2009]

Hello Dolly! for me was a very good film. It does have its flaws, but on the whole it works. I will admit I saw it for the first time today, after only seeing the clip of Louis Armstrong and Barbara Streisand together on the 100 Greatest Musicals. And of course, I was intrigued to see this musical, and while I noticed some problems it was really pleasant to watch.

I think I will start with the flaws. My main problem was Gene Kelly's direction. I know he is a great singer, dancer, actor and choreographer, but his direction here didn't quite have the sense of fun and energy that made Singin' In the Rain such a treat. Plus the first five minutes, despite Barbara Streisand's wonderful vocal, didn't draw me in immediately.

However, the film's scenery and cinematography are breathtaking and the costumes are wonderfully colourful and lavish. The choreography consistently is superb, and the score and songs by Jerry Hermann including Ribbons Down My Back are wonderful. Despite being too young for the part, Streisand is nonetheless mesmerising in the title role, perfectly capturing her character's wit and humour, and delighting with her big beautiful voice. Walter Matthau was superb also as the successful but stingy merchant Vandergelder, making the most of the juicy dialogue. I was especially impressed with the supporting performances of Michael Crawford and Louis Armstrong too. The scene in the restaurant is a comedy and musical highlight.

All in all, not perfect, and not quite a classic, but it is a visually stunning, colourful and memorable musical. With faults of course, but the costumes and the performances more than compensate. 8/10 Bethany Cox

Light Musical ...

[kosmasp · 7/10 · 7 July 2007]

... action! Although I'm not a big fan of musicals (I've pointed that out before, on my reviews to some musicals), I did like this one. It was light and nice. Barbra Streisand and Walter Matthau are great in this movie.

And the support players (e.g. workers for Mr. Matthaus character or others), do their job in a very good manner. There might be one or two musical numbers, that I wouldn't have missed, if they weren't in the movie, but all in all, I did endure the whole movie, without any pains or anything else, so the music and singing wasn't that bad or couldn't have been! If you don't like musicals at all, you should stay away from this ... but if like 'em (even a little), then you have to watch this one, too!

Terrible

[braedenscottrice · 1/10 · 20 May 2021]

None of the songs were good or memorable which every musical needs. I wanted to punch Dolly the entire movie and for some reason she was just wherever plot needed her throughout the movie. The two dudes are terrible and are just there to have more songs and to make jokes. I don't recommend this movie at all.