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.
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.