joelovesbabs Probably one of the most underrated musicals of all time (next to THE WIZ), it is a shame that this movie is labeled overblown and excessive, which it is NOT; it is lavish and elegant and larger-than-life.Barbra Streisand is as magnificent here as she is in FUNNY GIRL, and at least very deserving of an Oscar nomination for her splashy, vibrant and effortlessly spontaneous and vivacious performance.Gene Kelly not being nominated also for directing this classic is as much a travesty as Steven Spielberg not being nominated for directing the best film of 1985, THE COLOR PURPLE, then again, A.M.P.A.S has made many faux pas over its existence. Here's to you Dolly Levi, and Barbra Streisand, so glad to have you both where you belong, in such a beloved and highly admired musical film.

sol- Hired to secure a wife for a wealthy merchant, an 1890s marriage broker schemes to have the merchant fall in love with her instead in this lavishly produced musical starring Barbra Streisand and Walter Matthau. The songs are memorable and Michael Kidd's choreography is as imaginative as usual with a particularly remarkable sequence involving the wait staff at a fancy restaurant. The detailed period sets and costumes are great too. Pleasant as the film is to look at and listen to, it is nevertheless rather empty. The characters vary between dull and unappealing with Michael Crawford and Danny Lockin especially irksome as Matthau's young shop assistants who allow their grouchy employer to walk all over them. The film positions us to cheer for them trying to assert themselves and find love, however, they are so weak and timid (hiding under tables no less) that it is hard to care about their dilemmas. The most disappointing aspect of the film though is how woefully unfunny it is. The dialogue is certainly laden with wit but the banter between Streisand and Matthau is never really humorous; apparently the pair never got along on set and this comes across with the limited chemistry between them. That said, the film works best whenever Streisand or Matthau has the floor, as opposed to the mousy Crawford and Lockin. Say what one may about Streisand and Matthau's characters, both actors possess undeniable charisma and have their moments along the way. There are just less bright patches than one might expect in such a grandiose motion picture.

Armand 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.

tavm After hearing about this musical for decades, I finally watched this movie version of the Broadway musical Hello, Dolly! just now on Netflix Streaming. What a wonderfully tuneful movie this was with great choreography and perfect camera angles. And why not as the director is Gene Kelly who's such a great hoofer himself. Okay, so maybe Barbra Streisand was indeed a bit young for the title role but her singing and acting more than makes up for it. And Walter Matthau is perfect as the man who eventually...well, watch the movie if you want to know. And seeing Michael Crawford way before his triumphant run in Andrew Lloyd Webber's The Phantom of the Opera was another fine treat here. But the real one was seeing the great Satchmo-Louis Armstrong-belt out the title tune with Ms. Streisand several years after making a recording of that song with the result of him not only being the first to hit No. 1 on the Billboard Hot 100 after The Beatles' 14 weeks there with their first three U.S. releases, but also becoming the oldest-at 63 then-to do so which still stands. Incidentally, the youngest to do so was Little Stevie Wonder at 13 with "Fingertips, Part II" the year before. So on that note, Hello, Dolly! is highly recommended. P.S. Since this is Black History Month, besides Armstrong, Scatman Crothers also appears with Ms. Streisand in the beginning number giving her a line or two.