Movie Title: Ziegfeld Girl
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When MGM produced this lavish musical in 1940-41, most of the world was at war and the U.S. was on the verge of joining it. Austerity was already being called for in the U.S.A., and Hollywood was doing its fragment. The studios at that time were closely allied with the federal government which saw movies as a tool for democracy rather than the plot Hollywood is treated by government today.

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That austerity measure is the critical reason this grand musical feast was produced in the less-expensive, always-acceptable (and, at the time, “the norm”) black-and-white rather than as a astounding Technicolor feast. Musicals did not YET rule the lot of Metro-Goldwyn-Mayer although they would, soon enough, support that studio in the dim.

Nevertheless, this movie is one of the most magnificent black-and-white musicals ever produced. As Leonard Maltin has said in his TV book of movie reviews, the MGM glitter has never shined more brightly.

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Among the most essential things about this film is that it was a turning point in the career of Judy Garland. Here, for the first time, Judy goes from being a young girl living at home with her father to becoming an independent young woman who becomes a star of the Ziegfeld follies. From child to grownup in one movie. And that turning point hinged on the improbably set-up presentation of her singing audition in which her pop had her ham up “I’m Always Chasing Rainbows” and, in a second chance, using her have gut instincts to drawl the song better than anyone had sung it before…and better than anyone has sung it since.

Lana Turner was not yet a major MGM star, but she became one with this film in which she was given the elephantine glamour treatment. She has a very meaty portion as a beauty who gets her shot in the Ziegfeld follies. She has Jimmy Stewart (who was a star in his absorb accurate) as a ne’er-do-well boyfriend who she drops when rich men originate paying attention to her. Along the device on her path to fame and infamy, she encounters an impossibly young, incredibly comely Dan Dailey, who portrays a fighter. In the film, he wins a boxing title in a match that Lana sees with one of her rich boyfriends. When Dailey encounters Turner in a night place, he comes on to her. Sizing her up and letting her know who he is, he tells her, “Ya seen me when I done it.” Once she realizes what he means, she agrees she was there, and then gives him the brush-off. Later in the film, when they’re both on the skids, he runs into her in a dive. He offers to lift her a drink and reminds her of who he is. He then treats her badly. It’s a terrific scene between them, and it’s a unpleasant character for the young Dailey to have played, but it was a standout.

Happily, though, Turner got one of the best scenes any actress has had in a career. And it is, allegedly, a scene that MGM’s resident musical genius (the suitable talent in the Freed Unit) Roger Edens wrote specifically for her while the film was shooting because it was felt her character needed a limited something more dramatic. In this scene, the mortally ill Lana goes to the Ziegfeld Theater to scrutinize a revue of previous Ziegfeld triumphs. Growing visibly sicker as she watches the expose, she gets up to leave. As she reaches the top of the balcony staircase, the theater orchestra starts playing “You Stepped Out of A Dream”, which was the gigantic number in her first Ziegfeld hit. Per Edens’ instruction, Turner threw support her shoulders, lifted her chin, and began descending the stairs as a Ziegfeld girl would do it on stage. After a few steps, she collapses. It’s one HELL of a scene and Turner delivers it in spades.

This film IS a substantial musical wallow. Tony Martin was a perfect leading man in this film. “You Stepped Out of a Dream” is one of the large “reveal girl” anthems of all time. His affirm was terrific and he wooed the impossibly sparkling Hedy Lamarr onstage and off. Lamarr brought that beauty to her role, if tiny else, although she portrayed a beneficial character with gracious intentions.

There are many movies in which the sum of the parts do not necessarily equal a masterful whole, but this is one of those movies in which the sum of the parts DO EQUAL immense entertainment that rewards time and again. The music is tuneful/memorable, the sets and costumes are lavish and the Busby Berkeley numbers are imaginative and eye-filling.

If you care for musicals, this is for you!

For sheer 1941 Hollywood glamour and spectacle, “Ziegfeld Girl” is what it’s all about. Produced by Pandro S.Berman and with the all out musical numbers staged by Busby Berkeley, it also features the youthful beauty of Judy Garland and Lana Turner with the ravishing Hedy Lamarr for extra contemplate candy. The hackneyed fable of three star struck girls chosen as Ziegfeld showgirls and the resulting complications is glossed over by the stars including Jimmy Stewart as Lana’s beau and Eve Arden as a been around showgirl watching as the newcomers select over the spotlight. Lana is the one who suffers the most and falls prey to tragedy. The costumes are unbelievable and the musical numbers very elaborate—especially Judy’s tropical “Minnie From Trinidad” and the prove stopper “You Stepped Out of a Dream”. My only inquire of is why wasn’t it in Technicolor instead of b&w? The DVD print shows some wear but overall it’s very worthy. For vintage film and musical buffs (as well as Garland and Turner fans) this is a esteem.
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