Ziegfeld Follies Overview:

Ziegfeld Follies (1945) was a Comedy - Musical Film directed by Merrill Pye and Lemuel Ayers and produced by Arthur Freed.

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Ziegfeld Follies (1946)

By Cameron on Oct 28, 2015 From The Blonde At The Film

via: http://www.tcm.com/tcmdb/title/96661/Ziegfeld-Follies/#tcmarcp-159247 ?Unless otherwise noted, all images are my own. Ziegfeld Follies?is a Technicolor explosion of MGM’s talent and stunningly over-the-top production values. Originally intended to premiere in 1944 as part of MGM’s 2... Read full article


Ziegfeld Follies (1946)

By Cameron on Oct 28, 2015 From The Blonde At The Film

via: http://www.tcm.com/tcmdb/title/96661/Ziegfeld-Follies/#tcmarcp-159247 ?Unless otherwise noted, all images are my own. Ziegfeld Follies?is a Technicolor explosion of MGM’s talent and stunningly over-the-top production values. Originally intended to premiere in 1944 as part of MGM’s 2... Read full article


Classic Films in Focus: ZIEGFELD FOLLIES (1945)

By Jennifer Garlen on Jul 9, 2013 From Virtual Virago

Florenz Ziegfeld, Jr. and his legacy captivated Hollywood, especially once the rise of the talkies made Ziegfeld style entertainments possible onscreen. Most classic Hollywood musicals opt for a narrative framework to hold their production numbers together, but others, like Ziegfeld Follies (1945), ... Read full article


Classic Films in Focus: ZIEGFELD FOLLIES (1945)

By Jennifer Garlen on Jul 9, 2013 From Virtual Virago

Florenz Ziegfeld, Jr. and his legacy captivated Hollywood, especially once the rise of the talkies made Ziegfeld style entertainments possible onscreen. Most classic Hollywood musicals opt for a narrative framework to hold their production numbers together, but others, like Ziegfeld Follies (1945), ... Read full article


Classic Films in Focus: ZIEGFELD FOLLIES (1945)

By Jennifer Garlen on Jul 9, 2013 From Virtual Virago

Florenz Ziegfeld, Jr. and his legacy captivated Hollywood, especially once the rise of the talkies made Ziegfeld style entertainments possible onscreen. Most classic Hollywood musicals opt for a narrative framework to hold their production numbers together, but others, like Ziegfeld Follies (1945), ... Read full article


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Quotes from

Florenz Ziegfeld Jr.: Children play with the dreams of tomorrow. And old men play with the memories of yesterday.


[first lines]
Florenz Ziegfeld Jr.: Ah... Saturday, September twenty fifth. Another heavenly day. Ah, yes. Always a heavenly day.


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Facts about

Among the ideas planned in the film, but not used, included: - A spoof of the musical "Lady in the Dark" with Judy Garland, Mickey Rooney and Fred Astaire. - A minstrel number with Garland, Rooney, Astaire, Lou Holtz and Nancy Walker. - An "Album of Familiar Songs" medley with Garland, Marilyn Maxwell, Eddie 'Rochester' Anderson, Lena Horne, and Kathryn Grayson. - A "Firehouse Chat," a sketch with Garland, Lucille Ball and Ann Sothern. - "Reading of the Play," a sketch with Garland and Frank Morgan. - "It's Getting Hot in Tahiti" (music and lyrics by Hugh Martin and Ralph Blane) with Garland. - A "Fairy Tale" sketch with Katharine Hepburn, Margaret O'Brien and Jackie 'Butch' Jenkins. - "I've Got Those Ro
The initial version previewed at the Fox Westwood Village Theatre in Los Angeles on November 1, 1944 ran two hours and 53 minutes.
MGM gave this film a two-week roadshow test run at a famed legitimate showplace, the Colonial Theatre in Boston, Massachusetts, beginning August 13, 1945. A second test run began at the Nixon Theatre in Pittsburgh, Pennsylvania on August 28, 1945. $2.40 was the top ticket price for these engagements, and the film did great business according to the Boxoffice Magazine issue of September 1, 1945, with the advance sale for the Nixon Theatre "setting a new high." A third test run was also done at the Loew's New Rochelle Theatre per The New York Times of September 2, 1945. Disappointed by the largely unenthusiastic audience reaction to the test screenings, studio executives decided against quickly showing the movie nationwide. Changing the running order of the segments, restoring discarded sequences and/or replacing "There's Beauty Everywhere" with a new finale were considered by the Arthur Freed Unit. Hedda Hopper and The New York Times both reported that Busby Berkeley was going to direct a new finale for the picture, but this wasn't done. Ultimately, the movie would receive its Manhattan opening at the Capitol Theatre on March 22, 1946 and its wide release on April 8.
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