JohnHowardReid Outstanding musical biography, with absolutely stunning costumes (Travis Banton), fabulous music and all the joy of old vaudeville. The cast is great. Alice Faye is terrific and she gets solid support.The screenplay by William Anthony McGuire — he of The Kid from Spain, The Great Ziegfeld, Rosalie, etc — has been unjustly criticized in many quarters as being too long and not fulfilling its initial promise. I reject these accusations. I thought McGuire's script not only recreated some of the great personalities of the Russell era, but gave all the star and featured players excellent opportunities to shine. Another of the film's great assets is Leon Shamroy's lustrous black-and-white photography. The fabulous art direction must also be wholeheartedly commended.Irving Cummings (formerly an actor in Lillian Russell's company) has directed with grace, style and affection, ably assisted by the marvelously vigorous dance direction of Seymour Felix. The outstanding music score was directed by Emil Newman. One of the most effective numbers is a song, "Blue Lovebird", especially composed for the film by Gus Kahn (lyrics) and Bronislau Kaper (music). Notice the splendid use Newman makes of this by underscoring the scene prior to Solomon's death with it and hitting the actual death- scene with a discord, which is repeated in a reprise skilfully arranged by director Cummings and film editor Todd. And a following scene, breathtakingly photographed by Leon Shamroy, also represents yet another outstanding example of creative and masterly film editing. Here, Alice Faye, dressed in a fabulous black gown, appears against a solid black backdrop, first in long shot, then medium, then in close-up, and finally back to long shot for a glorious finale.

MartinHafer In the 1930s and 40s, Hollywood made a ton of bio-pics. In most cases, the actual peoples' lives were only the barest of outlines for the films--with SIGNIFICANT padding (in other words, outright lying) to make the films more marketable. While the films were generally pretty enjoyable, they also were pure bunk--so when watching any biography from this period, take what you see and hear with a grain of salt. I say all this here because "Lillian Russell" is just one of those films--filled with fiction and is only a biography in name only.While in some ways this film is accurate about the great stage actress Lillian Russell, here are a few ways where the film is total bull: The film shows Lillian's parents as a loving couple. They actually separated when Lillian was 18 and she and her mother moved across country--leaving dad behind.Lillian's first marriage in the film is the biggest problem in the film. Her creepy husband (Don Ameche) dies--leaving her a sad, sad widow who then sings HIS song as a tribute to him. In reality, it turned out this total louse was ALREADY MARRIED!!!! When Lillian discovered he was a bigamist, she divorced him! Some love story!!! He also was her second husband--and she'd been cheating on her poor old first husband! Lillian was married four times...but not in this movie! She only married once and there is an implied marriage at the end. Her beautiful baby is important in the film. The fact that it died as an infant was never mentioned!Lillian herself was a feminist and suffragette--writing articles and speaking out for the cause. None of this is in the film and only her mother's political aspirations are discussed--odd considering the film is supposed to be about Lillian.The film, despite having a completely dull and inaccurate plot, was a big-budget film--with AMAZING sets and lots of stars. It was odd, however, that despite having many big-name actors in the film that they were often used very poorly. Don Ameche, probably Fox's #1 male star at the time, plays a simpering loser--who also behaves VERY creepy 80 minutes into the film (where he basically says she can NEVER, NEVER leave him--even if she wants to!). Clearly it was NOT a role suited to such an illustrious star and might have been better for Boris Karloff! Henry Fonda basically plays a love-sick loser....and a creepy one who has stalked her from afar. Warren William is in the film...and that's all that can be said about his part. Pretty much the same can be said for Leo Carillo. Edward Arnold isn't bad as Diamond Jim Brady, however, and Helen Westley is GREAT as grandma. And as for the star, Alice Faye, this is one of her best films and the makeup and costuming folks have made her radiant. Clearly the women in this film outshine the men--as if the men, for a change, are more window dressing than people.The overall verdict is that although the film looks great and has some decent moments, it's a dull, bloated and incredibly inaccurate film. By the way, there is a VERY funny glitch at the 89 minute mark. Lillian picks up her crying baby. The closeup of the kid is of a completely different kid--with the hair changing from brown to blond before your very eyes--and with a completely different face!! Didn't they think anyone would notice.FYI--This film was wildly inaccurate that there is a special feature on the DVD entitled "A Woman Like No Other: The Real Lillian Russell"! It is worth seeing. It also shows that Lillian's life was FAR more interesting than the 20th Century-Fox film!

mark.waltz Lillian Russell was probably the first of her kind, as the DVD documentary on her life states. She was a role model for women of the late 1800's and probably the first Broadway musical diva. From her came Marilyn Miller, Ethel Merman, Mary Martin, Pearl Bailey, Chita Rivera, Bernadette Peters, Patti LuPone, Sutton Foster and Kristen Chenoweth, to name a few. This supposed biography tells her story from her shy beginnings to her encounters with such NY characters as Diamond Jim Brady and Tony Pastor, to several of her marriages. It skirts over many details, I'm sure, but makes a nice impression of her importance to the future of Broadway.I don't think that Alice Faye is playing Lillian Russell as she really was. Her Lillian is a nice girl with a desire to make it on the stage, and once you see her, you know she's gonna make it. Something tells me that Lillian Russell was a bit tougher than Faye plays her. Some people may not get Ms. Faye's success. She isn't outrageous or flamboyant, yet there is a simplistic beauty and elegance to her that makes you like her, because there is not one negative thing about her. Yet, she is no goody-goody that annoys because of a perfection that never could exist. She's simply not complicated, temperamental, or scandalous. This is probably the reason Faye's movies are still shown today. She was a gracious interviewee years after her retirement, shows no bitterness, and has a sentimental reflection of her past as shown in her teariness at talking about her supposed rival Betty Grable. Faye's elegance and loyalty to her co-stars makes her endearing to classic film audiences.She has four major male co-stars here, all very good. Henry Fonda is the reporter who saves her and her grandmother (the wonderful Helen Westley) in a run-away carriage. Don Ameche is the composer who wins her hand in marriage even though people like Tony Pastor (Warren William) and flamboyant Diamond Jim Brady (Edward Arnold in the second film in that role) pursued her. It is Fonda we see the most of, although there is a very funny bit with Warren William who says, "I have great faith in the telephone". You should, Warren; You're standing near the man who invented it (Don Ameche). Ameche isn't playing Alexander Graham Bell here, but it makes you wonder if the script writer threw that line in as a gag or if it was unintentional. His part is small, however; Supporting player Edward Arnold has more screen time, and makes every moment of it.Dorothy Peterson plays Faye's suffragette mother who believes that with women in power, there would be no more dishonest politicians and no more wars. She is more defined than Ernest Truex, as Lillian's father. As the aging grandmother, Helen Westley delights in every scene she has. I longed to see more of her. When Fonda encounters her towards the end of her life, Westley beautifully displays the life of a remarkable lady that almost makes you forget that the film is about her granddaughter. It's hard not to tear up knowing that these are her last scenes in the film, and that you'll hear in passing that she has indeed passed on. Nigel Bruce and Claud Allister are an amusing Gilbert and Sullivan, and Una O'Connor, who is usually shrill and ear-piercing, actually tones it down here. She is at her most likable and mellow, amusingly telling Faye "I wish I had your voice". The comedy of Weber and Fields seems quite dated, and some viewers might fast forward through to Faye's musical numbers. Cecil Cunningham, an underrated character actress who often steals every scene she was in through all her films, has an amusing bit as a newspaper secretary.I give this film a higher rating because it is simply exquisite to watch. Every detail is breathtaking from the costumes and scenery to the choreography and chorus numbers. Along with "Alexander's Ragtime Band", it remains 20th Century Fox's best musical of this era, something I'm afraid that can never be surpassed. Not until "With a Song in My Heart" came along would 20th Century Fox be able to do a biographical musical that was as outstanding.

Neil Doyle I don't know how much this fictionalized bio of Lillian Russell owes to the truth, but the truth is she led an awfully dull life to judge by the weak script developments. Yes, even for a gal who mingled with Diamond Jim Brady and married a well-known composer, she's awfully dull stuff to take, which is why so much footage was cut out of the final print.Needless to say, when ALICE FAYE, costumed effectively in all those turn-of-the-century clothes and singing old-time songs in that breathy low-pitched voice of hers, gets to strut her stuff the story warms up a bit. But most of it is just so dull you want to fast forward and skip the bio completely.No help is HENRY FONDA as a newspaper man who patiently waits his turn to have his fling with romancing the musical comedy star. And even the reliable DON AMECHE is at sea here. Not their fault. The script is the problem and it shows until the bitter end. EDWARD ARNOLD, in a comfortable role as Diamond Jim Brady, is the only bright spot in the supporting cast. HELEN WESTLEY, WARREN WILLIAM, LEO CARRILLO and NIGEL BRUCE are likewise not seen to advantage.Maybe Technicolor would have brightened things. Hard to say, but I still think a livelier story and better backstage plot would have helped considerably. As it is, only ALICE FAYE's loyal fans will warm up to this one.