Edgar Allan Pooh . . . after an hour plus of glorious WIZARD OF OZ Technicolor, the very film studio that released OZ foisted off upon the paying public this El Cheapo Skid Row fantasy that same year with a dingy hour plus of lackluster Black & White, followed by a stingy smidgen of Technicolor to wrap things up. The icing on THE ICE FOLLIES OF 1939 cake comes during this incoherent slap-dash closing, when the "J.F. Crawford" character lords it over six Black apparent slaves carrying her dress train as a dozen Southern Belles in GONE WITH THE WIND hoop skirts and ice skates look on and titter. A quartet of Cowardly Lions then skate around in ancient judges' wigs, the Lollipop Guild does a cameo to show off a growth spurt, female Native Americans glide in circles decked out in Chiefs' headdresses while their male tribal counterparts are demeaned by costumes including silver brassieres, a cow can get only one leg off the ice "jumping" over the moon as the cat fiddles away, and the bagpipes promised by ICE FOLLIES' theatrical trailer are nowhere to be seen. Instead of making girls think "You ought to be in pictures," ICE FOLLIES probably was enough to make a gal lament, "I ought to have stayed in Dirty Pictures."

blanche-2 He puts on his own ice show.Joan Crawford was 34 (according to her) when she made this film with 31-year-old James Stewart. She would do some terrific films over the next five years before Louis B kicked her out of MGM, and she bounced back immediately at Warner's. It's a credit to her that after a dog like this, she was able to show her face at the studio. This is the film that she was making at the beginning of "Mommie Dearest," by the way."Ice Follies of 1939" was an attempt, I think, to cash in on the interest in figure skating and ice shows, thanks to that little Norwegian, Sonja Henie, who was making skating films over at 20th Century Fox.The story concerns a young couple, Larry McCall and Mary McKay (Stewart and Crawford) who work in a show as ice skaters along with Stewart's old partner Eddie (Lew Ayres). When they get fired, Mary knows it's because she's not very good, and she's holding Larry back. What Larry wants is to produce and direct his own ice show. When their car is hit by a film casting agent (Lewis Stone), Mary, now Mrs. Hall, goes personally to collect the money he owes them for the car. She pretends to have no interest in films and gets a contract for $75 a week. Mary starts moving up in the film world, and Larry leaves, not wanting her to support him. He says that when they've both made it, they can get back together. That proves a little more difficult than they expected.There are two HUGE skating segments in this film, and there is some terrific skating. The thing is, after watching the film for a while, where there has been just a bit of skating, it's a surprise that these scenes go on and on. The script itself is completely formulaic and predictable and not worthy of any of the stars.Stewart and Crawford don't make the best couple. She's too sophisticated for him and, as a strong woman, she was better with a tough type like Gable. Well, they were under contract and made what they were handed. One of the negatives of being with a studio.

MartinHafer In the career of every big star, there often seem to be a few films that in hindsight you wonder why they chose to be in this doomed project. While Jimmy Stewart was NOT an established star in 1939 and can't be blamed for appearing in such an awful film, you wonder how one of MGM's biggest stars could get hooked into this awful mess! Joan Crawford certainly deserved more than this, though I must say that she seemed to try very hard to be a professional--even if the writers were apparently chimps. Even Joan's later super-low budget films like TROG and BERSERK are amazingly competent films compared to THE ICE FOLLIES OF 1939! The biggest problems with the film were the wretched writing and the impossibly dumb casting. Imagine Stewart and Crawford cast as ice follies skaters! Interestingly, you never really see them dance or skate--yet it's THE central theme of the movie. And who would have thought that the public would have wanted THIS sort of a film?! My assumption is that Fox's Sonja Henie movies must have been box office smashes for MGM to try to cash in on this ice skating craze in such a cheap and haphazard fashion.Now if you remove the silly ice follies elements, you still are left with an incredibly terrible film. The movie actually made my entire family cringe at the terrible clichés--especially when the film tried to rip off A STAR IS BORN. How Crawford was "discovered" and became a star was totally ludicrous--and had the worst "discovery scene" in film history. It really looked like every rotten cliché about film-making was thrown into a goulash-like mess of a film--including the (uggh) ending where the studio makes Stewart a producer and director--even though his greatest prior success was directing and skating in an ice follies show! Horrible writing, dumb situations, terribly long and ridiculous Busby Berkeley-style ice skating numbers and an over-abundance of clichés sink this one. I truly feel that the other reviewers were being far too kind to this turkey--perhaps because Stewart and Crawford have a lot of fans out there.As far as the magnitude of this bomb, I'd rank this up among PARNELL (Clark Gable and Myrna Loy) and SWING YOUR LADY (Humphrey Bogart) for 1930s bombs by mega-stars. In Bogart's defense, he was not yet a major star when he made his bomb--what's Crawford's excuse?

tjonasgreen Widely considered the worst film Joan Crawford made at MGM (it must have been a low point for James Stewart too, yet it forms no part of the lore about his long career) this is a real curiosity. It has the sort of B-movie plot Sonja Henie was getting in her hugely successful skating pictures at Fox, but this one is done with an A-budget. And because the stars can't skate, it is essentially two pictures in one -- a skating 'spectacular' featuring anonymous athletes which prefigures the ice-skating arena shows we know so well, and a soap opera about a two career couple who can't make their marriage work.Forget trying to figure out how a major film from the most meticulous of studios could be such a hodgepodge. Simply go with it and happily register its many lapses in taste and logic. In the early scenes Crawford is actually more relaxed and likable than in other pictures from this period, though this changes once her character signs a movie contract. The idea of Crawford playing a star makes perfect sense and one wonders why no one thought of it before. At last her artificiality and posturing has a logical explanation. (But can someone explain why some of Max Steiner's score from GONE WITH THE WIND is played during Joan's drunk scene?) And in gorgeous three-strip Technicolor she looks at once terrifically glamorous and hard as nails. This hardness and the fact that it exposed her age is surely the reason she never gets a color closeup. And though she is a small part of the color portion of the film, she manages to wear no less than three Adrian outfits, the most striking being a brilliant green ensemble with gold and silver embroidery (the 18th Century court outfits the extras wear must have been recycled from MARIE ANTOINETTE).Assuming Crawford had a choice, why did she do this film? To branch out to a broader family audience than she had before? To cash in on a popular box office fad? Or, at a time when Jeanette Macdonald was still considered Louis B. Mayer's favorite, did Crawford relish getting the Technicolor operetta treatment? Joan took singing lessons for years (her thin, unpleasant voice is briefly heard) and Macdonald had already been in one color film and was about to do another at a time when Technicolor carried the prestige of novelty and expense. Whatever the reason, it must have caused general hilarity in Hollywood -- one can imagine Billy Haines calling up George Cukor to chuckle over the latest bomb Joan had been saddled with. Only Sonja Henie can have been jealous over this turkey.