Harmony at Harmonia? Glamor and Farce in Hello, Dolly! from Wilder to Kelly
Résumé
This article explores the stage-to-screen reinventions of style, comedy and spectacular effects in Hello, Dolly!, taking into account three diverging versions of the same narrative: Thornton Wilder’s play The Matchmaker (1954), the Broadway show Hello, Dolly! created by Jerry Herman, Michael Stuart and Gower Champion (1964), and its Hollywood adaptation directed by Gene Kelly (1969). As may be expected, the transfer to the musical stage implies shifts in scale and structure, translating physical comedy into choreography; but the screen transposition further introduces alterations in tone, sentimentality and narrative intention which create a greater distance with Wilder’s original farce. Hesitating between a spirit of preservation, a logic of amplification and a “Hollywoodized” romantic intent, Kelly’s film creates an impression of imbalance – without, however, diminishing the value of Barbra Streisand’s vocal and verbal contribution to the role of Dolly.
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