(On DVD, February 2018) I’m hit and miss on most musicals, but so far I’m three-for-three on Gene Kelly directed musicals (plus an honorary mention for On the Town) including the sometimes maligned Hello, Dolly! I’m not saying that it’s a perfect film or even on the level of Singin’ in the Rain: The romantic plot between the film’s two leads is unconvincing, some numbers are dull, Barbra Streisand is arguably too young for the role, the first half-hour is barely better than dull and the film doesn’t quite climax as it should (the biggest number happens long before the end). But when Hello, Dolly! gets going, it truly shines: Walter Matthau plays grouchy older men like nobody else before Tommy Lee Jones; Barbra Streisand is surprisingly attractive as a take-charge matchmaker suddenly looking for herself; the B-plot romantic pairing is quite likable; the period recreation is convincing and the film’s best numbers (the parade, the restaurant sequence) are as good as classic musicals ever get. As with other Kelly movies, it’s a musical that understands its own eccentric nature as a musical, embracing the surrealism of its plotting and the most ludicrous aspects of its execution. It’s awe-inspiring in the way ultra-large-budget movies can be: the parade sequence is eye-popping and the hijinks at the restaurant are a delight. Seeing Louis Armstrong pop up to croon his own take on Hello, Dolly! in his inimitable voice is a real treat. It doesn’t amount to a classic for the ages like other musicals, but Hello, Dolly! Is still a heck of a lot of fun even today, and it’s quite a bit better than what the contemporary critical consensus has determined.