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Hello, Dolly!

Hello, Dolly!

Comedy · Romance · 1969

Dolly Levi is a strong-willed matchmaker who travels to Yonkers, New York in order to see the miserly "well-known unmarried half-a-millionaire" Horace Vandergelder. In doing so, she convinces his niece, his niece's intended, and Horace's two clerks to travel to New York City.

Movie details

Hello, Dolly!

“Come anytime for the time of your life!”

1969 Comedy · Romance 2h 28m

Critical arithmetic

The consensus, allegedly.

IMDb

7.0 / 10

18.1K votes

Rotten Tomatoes

43 %

Tomatometer

Metacritic

51 / 100

Metascore

TMDB

7.0 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

Dolly Levi is a strong-willed matchmaker who travels to Yonkers, New York in order to see the miserly "well-known unmarried half-a-millionaire" Horace Vandergelder. In doing so, she convinces his niece, his niece's intended, and Horace's two clerks to travel to New York City.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Hello, Dolly!?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

Gene Kelly

Written by

Ernest Lehman

Barbra Streisand

Barbra Streisand

Dolly Levi

Walter Matthau

Walter Matthau

Horace Vandergelder

Michael Crawford

Michael Crawford

Cornelius Hackl

Marianne McAndrew

Marianne McAndrew

Irene Molloy

Danny Lockin

Danny Lockin

Barnaby Tucker

E.J. Peaker

E.J. Peaker

Minnie Fay

Joyce Ames

Joyce Ames

Ermengarde

Court is in session

Put Hello, Dolly! on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.