- Title Pages
- Dedication
- Introduction
-
Part 1 Anna and Flo … and Lillian, 1867–1913 -
1 The Showman, the Strongman, and the Girl with the Eyes -
2 Gloomy Gus and the Petit Bourgeois -
3 “It’s Delightful to Be Married” -
4 A Maelstrom of Mirth -
5 Entrances and Exits -
6 The Girl at the Top of the Stairs -
Part 2 Billie and Flo … and Marilyn, 1914–1923 -
7 Taming an Incorrigible Bounder -
8 Lively Productions -
9 The Past Becomes Ashes -
10 The Ziegfelds’ Xanadu -
11 The Greatest Victory Party America Has Ever Known -
12 Dear Old Zieggy and Company -
13 A New Normalcy -
14 The End of the Glory Days -
Part 3 The Darkest Hour of Success, 1923–1932 -
15 Little Boy Blue -
16 Vacations from Reality -
17 A Shot in the Arm -
18 Splendor and Intelligence -
19 Ziegfeld Laughs … and Cries -
20 “I Can’t Do This Anymore” -
21 Going Home -
Part 4 The Legacy of Florenz Ziegfeld Jr., 1932– -
22 Going Hollywood -
23 His Shows Must Go On -
24 Beauty Slain - Epilogue
-
Appendix Shows Produced and Coproduced by Florenz Ziegfeld Jr. - Selected Bibliography
- Index
- Plates
- Screen Classics
“I Can’t Do This Anymore”
“I Can’t Do This Anymore”
- Chapter:
- (p.363) 20 “I Can’t Do This Anymore”
- Source:
- Ziegfeld and His Follies
- Author(s):
Cynthia Brideson
Sara Brideson
- Publisher:
- University Press of Kentucky
Ziegfeld enters into a partnership with Sam Goldwyn to create a film version of Whoopee with Eddie Cantor as the star. Ziegfeld enjoys certain aspects of filmmaking, especially director Busby Berkeley’s innovative style. Ziegfeld returns to New York with plans for a new show, Smiles, starring Marilyn Miller and Fred and Adele Astaire. The show should have been a hit, but Depression-era audiences find its old-fashioned Cinderella story line uninspired. At the dawn of the 1930s, the revue experiences a resurgence in popularity, with producers like Earl Carroll leading the trend. Ziegfeld decides to produce a new Follies, using nostalgia as its theme. Although the 1931 edition is a moderate success, it is clear Ziegfeld no longer reigns on Broadway. He becomes depressed when he and Burke are separated while she tours with a new play. Ziegfeld’s eccentricities become bizarre during this period; his phobias include red roses, dead flowers, and elephant figurines with their trunks pointing down. The chapter concludes with telegrams between Ziegfeld and Burke discussing Patricia’s care. At this point in Ziegfeld’s life, all he wants is for his family to be together again.
Keywords: Sam Goldwyn, Will Rogers, Busby Berkeley, Fred and Adele Astaire, Earl Carroll, Marilyn Miller, Billie Burke
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- Title Pages
- Dedication
- Introduction
-
Part 1 Anna and Flo … and Lillian, 1867–1913 -
1 The Showman, the Strongman, and the Girl with the Eyes -
2 Gloomy Gus and the Petit Bourgeois -
3 “It’s Delightful to Be Married” -
4 A Maelstrom of Mirth -
5 Entrances and Exits -
6 The Girl at the Top of the Stairs -
Part 2 Billie and Flo … and Marilyn, 1914–1923 -
7 Taming an Incorrigible Bounder -
8 Lively Productions -
9 The Past Becomes Ashes -
10 The Ziegfelds’ Xanadu -
11 The Greatest Victory Party America Has Ever Known -
12 Dear Old Zieggy and Company -
13 A New Normalcy -
14 The End of the Glory Days -
Part 3 The Darkest Hour of Success, 1923–1932 -
15 Little Boy Blue -
16 Vacations from Reality -
17 A Shot in the Arm -
18 Splendor and Intelligence -
19 Ziegfeld Laughs … and Cries -
20 “I Can’t Do This Anymore” -
21 Going Home -
Part 4 The Legacy of Florenz Ziegfeld Jr., 1932– -
22 Going Hollywood -
23 His Shows Must Go On -
24 Beauty Slain - Epilogue
-
Appendix Shows Produced and Coproduced by Florenz Ziegfeld Jr. - Selected Bibliography
- Index
- Plates
- Screen Classics