Just perfect...

I don't have all the words right now but this film is a work of art.

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

The soft, dreamy early Technicolor (Nancy Carroll has the rosiest cheeks!), as well as some overhead camera angles at the golf course, make "Follow Thru" look like a more recent film than it is, and starting at the 54th minute there is a bizarre musical extravaganza, "I Wanna Be Bad", which, while no threat to Busby Berkeley, is quite imaginative. But the film goes on for 93 minutes although it has no story, and Jack Haley's comic shtick is dismally unfunny. **1/2 out of 4.

All reviewers seem to love this picture and I, too, tried to love it. The early Technicolor looked great and the whole production showed a lot of energy from all parties. True, several of them were in the Broadway musical and recreated their roles, chief among them were Jack Haley and Zelma O'Neal. I thought Haley hammed it up outrageously and was a grating presence much of the time. Zelma O'Neal, on the other hand, was terrific. She was energetic and showed a great deal of talent and overall ability; "Button Up Your Overcoat" belonged to her and Haley was just along for the ride.Buddy Rogers was the nominal star and looked heavily made up for some reason and didn't give one of his better performances. Nancy Carroll, on the other hand, was in her element and didn't disappoint. But the story was over the top and grew tiresome despite the short running time of 92 minutes. I appreciate comic zaniness but I felt this one ladled it on with a trowel. Tragic comedienne Thelma Todd was on hand but was largely wasted and Eugene Palette was too old for his part. To top it all off, the music was ordinary, except for the "Button Up Your Overcoat" number.As I said, I tried. Judging from the reception it got at Capitolfest in Rome,N.Y., I must have been the only wet blanket. "Follow Thru" is a Paramount picture, which could explain its absence from the public forum, as all early Paramount films are owned by Universal and are kept under lock and key.

This dizzy delight is a Paramount musical made in the snazzy jazzy days of 1929 and filmed in delicious two strip Technicolor. How much do I just love this funny silly film? 9/10 funny.... and a complete wish come true to see the modern fashions and elite life of the flapper 20s. Very stagy in its tone and just like a dream come true for anyone who also loves WHOOPEE and other dawn of sound Technicolor talkies FOLLOW THRU remains a modern film today and especially because of the fashion style and use of color. Filmed outdoors at a real golf hacienda which would have cut down costs considerably allowing for expensive use of color and great clothing designs, FOLLOW THRU is the real jazz flapper 20s at it's most silly funny best. Zelma O'Neal is terrific and Buddy Rogers handsome boyfriend stuff, the drag sequence with Jack Haley and Eugene Palette is literally a howler... and dance numbers, especially I WANT TO BE BAD hold up well. FOLLOW THRU is a must for your DVD collection if the restored UCLA tech print is given a proper transfer. The masquerade party sequence is enough to make anyone swoon with glee. Add this to your art deco musical wish list along with THE BOYFRIEND and ROBERTA and WHOOPEE and GOOD MORNING EVE and AT LONG LAST LOVE (which shares an especially uncanny resemblance) and VOGUES OF 1938.

I viewed UCLA's restored print of this musical, an early example of two-strip Technicolor. Much of the action takes place on golf links and fairways, so I expected to see vibrant greens ... and I DID see some bright hues of green in the actress's costumes. But the foliage and fairways were strangely subdued. All of the flesh tones are very pink, and the women appear to be wearing too much rouge. All the man-made objects have got nice vibrant Easter Egg colours, though.This is one of those candyfloss 1920s musicals where strangers instantly fall in love as soon as they clap eyes on each other. All the gals are man-hungry and randy with it, and the comedy lead (Jack Haley) is frightened of women. Haley's character has 'trick eyebrows' which force him to pull a face whenever he thinks about sex. There's plenty of innuendo here ... and lots and lots and lots of expository dialogue. I kept expecting someone to enter with a racquet while saying 'Tennis, anyone?' ... except that the action takes place at a golf course.SPOILING ONE PUNCH LINE. For the comedy set piece, Haley and Eugene Palllette must infiltrate the women's changing room to retrieve a McGuffin. I expected them to go in disguised as women, but this movie fooled me: they go in disguised as plumbers, and then they get OUT disguised as women.The male lead in this movie is former silent-film star Buddy Rogers, who once took the trouble to answer my questions when I briefly met him. It pains me to report that his singing voice is just tolerable, and he shows no skill with dialogue.Surprisingly, this crude musical spawned one hit song: 'Button Up Your Overcoat', performed enthusiastically by Haley and Zelma O'Neal. A couple of the other songs have dull melodies enlivened by lyrics that just occasionally turn risqué. The choreography is wittier than I'd hoped, and one chorus number features a brief overhead shot ... several years before Busby Berkeley made this device his personal trademark.Thelma Todd is quite good as the villain, in a role outside her usual range. The very English character actor Claude King is cast here as a stage Scotsman, lumbered with Harry Lauder's 'hoot mon' accent. Nancy Carroll is quite fetching in a mini-kilt.I must disagree with IMDb reviewer Arne Andersen, who says that the character dubbed Dinty Moore in this movie is named for a famous restaurateur. That name originated with a *fictional* character in George McManus's comic strip 'Bringing Up Father'. Eventually, a restaurant was named after the comic-strip character ... but there never was a real person named Dinty Moore, just as there isn't a real person named Beefsteak Charlie.'Follow Thru' is really more interesting as an historical artefact than as a musical, but I enjoyed it. I'll rate this early musical 7 out of 10.