Blaring a welcome period to the weary era of super-colossal musical films, "The Goldwyn Folliers" turns out to be one of those movies which is significant not only for what "couth" Samuel Goldwin has put into the show which bears his name, but also for what he leaves out--namely, a plot. Rows of chorus girls, silvery glitter, and shiny floors are here replaced by the ballet and the opera, both excellently handled. Added to this are Charlie McCarthy, making his full-length movie debut, and the whacky Ritz Brothers, who, as usual, hold their own on the comedy side. Nevertheless, when all the ingredients of the pot are stirred up into one soup, the "Follies" lacks unity, chiefly because it is tied together by a barely discernible story.

The complications concern a movie producer's (Adolph Menjou's) search for a plot with the human touch, which was possibly just what Mr. Goldwyn himself was seeking. Andrea Leeds, the dark horse who almost stole the show in "Stage Door," maintains her standard as "Miss Humanity." The technicolor is not glaring and therefore impressive. Undoubtedly the high spots of the movie are the ballet scenes, which are worth seeing even after the Chicago fire, the hurricane, and the locusts. And the title need arouse no apprehension.

In addition there is a hilarious Robert Benchley short called "A Night at the Movies," and--ssshhh--another of the "Crime Does Not Pay" episodes.