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71 reviews in total

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4 out of 5 people found the following review useful:
Great musical, passable flick (and George Bailey still resonates more than Billy Bigelow), 3 June 2007

Author: schell-7 from United States

*** This review may contain spoilers ***

Of the quintessential Rodgers-Hammerstein musicals, this one comes in just behind Oklahoma, South Pacific, and the King and I. From a jazz musician's viewpoint, it offers fewer enticing songs than anything by Rodgers & Hart and most of the collaborations with Hammerstein as well. Yet in the context of the times, a song such as "You'll Never Walk Alone" helped heal, provide consolation and hope to the ones who were left behind after the war. "If I Loved You" is certainly a gorgeous melody and sensitive lyric, but the highlight, at least for any expectant father, has got to be "Soliloquy." (Listen to Sinatra's unsurpassed, timeless reading of this one as well as "You'll Never Walk Alone" on "The Concert Sinatra".)

Sinatra's instincts were right in backing out of this movie, which is the most wooden, flat, artificial and leaden of all the filmed adaptations of the Rodgers and Hammerstein musicals (it makes "Sound of Music" look like "Citizen Kane"). It's simply not good movie-making-- partly because the filmmakers got carried away with the technology, thinking that bright colors and a wider Cinemascope image, requiring two final takes of each scene (the reason Sinatra split), would be "realism" enough for the public.

That's one reason this film, contrary to another reviewer's evaluation, can't compare with Capra's "It's a Wonderful Life." But he also misses the point about George Bailey. True, he's not the bum that Billy Bigelow is. But he's become so self-righteous about his "indispensability" to his community that he commits suicide all because of the loss of a mere thousand bucks. (In the movie version of "Carousel" Billy falls on his knife accidentally after the stick-up goes awry.) Billy comes back as an angel to provide comfort, hope, and encouragement, "earning his wings" by doing well by his daughter. But George Bailey has earned too many wings--in fact, his good deeds and his savior complex are his problem. The wingless angel Clarence is sent on a mission to Bedford Falls to restore to George Bailey his humanity, with all its flaws and failings. Compared to Carousel, it's a darker, more profound story about tragic pride (even archetypal, given its parallels with Sophocles' Oedipus Rex), and ultimately it's more cathartic and life affirming, since it conveys faith in a world not overrun by Mr. Potters: ordinary people do have the capacity to be unselfish and forgiving. This is not to cast aspersions on the deeply felt sentiments of the Rodgers and Hammerstein masterpiece. It's just unfortunate that Carousel was not filmed in the 1940s by a creative, inspired giant like Frank Capra.

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5 out of 7 people found the following review useful:
This version does not do justice to a great musical, 22 June 1999
Author: LBX Dude from New York City

I have had the relatively rare privilege of performing "Carousel" on stage, uncut, and with a full orchestra. The original "Carousel" that Rodgers and Hammerstein wrote for the stage is practically an opera, employing extended musical scenes that cover great stretches of plot and character by alternating music and dialogue. When one sees the "Carousel" on stage (with good voices and the original orchestrations), one begins to understand why this is considered one of the greatest musicals ever written.

"Carousel" on film is not nearly as overwhelming. The story is still there, as are the songs, for the most part. But they are just songs in the movie, scenes distilled to the bare bones of the melody on which the original sequence was based. You don't get the feeling, after hearing them sung, that you have learned anything new about the characters (excepting, of course, Billy Bigelow's "Soliloquy" which is left entirely intact).

For example, the "If I Loved You" bench scene between Julie Jordan (Shirley Jones) and Billy Bigelow (Gordon MacRae) lasts almost fifteen minutes once the music starts. What the characters don't tell us about themselves, the music does, throwing melodies left and right until it finally culminates in the release of the famous love song. The scene has built up to this moment until it becomes the only way that Julie can tell Billy that she loves him. In the movie, however, it is all talk until Julie starts singing "If I Loved You". The song seems to come much more out of left field and does not seem nearly as satisfying. Billy repeats the song and the scene ends. As a result, their falling in love with each other doesn't make much sense because the scene really hasn't built up to it.

Several songs which delineate the supporting characters are either severely truncated (such as the musical/character sequence between Carrie Pipperidge (Barbara Ruick) and Enoch Snow (Robert Rounseville)) or cut entirely (such as "Blow High, Blow Low" which could have been a choreographer's dream). As for the choreography itself, surely "June is Bustin' Out All Over" could have been staged with a little more imagination instead of confining itself to the roof and deck of Nettie Fowler's spa. And it does feel confined. This is a song about abandoning the human spirit to the glories of the summer season, a feeling that covers much more territory than just a dining patio.

I do like the casting in the film, although I believe that they were badly underdirected. Gordon MacRae and Shirley Jones seem a little lost here. Their talent is not in question as evidenced by their stellar performances in the movie version of "Oklahoma!". Clearly this movie, which had the potential to be a cinema classic, was helmed by someone who didn't understand the genius of Rodgers and Hammerstein. In other words, don't try to fix what ain't broke.

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6 out of 9 people found the following review useful:
Merry go round, 20 June 2005

Author: jotix100 from New York

"Carousel", the musical, was presented on Broadway with great success. The transition to the screen, alas, doesn't fare that well. Having seen this film version a while ago, we decided to take a second look, but this time, in all honesty, it didn't have the same effect. Partly, it must be Henry King's take on the musical. Perhaps it this Rodgers and Hammerstein hasn't aged that well.

The problem, perhaps, seems to be in the music. We have heard variations of these Rodgers and Hammerstein's songs in other musicals. Take for instance, "You'll Never Walk Alone", doesn't it sound suspiciously like "Climb Every Mountain" from "The Sound of Music"? In both cases, they are heard from much older and wiser women, Cousin Nettie, in this one, or Mother Superior in the other. Also there are shades of "Some Enchanting Evening", from "South Pacific", while Louise is seen playing around at the beach while Billy is looking from heaven. Of course, we realize "Carousel" came before.

One wonders what change of events took Billy Bigelow to heaven? After all, he wasn't a model of righteousness, let alone his way of giving Julie a slap or two at times. If all indicates that he was admitted through the Pearly Gates of heaven, then, there's a chance for most of us, or so, it seems to be the case.

Gordon McRae was more of a singer than an actor, and it sadly shows in this film. The lovely Shirley Jones, at the prime of her youth, fares much better because she could not only sing, but she was a notable actress of this genre and comedy. For some reason, the chemistry that might have existed between them in "Oklahoma", is not shown here. Cameron Mitchell, Gene Lockhart, Claramae Turner, Susan Luckey, among others do good supporting jobs in the film.

The choreography of Agnes de Mille is only seen in all its splendor in "June is busting out all over" and in the Carousel ballet, somehow abridged, and featuring Jacques D'Amboise with Louis Luckey in one of the best moments of the musical.

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6 out of 9 people found the following review useful:
Throat blocking, 28 April 2002
Author: Nicholas Rhodes from Ile-de-France / Paris Region, France

I have known this one for years and was finally glad to be able to purchase it from the States on DVD. Unfortunately filmed in Cinemascope, the is means a small picture on the TV with thick black bars ! Why didn't they make a 4:3 version ??? Anyway the story was very moving and the musical and dance numbers A1 !! The final scene with the visit to Bigelow's daughter on the Beach and him tramping off back to "heaven" all the the sound of "You'll never Walk Alone" blocks my throat every time I see it and I cannot even describe the scene to someone without tears flowing from my eyes !

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2 out of 2 people found the following review useful:
Carousel is dark and inspirational, 30 December 2011

Author: pkarnold from United States

*** This review may contain spoilers ***

Billy Bigelow is truly a character in need of redemption. Played by Gordon McRae, the carnival carousel barker needs help, a second chance, well probably more than a second chance, to try to right wrongs he left behind in his life.

So this musical is a combination of dark and inspirational, and that is why it is my favorite musical. It actually moves me to tears because how many of us don't need redemption in one-way or another, and how many of us fail those we love at one time or another.

Billy, the terrible failure in life, is matched up with the seemingly perfect woman, Julie played by Shirley Jones in this story. And despite the fact that he can't express his love for her, he hits her when frustrated, Julie knows he loves her.

So when he dies while trying to rob a rich man, to provide for Julie and their child to come, he fails miserably in his last act on earth. But the story is only beginning because the star keeper in Billy's purgatory location stirs Billy's interest in his daughter, and Julie back on earth. So, this failure in life is given one last chance to help his daughter who is having a tough time growing up without a father.

As you might expect, he struggles with helping his daughter in his return visit. Julie senses his presence although she never sees him, and he is too embarrassed to be visually revealed to her. Julie always could see through him, and knew his heart better than he ever did. So yes, he was a scoundrel, and at best is a bumbling angel, who ends up telling Julie he loved her, and encouraging his daughter.

The wonderful Carousel theme establishes a setting for an earthly tone of temptation. With songs like June is Busting Out All Over, If I Loved You, and You'll Never Walk Alone, Rogers and Hammerstein's music is inspirational, when not effectively setting up the story. The actors besides Gordon McRae and Shirley Jones, who are skilled singers and convincing, are solid, with special acknowledgment going to Cameron Mitchell, Gene Lockhart, and Susan Luckey as Louise Bigelow.

This movie is not for children, and even adults will disagree concerning the darker violent themes. But I know of no other musical that moves me emotionally like Carousel.

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2 out of 2 people found the following review useful:
"Won'drin' if the endin' will be sad", 4 September 2011

Author: Steffi_P from Ruritania

Of all the highly successful Rodgers and Hammerstein screen adaptations made at Fox Studios in the 50s and 60s, Carousel has the unfortunate distinction of being the only one to receive no Academy Award nominations, and while not quite the flop that has sometimes been claimed, it was only a moderate box office success compared to its contemporary cousins Oklahoma!, The King and I and South Pacific. But contemporary opinion is not always correct, and Carousel is by no means a weak entry in the Rodgers and Hammerstein canon.

Adapted from Ferenc Molnar's play Liliom, an eloquent and poignant apologia for domestic violence that is nowhere near as distasteful as it sounds, this was in fact the favourite of the songwriting duo themselves. Condensing the narrative of the play down to the events of three separate days, the material contains the right mix of romance, tragedy and hope that characterises their best work. It also contains some of their finest songs. "June Is Bustin' Out All Over" features one of the quintessential strange-yet-beautiful Richard Rodgers melodies, a soaring mix of sweet and sour notes. "Soliloquy" is unusual for Hammerstein songs in that it advances story and character in a way more reminiscent of Alan Jay Lerner's work, and yet it contains a lot of that distinctive Hammerstein humour. And then of course there is "You'll Never Walk Alone", probably their most powerfully anthemic song.

For these screen versions the songwriters were always given the right to approve the director. Carousel was the only one directed by that most loyal and senior of Fox Studio helmsman Henry King. King had not done a proper musical before, and what's more the older directors were generally the ones to struggle with the 2.55:1 aspect ratio that these pictures were shot in. He manages the wider canvas better than most though, partly because he doesn't have much use for close-ups, and also because his backgrounds were always exquisite but never obtrusive. He uses these backdrops to bring a rhythmic but incredibly light touch to the musical numbers. Take the sequence which features the songs "Mr Snow" and "If I Loved You". About half-an-hour long, all in the same location, but King keeps it feeling fresh by moving the action along, from the blowing leaves at the beginning, to the maze of tree trunks during "Mr Snow", to the shimmering sea and finally the gently falling blossoms for "If I Loved You". The background subtly changes, matching the tone of each point in the scene, stopping it from feeling static, but never distracting us from the characters or the music.

The two leads here are the same as those in the previous year's Oklahoma! movie – Shirley Jones and Gordon MacRae. Always more of a good singer who could act than a good actor who could sing, MacRae was not the first choice for the part. And yet, he does a nice job, the rough and chequered Billy Bigelow suiting him far better than the clean-cut cowboy of Oklahoma! And with his burly form he certainly has the right figure for the character, especially compared to the sprightly Frank Sinatra who nearly took the role. Shirley Jones is decent although her part is actually little more than a supporting role. Standouts from the other players are the tomboyish Susan Luckey as Louise, and a delightful appearance by opera singer Robert Rounseville, brilliantly adding pitch to his words for emphasis.

It's hard to say exactly why Carousel was not a big success upon release. The dark storyline is often cited as a reason. It may also be that it goes against the genre's trends at the time. Compare the obviously fake look of many sets to the very "on location" feel of South Pacific (1958). Compare the theatrical singer-stars Jones and MacRae to dramatic actors Deborah Kerr and Yul Brynner in The King and I (also 1956). But leaving aside the tastes of the era, this is a great musical picture. Lyrical, poignant and beautifully melodic, among the Rodgers and Hammerstein features I would judge it second only to The Sound of Music.

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2 out of 2 people found the following review useful:
best musical, 20 August 2010
Author: brtor222 from Canada

I can't remember how old I was when I first saw this on TV, but it was a long time ago (we had a B&W TV!)...but even though I saw it in B&W, it had an impact that has lasted. This musical has the most gorgeous score by the great Richard Rodgers. Also believe this music got me hooked onto opera later in my youth and that opened an entirely other world of music to me.

But back to Carousel, the story is beautiful and moving, sad and romantic. The stuff of great musicals. And the music is wonderfully scored by the Fox maestro of the time, Alfred Newman and the superb Fox orchestra!! I think that if Fox had made this film earlier (like in the 40's, the orchestrations might have been sparser. In 1956, with bigger production spending (to get audiences away from their TVs and back into theatres), the musicals are also beefed up orchestrally (with improved stereo recording techniques) to make the most of the score. (The soundtrack is also an enjoyable one to experience on its own.)

I loved the scenery of the Maine coast...I have even travelled to Maine and made a special stop in Boothbay Harbor--much changed since 1956 I am sure, but it felt wonderful to visit there. I only wish that the town would make more of an effort to promote the fact that Carousel's location filmwork was done there.

The cinematography is splendid and lush. I love the way the camera is used in the Carousel Waltz sequence, with the music dominating any dialogue. Modern directors wouldn't dare try that today!

I can live with the juxtapositional mixes of location photography vs. the in-studio filming. Not all the dancing could be done on a real beach. And I was very pleased that the entire Soliloquy scene was shot outdoors, very beautiful camera-work following Mr. MacRae's movements. And he sings that song like it was written for him. I agree with most other reviewers here, that Mr. Sinatra was not right for this part.

Shirley Jones is just gorgeous to look at and so believable in this role. Too bad, she only really has two songs, one being the duet with MacRae. Claramae Turner's rendition of the classic You'll Never Walk Alone always brings tears to me, even now after all these years.

Even at the end, I am teary-eyed. That tells me this movie is timeless.

I hope anyone who has never seen it, and reads the reviews here, that you will be able to find as much joy and love from this great music and story that we all have.

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2 out of 2 people found the following review useful:
Jacques d'Amboise terrific--Better than Astaire, 26 January 2007

Author: pocomarc from United States

*** This review may contain spoilers ***

Although I have no interest in dancing, I could see there was something very unusual about the male partner of Bigelow's daughter in the dance she had in the middle of "Louise's Ballet." I watched closely and repeatedly, and I swear the guy is better than Fred Astaire (and that is saying something).

I looked him up, and it turns out he (Jacques d'Amboise) was a US born ballet dancer. He was hardly 20 years old when he did this movie.

The moves he makes during this supposed Broadway musical are far too good for that level. A number of male ballet moves are mixed in.

He does everything effortlessly (even more effortlessly than Fred Astaire) and he is strong as hell. Watch the effortless one-arm lifts of Louise, and the absolute ease during the other lifts.

In looking him up, all his biographies center on his later work educating children in dance.

If he stood out so that I, who got the video to look at Shirley Jones and hear some good Broadway singing (Gordon McRae is terrific and very convincing as the roughneck he plays) could immediately notice the quality of his contribution to this movie, then he was something very unusual.

I cannot believe that better known dancers such as Nureyev or Baryshnikov were any better than Jacques d'Amboise, even if they had bigger PR.

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2 out of 2 people found the following review useful:
An old favorite, after having seen the play...., 2 November 2006

Author: MarieGabrielle from United States

at the NY Jones Beach Theatre (only that one starred Bonnie Franklin as Julie Jordan's friend-imagine!).

Another review mentioned the fact that this story is more realistic as Billy Bigelow was no hero to anyone, except his family. Shirley Jones is shy Julie, and loves him despite his unpromising future as a carousel/carnival barker.

The cinematography is bold and expansive, the Rodgers and Hammerstein score sometimes haunting sometimes predictable. The story is involving, however, and is not a predictable tale. It is a bit melancholy. Shirley Jones is so likable that she transcends the predictable story, and will keep you watching. 8/10.

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2 out of 2 people found the following review useful:
Carousel-The Ride of Your Life ***1/2, 5 January 2006

Author: edwagreen from United States

Rogers and Hammerstein's Carousel, a glorious, rousing, inspirational film.

What music, what stars, what chemistry.

A rich plot revolves around beautiful music where a young girl (Shirley Jones) meets and quickly marries Billie Bigalow, How will Billie make money for his bride, who is soon pregnant as well? What will he do?

In that gorgeous soliloquy, Billie talks about his plans for his son. He never really anticipates a daughter.

Sadly, Billie falls under the influence of the dishonest Cameron Mitchell, in another gem of a performance following Love Me or Leave Me, the year before. The two are killed during a failed holdup.

A widowed Jones is comforted in the memorable You'll Never Walk Alone. Jones was absolutely perfect for the role with her rich voice and apparent vulnerability as Julie Jordan. (Hard to believe that she would cop a best supporting actress Oscar five years late in a totally completely different role- a non-singing one as a tramp in "Elmer Gantry."

While in heaven, Billie can come down from there and try to square things, especially with his troubled daughter Louise. Louise has been riled throughout her young life due to her father's iniquities. She is tough, but as a young lady, also quite vulnerable. What makes the picture so good is that the music tells the story. The soliloquy, You'll Never Walk Alone and the clambake are just inklings of what is to come. Did Cameron Mitchell do his own singing for the film? Perhaps, June is Busting Out All over is rather over-done. School children can readily tell you the excitement as that wonderful month roles around.

Bring plenty of handkerchiefs, but leave the theater knowing full well that you have seen a masterpiece. ***1/2

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