On a South Pacific island during World War II, love blooms between a young nurse and a secretive Frenchman who's being courted for a dangerous military mission.
Can a girl from Little Rock find happiness with a mature French planter she got to know one enchanted evening away from the military hospital where she is a nurse? Or should she just wash that man out of her hair? Bloody Mary is the philosopher of the island and it's hard to believe she could be the mother of Liat who has captured the heart of Lt. Joseph Cable USMC. While waiting for action in the war in the South Pacific, sailors and nurses put on a musical comedy show. The war gets closer and the saga of Nellie Forbush and Emile de Becque becomes serious drama.
Written by Dale O'Connor <daleoc@interaccess.com>
The soundtrack album for the film was the first Richard Rodgers and Oscar Hammerstein II film soundtrack to be issued in stereo the same year that the mono version was issued. (Because stereo LP's were not possible until 1958, the movie soundtrack albums of
Oklahoma!,
Carousel and
The King and I were issued in mono between 1955 and 1956, the stereo versions in 1958.)
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Goofs
Audio/visual unsynchronized:
When Nellie asks Captain Brackett if the "Frenchman" on the island she's heard about from all the pilots in the hospital is "her Frenchman," there's a complete mismatch between what she says and the movement of her lips.
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Quotes
Lt. Cable:
[Cable has been told that Nellie is in love with Emile]
That's hard to believe, sir; they tell me he's a middle-aged man. Capt. George Brackett:
[fuming]
Cable, it is a common mistake for boys of your age and athletic ability to underestimate men who have reached their maturity. Young women frequently find older men attractive, strange as it may seem. I myself am over fifty. I am a bachelor. And Cable, I do not, by any means, consider myself th-r-rough.
[to Harbison, who is trying not to laugh]
Capt. George Brackett:
What's the matter, Bill? Cmdr. Bill Harbison:
Nothing - -evidently!
[...]
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Crazy Credits
There are probably more dubbed singing voices in this film than in any
other screen version of a Rodgers and Hammerstein musical, but the only one
which actually receives screen credit is that of Giorgio Tozzi, who dubs
the singing voice of Emile de Becque (Rosanno Brazzi). This is because
Tozzi was a renowned bass-baritone with the Metropolitan Opera.
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