Matchmaker Dolly Levi travels to Yonkers to find a partner for "half-a-millionaire" Horace Vandergelder, convincing his niece, his niece's intended, and his two clerks to travel to New York City along the way.
An ex-husband and wife team star in a musical version of 'The Taming of the Shrew'; off-stage, the production is troublesome with ex-lovers' quarrels and a gangster looking for some money owed to them.
It's the early twentieth century American Midwest. A con man, currently going by the assumed name Harold Hill, has used several different schemes to bilk the unsuspecting, he now traveling from town to town pretending to be a professor of music - Gary (Indiana) Conservatory of Music, class of '05 - being able to solve all the respective towns' youth problems by forming a boys' marching band. He takes money from the townsfolk to buy instruments, music, instructional materials and uniforms for their sons. However, he, in reality, has no degree, knows nothing about music, and after all the materials arrive and are distributed, hightails it out to move to the next town with all the money never to be seen again. Many of the traveling salesmen in the territory have been negatively impacted by him, as the townsfolk then become suspicious of any stranger trying to sell them something. For Harold's scheme to work, he has to gain the trust of the local music teacher, he usually doing so by ... Written by
The film has 17 of some 40 songs in all that Meredith Wilson wrote for the musical. Not all were used on the stage either. See more »
When talking with Marian about rumors, Hill lowers his pointing hand twice. See more »
The one thing one must remember, no matter who one is or what one is working for, one can do anything if one puts one's mind to it.
Miss Marian, if one could only tell you how much you've done for one.
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The letters in the film's title, in producer-director Morton da Costa's name, and in Meredith Willson's name (the first time it appears onscreen) are formed by a miniaturized, stop-motion animated marching band, who also form themselves into musical instruments on which the rest of the opening credits appear. See more »
This wonderful production has to be watched on the big screen to be
fully appreciated. It is,in my opinion, the best translation from
Broadway musical theater material to the opening-up on the screen. The
performance and general character portrayal of Robert Preston is
irresistible and a joy to watch. As far as musicals are concerned, this
is the one to take along to your desert island! Í always look forward
to the next opportunity there is to show it on the screen of my cinema
again. Sentimental, nostalgic, funny and romantic, this picture has it
all. And that includes the wonderful melodic songs and the fantastic
choreography. I'm running out of superlatives. It's my favorite
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