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Annie Get Your Gun (1957)

TV Movie  -   -  Musical | Western  -  27 November 1957 (USA)
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Title: Annie Get Your Gun (TV Movie 1957)

Annie Get Your Gun (TV Movie 1957) on IMDb 8.3/10

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Nominated for 1 Primetime Emmy. See more awards »


Credited cast:
John Raitt ...
William O'Neal ...
Donald Burr ...
Charles 'Charlie' Davenport
Norman Edwards ...
Tommy Keller
Winnie Tate
Zachary Charles ...
Robert Nash ...
Gordon William 'Pawnee Bill' Lillie
Stuart Hodes ...
Wild Horse
Jan Skidmore ...
Nellie Oakley
Patricia Morrow ...
Jessie Oakley
Shelley Windsor ...
Little Girl
Little Jake Oakley
Rest of cast listed alphabetically:
Robert Banas ...
Indian dancer


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Musical | Western





Release Date:

27 November 1957 (USA)  »

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Show detailed on  »

Technical Specs


Sound Mix:


Aspect Ratio:

1.33 : 1
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Did You Know?


The initial success of Mary Martin's performance of the 1955 Broadway musical "Peter Pan," with Cyril Ritchard in his dual role as Mr. Darling and Captain James Hook, telecast on NBC's "Producer's Showcase," airing on 7 March 1955, repeated 9 January 1956 as a NBC "Producer's Showcase" Color broadcast special event, was the basis for NBC Events Division's production of the Irving Berlin musical "Annie Get Your Gun." The aim of the "Producers' Showcase" was to broadcast expensive color spectaculars to promote the new color television system developed by NBC's parent company RCA. "Peter Pan" was the first major telecast of a Broadway musical for any network broadcasting company. The NBC Network's "Producer's Showcase" Color special "Mary Martin starring in Irving Berlin's Broadway musical 'Annie Get Your Gun' " was telecast live to New York from the NBC Burbank television facility, from color studio #2 and adjacent studio #4, a live studio audience seated on both stages . The production was expanded to incorporate actual horses on stage, with the studio's central hall stage access corridor floors covered in a cushion of dirt, the hallway corridor dressed with trees, and shrubs, the walls hung with landscape and mountain scenic backings. The corridor ceilings were rigged with pipes enabling stage lighting rigged to focus on the live action of performers, on horseback, staged in the 100 foot long access stage hall corridor. The television studios #2 and #4 each had an audience, who could watch overhead monitors of the staging when performers were on either stage and in the studio corridor located at the back-end of the adjacent stages. The large elephant stage doors on both adjacent studio-stages were open for the corridor access. The 1957 NBC color telecast of the Broadway musical "Annie Get Your Gun" was the second Broadway stage musical production for an NBC Color Special event. See more »


Version of Annie Oakley (1935) See more »

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User Reviews

Miscast Martin still closer to the mark than Hutton
20 August 2005 | by (Jersey City, New Jersey) – See all my reviews

In tackling one of the great Ethel Merman's three or four signature roles, Annie in ANNIE GET YOUR GUN, Mary Martin (possibly the only actress who could surpass Merman as THE musical comedy star of the 20th Century) refused to play the role anywhere near New York where Merman "owned" it. That didn't stop her from winning her first Tony Award for the part - a "Special" award "for bringing Broadway to the nation" when she took out the first National Tour for 11 months from 1947 to 1948, under Joshua Logan's original Broadway direction before going into her career re-defining role under his direction in SOUTH PACIFIC (Martin had begun as a classic sex-kitten in LEAVE IT TO ME, ONE TOUCH OF VENUS and a score of fairly delightful but now largely forgotten Paramount films and two pre-Broadway flops in between).

A decade later, after SOUTH PACIFIC (Broadway and London), PETER PAN (Broadway and TV), an international tour (also winding up on Broadway and TV) of THE SKIN OF OUR TEETH, and a TV production of BORN YESTERDAY, Martin returned to Annie, this time with John Raitt as her Frank Butler and new direction by Martin's favorite director for the later part of her career, Vincent J. Donehue, for runs in San Fransisco and Los Angeles from August through November of 1957, when the show was colorcast on NBC on the 27th.

Native Texan though Martin was (interestingly, the initial scenes in ANNIE GET YOUR GUN are set in Ohio - it's as far west as the show ever goes!), truth be told she was, under Donehue's revised direction, too lady-like and modern to be entirely satisfactory as Annie Oakley, but any Martin performance was (and is) a joy to behold and in the ANNIE GET YOUR GUN broadcast, her supporting cast (including the wonderful Reta Shaw as the comic Dolly Tate) was as close to perfection as anyone could wish.

In the days before videotape, Irving Berlin (who wrote the show's score when Jerome Kern died after first being contracted, and owned the rights) was convinced that the survival of even the improved quality kinescopes which were being made by 1957 would harm the continuing value of his underlying property, and demanded that ALL network copies of the broadcast (AND the later broadcast of the 1967 Broadway revisal with original star Ethel Merman!) be destroyed.

It is our GREAT good fortune that at least one copy survived to resurface years later (the Merman broadcast is still among the missing) to be briefly (and without rights clearances) issued by a tiny company before the Berlin estate could get a "cease and desist" order.

SOMEONE should persuade the estate to negotiate for an official release of this wonderful document, for unless and until the promised film of the piece is made with Reba McEntire (who stood Broadway on its ear when she replaced a miscast but award winning Bernadette Peters in a poorly rewritten 1999-2001 revival), this is by far the most satisfying version extant of the classic musical - and it won't be TOO long before the more reasonable European copyright laws may make the broadcast legitimately available there without generating ANY income for the Estate.

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