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.
Two Americans on a hunting trip in Scotland become lost. They encounter a small village, not on the map, called Brigadoon, in which people harbor a mysterious secret, and behave as if they were still living two hundred years in the past.
A story very loosely based on the love story of Annie Oakley and Frank Butler who meet at a shooting match. Fabulous music although the lead characters have virtually nothing to do with the actual historical figures. Annie joins Frank Butler in Col. Cody's Wild West Show. They tour the world performing before Royalty as well as the public at large.
The existing footage of Judy Garland shot prior to her leaving the production shows that some key sequences, most notably "I'm an Indian Too" were originally to have been shot on a sound-stage, rather than outdoors. Besides the major roles mentioned above, several child roles were also recast between Garland leaving the film and production resuming with Betty Hutton, as evidenced by the Garland version of "Doin' What Comes Naturally". See more »
During the "The Girl That I Marry" song Annie is sitting with a string of dead birds over her left shoulder. About half way through the song the string falls off her shoulder. At the end of the song it is back over her shoulder without her having replaced it. See more »
[calling after Frank as he's walking away]
Hey, mister...? Don't you like girls?
[not comprehendeding the question]
[realizing it herself]
I'm a girl.
[laughing condescendingly as he walks away]
See more »
Despite some INCREDIBLE mistakes by MGM executives, "Annie Get Your Gun" is a terrific movie, a triumph for three reasons: Betty Hutton, Betty Hutton and Betty Hutton. Those who might quibble that "Garland would have been a LOT better" should take an objective look at the the outtakes on the DVD. Garland is terrible; way too modern, urbane and understated for the "larger than life" role of Annie Oakley. Rogers and Hammerstein understood what type of person ot took to
play Annie. That's why they hired Ethyl Merman, who triumphed on Broadway in the role. I've always loved Garland and always considered Hutton to be too bombastic. But, here, she is perfect and carries this movie on her the strengh of her "hit 'em in the rafters" performance. In fact, only four actors play it right. Hutton, Brad Muro (Lil' Jake), J. Carroll Naish (Sitting Bull) and Keenan Wynn. Louis Calhern is usually wonderful; here, his continental, understated style is horribly out of place, turning "Buffalo Bill" into a bore . The usually reliable Edward Arnold seems lost in his unattractive "Pawnee Bill" makeup. Perhaps the biggest disappointment, however, is Howard Keel, who displays little of the charm he revealed in the same year's "Calloway Went Thataway". This MUST have been the decision of Louis Mayer and George Sidney. Hutton reported that Mayer didn't want her, had no confidence in her and didn't even invite her to the New York premiere. Hutton, radiant even at 80, revealed to Robert Osborne, that she was so miserable by her treatment at MGM (no one applauded ANYONE at the end of shooting a scene), that it finished her career (though another triumph for Hutton, "The Greatest Show on Earth" was just two years away).
Despite its flaws, "Annie Get Your Gun" is a keeper. Why? Betty Hutton, Betty Hutton and Betty Hutton.
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