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.
Adam, the eldest of seven brothers, goes to town to get a wife. He convinces Milly to marry him that same day. They return to his backwoods home. Only then does she discover he has six brothers - all living in his cabin. Milly sets out to reform the uncouth siblings, who are anxious to get wives of their own. Then, after reading about the Roman capture of the Sabine women, Adam develops an inspired solution to his brothers' loneliness.Written by
Melissa Portell <email@example.com>
Played at the Radio City Music Hall in New York in a slot that was originally intended for Brigadoon (1954). See more »
After Millie and Adam's baby is born, we hear the baby cry after being slapped. The slapping of newborns originates in Victorian England when the sedation given to the mother also passed to the baby. The stimulation of the slapping is what caused the baby to take its first breath. See more »
[to two women on the street]
Care for a chaw of tobaccy?
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Filmed in two different versions: one in CinemaScope (2:55) and one in a "flat" widescreen (1.77). The CinemaScope version is the one generally screened, but both are available. The main difference between the two versions is a slight difference in angles, some minor differences in sound clarity and finally the "flat" widescreen version features more camera movement in order to capture all the action. Warner Brothers has released a 2-DVD set of this film containing both of these versions. See more »
Revisiting this film, I was immediately pulled in by Howard Keel's opening song Bless Your Beautiful Hide. Audacious even in it's day, there's a tenderness in Mercer's lyrics that makes it somewhat forgivable-remember suspending your reality for a musical? Handsome Howard Keel's virility doesn't hurt. Instead of recoiling over the idea of "finding a wife" I just rolled with it as a silly plot idea. Once I had put myself in the same fantasy mode as when watching a Busby Berkeley musical, I started enjoying it.
I really paid attention to the musical numbers, most notably the Barn Dance & Lonesome Polecat. Amazing. Not too many dances in movies were designed to actually TELL a story, showing what the characters were feeling so eloquently. The Barn Dance scene is the best example I've ever seen of this. The dancing styles of townies vs mountaineers, the girl's being hoisted up in the air, the colors, the acrobatics all contribute to a very coherent "story" in dance.
Lonesome Polecat is also just extraordinary. It has a low base line of something like 3/4 but the lyrics are sung in some odd time signature like 5/9. (help me here music experts) The choreography too, is just excellent- the men really stand out as athletic, as is typical in many cultures such as Indian & Hawaiian dances.
I was again struck by how awful crazy the story line is, but how easily it's vindicated by Keel's character explaining how tough life is for mountain settlers. And Janie Powell was so perfect as the sweet young pretty girl who makes lemonade out of a bunch of sour lemons. The entire story is really about how she orchestrates a success out of her bad situation. I like that she's physically tiny but controls the fate of everyone in the story, not with weak conniving but with strong confident guidance.
At first you think this is a terribly sexist story, but it's truly a pioneering and feminist story.
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