In 1880, Osawkie, Kansas is feuding with rival town Mandaroon over which will be county seat, keeping the town's men away from home most of the time. The last straw is when Matt Davis feels...
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Mamie Van Doren,
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Reginald Le Borg
In 1880, Osawkie, Kansas is feuding with rival town Mandaroon over which will be county seat, keeping the town's men away from home most of the time. The last straw is when Matt Davis feels compelled to go on a new foray on his wedding night; his bride Liza (just call her Lysistrata) takes teacher Cassie's advice and organizes a marital strike to make the men-folk stop their nonsense.Written by
Rod Crawford <email@example.com>
I can give you all the data/ On that gal named Lysistrata
That's a typical couplet from this Universal musical, a rather desperate attempt to cash in on MGM's success with "Seven Brides for Seven Brothers." It hews to that formula very closely: Take an ancient myth ("Lysistrata" instead of "Rape of the Sabine Women"), set it out West, write a plot-specific score (in this instance, by many hands), and cap it with lots of athletic choreography (by Lee Scott, who's no Michael Kidd, but that is, admittedly, a high bar). George Marshall, by now something of a Western musical veteran, having just wrapped "Red Garters," directs briskly, and it's an interesting cast. Neither George Nader nor Jeanne Crain could sing, both are dubbed, but both sure were pretty. Kitty Kallen, a popular recording artist at the time who didn't have much luck with movies, has one nice ballad. The always wonderful Tommy Rall, inexplicably eighth-billed, does some astounding leaps. Keith Andes, too hunky to be playing a priest, gets to sing a song, one of those pseudo-religious mid-'50s things, while chopping down a tree, and winds up with Mamie van Doren. Bert Lahr clowns, Paul Gilbert gets a big specialty number, Jimmy Boyd squeaks, and the story gets spun out decently enough. It's another enterprising mid-'50s musical, trying to keep a fading genre alive. Is it good? Not very. But fun? You bet.
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