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, and now travels from town to town pretending to be a professor of music - from Gary (Indiana) Conservatory of Music, class of '05 - who solves all the respective towns' youth problems by forming boys' marching bands. He takes money from the townsfolk to buy instruments, music, instructional materials, and uniforms for their sons. However, in reality he has no degree and knows nothing about music, and after all the materials arrive and are distributed, he absconds 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 must gain the trust of the local music teacher, usually by wooing her, regardless of her appearance. And if the ...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 »
Set in 1912, the song "Trouble" mentions both the beverage Bevo (first offered in 1916) and the magazine "Captain Billy's Whiz-Bang" (first published in 1919). "Whiz-Bang" is named for a type of artillery round in World War I (1914-1918)--the publisher was a veteran of that war. See more »
Oh this is a refined operation son, and I've got it timed down to the last wave of the brakeman's hand on the last train outta town.
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The closing credits appear in the style of a Broadway show's curtain call. First the minor characters are shown with the performers' names. The credits then progress through the cast ending with the lead. See more »
One of the best musicals ever made. So much of the movie is perfect: plot, music, most of the cast. One weak spot is Susan Luckey as Zaneeta, though the part is not well written. Another is Monique Vermont as Amaryllis, worse than average for a child actor. But the 8-year-old Ronny Howard as Winthrop is excellent. He shines at the end when Harold Hill gets his foot caught in the door. Of course, Preston is perfect, as is Shirley Jones, who never looked better. (Someone said Heaven is where all the men are 33 and all the women are 30. Jones was in her late 20s.) Paul Ford, Hermione Gingold (overdoing it once), and Pert Kelton are all outstanding.
The director Morton DaCosta uses a gimmick here and in Auntie Mame that I don't care for. At the end of some scenes, all the lights go out except those on the principals. Sometimes that's more of a jolt than necessary, because we've gone from outdoors to inside the studio.
My favorite song is Sadder But Wiser Girl. The reference to Hester winning just one more A meant nothing until 11th grade when we read The Scarlet Letter. And after Preston sings that line, he looks guiltily over his shoulder at Amaryllis to see if she understands how naughty he's been.
My second favorite is Lida Rose/Will I Ever Tell You. Such a beautiful song. It pains me that the rocking chairs at either end of the screen are sometimes out of sync. It should have been done perfectly.
One brilliant touch concerns the Buffalo Bills. Early on, Mayor Shinn says "The members of the School Board will not present a patriotic tableau. Some disagreement about costumes, I suppose." At the time, the four are dressed quite differently. As their singing progresses, they start dressing more and more alike, until at the end they're dressed alike (I'm pretty sure).
Marion's epiphany during The Wells Fargo Wagon is quite sweet.
As is a lovely line from Goodnight, My Someone: But I must depend on a wish and a star/ As long as my heart doesn't know who you are. (Sigh.)
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