Reviews (88)

One of the Most Energetic Musicals of all Time
1954's "Seven Brides for Seven Brothers" is rough around the edges and that's just what the doctor ordered. Stanley Donen directed this rough and tumble highly acclaimed musical, set in Oregon in 1850. It was adapted from Stephen Vincent Benét's story "The Sobbin' Women" (based on Plutarch's The Rape of the Sabine Women) and perfectly integrates song, dance, and storytelling. Russ Tamblyn as one of Howard Keel's brothers and Julie Newmar as one of the potential brides are very memorable. Besides Michael Kidd's brilliant choreography (which almost goes without saying) is Cinematographer George Folsey's CinemaScope photography that captured both the grandeur of the land (shot on MGM's back lot!) and the brilliant and bawdy dance numbers. Unfortunately it was shot in Ansco Color and not Technicolor which makes the images less vivid. Yet it does not hinder the film. I saw a recent interview with Jane Powell and she believed that MGM thought they had a real dud on their hands. Boy, were they wrong. Of the DVD versions I prefer the original MGM issue which had a 2.55 to 1 aspect ratio. The Warner Studios version is 2.35 to 1. Both DVD versions remastered the original 4-track magnetic soundtrack to 5.1 Dolby Digital discrete channels. I find this sound remastering very annoying especially to stereophonic films made in the 50s and 60s. The sound on the hi-fi VHS tape is actually truer to the original film.

Singin' & dancin' & sobbin'
A "sleeper" when it was released in 1954, "Seven Brides for Seven Brothers" is still one of the freshest musicals ever made. With a pretty, spirited score by Gene de Paul and Johnny Mercer and rambunctious but carefully-controlled choreography by Michael Kidd, this modestly-budgeted movie surprised everyone by becoming an enormous hit, even being nominated for Best Picture. Based on a short story by Stephen Vncent Benet called "Sobbin' Women" (which was the film's working title), it tells the story of a frontier woman Millie (Jane Powell) courted by a backwoodsman Adam (Howard Keel). He takes her off to his rustic home, neglecting to tell her he has six untamed brothers to care for. Undaunted, Millie sets about domesticating the household, complete with readings from classical history, including the story of the Sabine women, which the boys take to heart. The musical was filmed in AnscoColor and CinemaScope, and the wide screen is utilized to great effect, especially in the barn-raising sequence. Letter-box is mandatory. DePaul and Mercer wrote some effective songs ("Wonderful Day", "When You're in Love", "Sobbin' Women") and the numbers blend into the story perfectly under Stanley Donen's smooth direction. Dresden-doll coloratura Powell and strapping baritone Keel make such an attractive couple it's odd M~G~M never co-starred them again. (Evidently a musical version of "Robin Hood" never got past the drawing board.) The brothers include New York City Ballet star Jacques d'Amboise and a non-dancer, the mysterious Jeff Richards, who may have been the handsomest man ever to appear on the screen, Rock Hudson notwithstanding. Among the brides is Julie Newmar, who a couple of seasons later would stupefy Broadway in "Li'l Abner".Bright and pleasantly aggressive, "Seven Brides for Seven Brothers" is right up there with Metro's best musicals.

Fun movie!
The movie Seven Brides for Seven Brothers is an excellent, fun, family movie with singing, dancing, romance, and even some action. It tells the story of seven brothers who all live together way out in the country. When the eldest brother, Adam, comes home from town one day with a wife, the other six brothers decide they want brides too. They have to battle the townsmen, however, who have already "spoken for the girls." This movie is full of fun and laughs, and I would highly recommend it.

Seven Brides for Seven Brothers
This is a great film, two wonderful singers. Good story line as well. My kids, my husband and myself all like this one! It is a good family film everyone will enjoy.

I LOVE THIS FILM SO MUCH
I mean who wouldnt love, not like, but love this incredible film. This was the first film that I watched when I was growing up. It is similar to pretty woman but reverse because here are 7 rough western thugs that in need of brides to tame them, after their oldest brother got married. Not only did the film have good actors and actresses that were too funny to ignore, but the music and dancing were just as good. I love it and can you believe all but one brother are still alive today? Wow!!!! ... Read more

Reviews (35)

Better than it's usually given credit for, but....
The film version of what I consider Rodgers and Hammerstein's best stage production, "Carousel," has generally been dismissed by critics and those familiar with the stage show as a poor representation of the stage version. To some degree, that is true. Yes, the screenplay does "soften" it by giving away a major plot point at the beginning of the movie, so it would be easier to take. (I won't say more, in case you haven't seen it) And some of the score was deleted from the final print, which hurts it in the beginning. On stage, "If I Loved You" is dialogue with musical interludes leading up to the song itself. It is a beautiful scene, as the music is used to express emotions the characters can not speak, to thrilling effect. But on film, it's just dialogue leading up to the (shortened) song, which cuts away some of the power and impact. The spell cast on stage is not to be found here, though Gordon McRae and Shirley Jones sing well. The deleted "You're a Queer One, Julie Jordan" is also missed.

But after the dissapointing beginning, "along come" the spirited rendition of "June Is Bustin' Out All Over" by the cast. From then on, the film is much more engaging and better all around. McRae and Jones, while not really up to par dramatically, are capable of emoting enough and remain vocally stellar, which is what we paid for, anyway, (though it shouldn't have been that way). McRae's "Soliloquy" is a true tour de force, and his reprise of "If I Loved You" is truly poigniant. Jones' "What's the Use of Won'drin" is beautiful and touching. The rest of the cast is fine, too, and certain of the later scenes retain the power of the stage version and are just as touching. Unfortunatly, I haven't seen this in widescreen or on the big screen, so I can't vouch for the much-lauded visual scope of Boothbay Harbor, Maine, but I'm sure it's spectacular. (Nope, it's not all that exciting in pan-and-scan)

This is worth seeing, especially, I'm sure, in widescreen, but what you really should do is get the film's soundtrack, which restores the deleted songs and many of the deleted verses of other songs to better effect, and a decent cast recording of the stage version, and see a good stage production in your area. Only then will you truly experience the beauty and power of this magnificent musical.

CAROUSEL A SUPERBLY PRODUCED FILM MUSICAL!
CAROUSEL represents Rodgers and Hammerstein's finest hour musically, the closest thing to Grand Opera the duo ever wrote. The 1956 film version showcases the best performance, before or since, that this magnificent score has ever received. Beautifully photographed on location in CinemaScope and Technicolor, the poignant and tragic love story of barker Billy Bigelow and factory worker Julie Jordan unfolds with compassion and conviction. Gordon McRae gives the performance of a lifetime as Billy and his stunning rendition of the seven-minute "SOLILIQUY" is one of the greatest vocal performances of the 20th Century. Shirley Jones, ravishingly young and beautiful in only her second film appearance, is equally effective as Julie, a naive inexperienced young woman who finds in tragedy an inner strength she never knew existed within her.

CAROUSEL's greatest strength is, however, the great songs, which are woven seamlessly into the story. What else can you say about a score that includes such standards as "YOU'LL NEVER WALK ALONE' and 'IF I LOVED YOU"? In the capable hands of the legendary composer/arranger/conductor Alfred Newman, Richard Rodgers' soaring melodies are taken to heights of brilliance undreamed of in the Broadway original. This is especially evident in "Louise's Ballet." Ken Darby's excellent choral arrangements and wonderful vocals by MacRae, Jones, Claramae Turner, Barbara Ruick, Robert Rounseville and Cameron Mitchell all add up to the most perfect performance of this musical ever.

See this movie with someone you love and bring extra handkerchiefs. Also prepare to be dazzled with the glorious New England scenery rendered flawlessly on this superbly produced DVD and Rodgers and Hammerstein's greatest score in genuine 6 channel discrete stereo.

CAROUSEL is the kind of movie they just don't make any more. Most of today's filmmakers couldn't, even if they were courageous enough to try.

One of the very best movie musicals
I don't think I have ever seen Carousel on stage but my folks had a record of it when I was young, and I really liked it. Unfortunately, that leads to my only real complaint about the movie...

The music is splendid ("Carousel Waltz" in particular), the story compelling. There's even a bit of philosophy (the blossoms fell because it was their time). And Carousel isn't padded out with interminable dance scenes -- just one, six minutes of dancing on rooftops. The other big dance scene, Louise's Ballet, is the only dance I can think of that kept keep me not just away from the fast-forward, but glued to the screen! Susan Luckey, as Louise, is the star of the show (for her fifteen minutes).

One real problem with movie musicals is the opening up of the stage. We don't want to lose the stage, since this is, after all, a fantasy; but neither do we want just a filmed play. Some go too far into location (e.g., South Pacific) and others go nowhere at all (Oklahoma). Even Music Man is a bit too stagey. But Carousel has found just the right mix between the stage and location. The transitions from one to another are particularly well-done.

BUT... Somewhere between the play and the movie, we lost at least two songs, and whole verses of other songs! If I hadn't listened to that cast recording in my youth, I would never have known. But I did, and the missing music sorta spoils an otherwise superb movie.

An R and H failure.
NOT R and H material! They should have spent the whole movie at the carnival, but NOOOOOOOO!!! They spent the majority at the sea. Too lovey dovey. I expected something more brighter. I vow, I will never watch this movie again unless I have too. Oklahoma! was better and happier. In my book, R and H failed this time. Sorry.

The Best R&H Score
"Oklahoma!" was the first and broke with tradition; "South Pacific" has the most significant message; "Carousel" has the best score. The songs run from happy to inspirational. Music and lyrics are perfect.

The colors are rich, the scope wide, and the singing voices of even supporting players are magfnificent. The official review gavce picture a "3 of 5" while I think it is a "4". The only reason for the deduction is the letterbox format that creates black bars at top, bottom,and sides of my 16X9 high definition TV (no, DVD is not high definition, but it is digital). I like it much better when the, in this case the 2.55 aspect ratio, is enhanced for 16X9 so there are no side bars.

When you watch this re-mastered filmn it is difficult to believe it was made more than 35 years ago. Of the 66 musicals in my collection it is among the top four [no I can't further differentiate] and definitely the best R&H. ... Read more

Reviews (4)

"The heart, the beat, to start the feet..."
This is definitely one of the best films ever made! I loved this from the first five seconds on. I think that this is certianly a triuumph in the movie world. From ballet, to vaudeville and from Fred Astaire and Ginger Rogers to Busby Berkley, this movie will have you tapping your toes and singing along to the beat. I never get tired of watching this!
Other good movies are the Fred Astaire and Ginger Rogers movies from the thrities.

A triumph of Cinematography
This work, narrated by Gene Kelley, is devoted to the cinema musicals, starting with seldom seen footage of the silent era, and continuing with the fantastic dancing scenes of Busby Berkley. Next we move on to the Fred Astaire period, which centers attention on the individual dancer. We see beautiful performances from the likes of Ginger Rogers, Ruby Keeler as well as the incomparable Nicholas Brothers. With the advent of color, comes a never previously seen number on the 'yellow brick road' with Judy Garland and Ray Bolger. Not to forget a marvellous routine by Shirley Temple and Bojangles Robinson! Alltogether, this is the most memorable series of dance sequences that I have ever seen in half a century.

Now THAT'S Dancing!
This video has gotten some play recently on TMC, but in the wrong format. It is so compressed on the screen that it is hard to appreaciate the great dancing. I would recommend buying your own copy as these are all the classic dances from the movies..from Cagney to Michael Jackson, you see some really great performances! I just watched it on TV and went right to the net and ordered it. The precision of some of these dances and the abilities of not just the stars, but the chorus dancers as well, left me in awe. You could run 27 takes with me dancing and still not come close to what the worst of these dancers can do! I understand they are adding some new footage of the St. Cyril Theatre Guild's Grease dances to the original video. Even without these new additions, That's Dancing is just marvelous!

What a wonderful documentary!!!
This film is a must-see for any dancer. The clips used to showcase different types of dancing in film are creatively woven together and the commentary is very informative. Many famous scenes from the old MGM musicals to the water spray scene in Flashdance are used to illustrate how diversified dancing in films can be. For ballet dancers, there is a portion devoted solely to ballet in films which is hosted by Mikhail Baryshnikov. Scenes of Rudolph Nureyev leaping through the air compliment this section as well as scenes from various ballets. Liza Minelli hosts the Broadway inspirational portion which is shorter in length. I only saw this film once but I feel that it is a must-own selection for any dancer. ... Read more

Reviews (88)

One of the Most Energetic Musicals of all Time
1954's "Seven Brides for Seven Brothers" is rough around the edges and that's just what the doctor ordered. Stanley Donen directed this rough and tumble highly acclaimed musical, set in Oregon in 1850. It was adapted from Stephen Vincent Benét's story "The Sobbin' Women" (based on Plutarch's The Rape of the Sabine Women) and perfectly integrates song, dance, and storytelling. Russ Tamblyn as one of Howard Keel's brothers and Julie Newmar as one of the potential brides are very memorable. Besides Michael Kidd's brilliant choreography (which almost goes without saying) is Cinematographer George Folsey's CinemaScope photography that captured both the grandeur of the land (shot on MGM's back lot!) and the brilliant and bawdy dance numbers. Unfortunately it was shot in Ansco Color and not Technicolor which makes the images less vivid. Yet it does not hinder the film. I saw a recent interview with Jane Powell and she believed that MGM thought they had a real dud on their hands. Boy, were they wrong. Of the DVD versions I prefer the original MGM issue which had a 2.55 to 1 aspect ratio. The Warner Studios version is 2.35 to 1. Both DVD versions remastered the original 4-track magnetic soundtrack to 5.1 Dolby Digital discrete channels. I find this sound remastering very annoying especially to stereophonic films made in the 50s and 60s. The sound on the hi-fi VHS tape is actually truer to the original film.

Singin' & dancin' & sobbin'
A "sleeper" when it was released in 1954, "Seven Brides for Seven Brothers" is still one of the freshest musicals ever made. With a pretty, spirited score by Gene de Paul and Johnny Mercer and rambunctious but carefully-controlled choreography by Michael Kidd, this modestly-budgeted movie surprised everyone by becoming an enormous hit, even being nominated for Best Picture. Based on a short story by Stephen Vncent Benet called "Sobbin' Women" (which was the film's working title), it tells the story of a frontier woman Millie (Jane Powell) courted by a backwoodsman Adam (Howard Keel). He takes her off to his rustic home, neglecting to tell her he has six untamed brothers to care for. Undaunted, Millie sets about domesticating the household, complete with readings from classical history, including the story of the Sabine women, which the boys take to heart. The musical was filmed in AnscoColor and CinemaScope, and the wide screen is utilized to great effect, especially in the barn-raising sequence. Letter-box is mandatory. DePaul and Mercer wrote some effective songs ("Wonderful Day", "When You're in Love", "Sobbin' Women") and the numbers blend into the story perfectly under Stanley Donen's smooth direction. Dresden-doll coloratura Powell and strapping baritone Keel make such an attractive couple it's odd M~G~M never co-starred them again. (Evidently a musical version of "Robin Hood" never got past the drawing board.) The brothers include New York City Ballet star Jacques d'Amboise and a non-dancer, the mysterious Jeff Richards, who may have been the handsomest man ever to appear on the screen, Rock Hudson notwithstanding. Among the brides is Julie Newmar, who a couple of seasons later would stupefy Broadway in "Li'l Abner".Bright and pleasantly aggressive, "Seven Brides for Seven Brothers" is right up there with Metro's best musicals.

Fun movie!
The movie Seven Brides for Seven Brothers is an excellent, fun, family movie with singing, dancing, romance, and even some action. It tells the story of seven brothers who all live together way out in the country. When the eldest brother, Adam, comes home from town one day with a wife, the other six brothers decide they want brides too. They have to battle the townsmen, however, who have already "spoken for the girls." This movie is full of fun and laughs, and I would highly recommend it.

Seven Brides for Seven Brothers
This is a great film, two wonderful singers. Good story line as well. My kids, my husband and myself all like this one! It is a good family film everyone will enjoy.

I LOVE THIS FILM SO MUCH
I mean who wouldnt love, not like, but love this incredible film. This was the first film that I watched when I was growing up. It is similar to pretty woman but reverse because here are 7 rough western thugs that in need of brides to tame them, after their oldest brother got married. Not only did the film have good actors and actresses that were too funny to ignore, but the music and dancing were just as good. I love it and can you believe all but one brother are still alive today? Wow!!!! ... Read more

Reviews (1)

Great Comedy!!
Judge Reinhold and Meg Tilly star in this great off beat comedy about a make-believe Cop who gets into all types of mischief.It's a must see movie!! ... Read more

Amazon.com

Like its immediate predecessor, Oklahoma!, this 1956 screen musical boasted then state-of-the-art widescreen cinematography, stereophonic sound, a starring romantic duo with onscreen chemistry, and the Rodgers & Hammerstein imprimatur. Adding to its promise was a source (the venerable Ferenc Molnar play Liliom) that had already been filmed three times. Yet unlike the original Broadway production, and despite evident craft, Carousel proved a box-office disappointment.Why? Hindsight argues that '50s moviegoers may have been unprepared for its tragic narrative, the sometimes unsympathetic protagonist, and a spiritual subtext addressing life after death.

Whatever the obstacle, Carousel may well be a revelation to first-time viewers. The score is among the composers' most affecting, from the glorious instrumental "Carousel Waltz" to a succession of exquisite love songs ("If I Loved You"), a heart-rending secular hymn ("You'll Never Walk Alone"), and the expectant father's poignant reverie, "Soliloquy." Top-lined stars Shirley Jones (as factory worker Julie Jordan) and Gordon MacRae (as Billy Bigelow, the carnival barker who woos and weds her) achieve greater dramatic urgency here than in the more successful Oklahoma!, with MacRae in particular attaining a personal best as the conflicted Billy, whose anxiety and wounded pride after losing his job are crucial to the plot. It's Billy's impatience to support his new family that drives him to an ill-fated decision that transforms the fable into a ghost story.

Adding to the luster are the coastal Maine locations where 20th Century Fox filmed principal photography. Newly remastered by THX, Carousel looks and sounds better than ever, but VHS tape buyers take heed:as a movie conceived for the then-new widescreen platform (it was the first to be shot in the studio's second-generation CinemaScope 55 format), this is one film that doesn't benefit from pan-and-scan editing, which lops off half the screen's image, virtually eliminating the sweep and spectacle of big production numbers. The widescreen version is vastly superior. --Sam Sutherland ... Read more

Reviews (35)

Better than it's usually given credit for, but....
The film version of what I consider Rodgers and Hammerstein's best stage production, "Carousel," has generally been dismissed by critics and those familiar with the stage show as a poor representation of the stage version. To some degree, that is true. Yes, the screenplay does "soften" it by giving away a major plot point at the beginning of the movie, so it would be easier to take. (I won't say more, in case you haven't seen it) And some of the score was deleted from the final print, which hurts it in the beginning. On stage, "If I Loved You" is dialogue with musical interludes leading up to the song itself. It is a beautiful scene, as the music is used to express emotions the characters can not speak, to thrilling effect. But on film, it's just dialogue leading up to the (shortened) song, which cuts away some of the power and impact. The spell cast on stage is not to be found here, though Gordon McRae and Shirley Jones sing well. The deleted "You're a Queer One, Julie Jordan" is also missed.

But after the dissapointing beginning, "along come" the spirited rendition of "June Is Bustin' Out All Over" by the cast. From then on, the film is much more engaging and better all around. McRae and Jones, while not really up to par dramatically, are capable of emoting enough and remain vocally stellar, which is what we paid for, anyway, (though it shouldn't have been that way). McRae's "Soliloquy" is a true tour de force, and his reprise of "If I Loved You" is truly poigniant. Jones' "What's the Use of Won'drin" is beautiful and touching. The rest of the cast is fine, too, and certain of the later scenes retain the power of the stage version and are just as touching. Unfortunatly, I haven't seen this in widescreen or on the big screen, so I can't vouch for the much-lauded visual scope of Boothbay Harbor, Maine, but I'm sure it's spectacular. (Nope, it's not all that exciting in pan-and-scan)

This is worth seeing, especially, I'm sure, in widescreen, but what you really should do is get the film's soundtrack, which restores the deleted songs and many of the deleted verses of other songs to better effect, and a decent cast recording of the stage version, and see a good stage production in your area. Only then will you truly experience the beauty and power of this magnificent musical.

CAROUSEL A SUPERBLY PRODUCED FILM MUSICAL!
CAROUSEL represents Rodgers and Hammerstein's finest hour musically, the closest thing to Grand Opera the duo ever wrote. The 1956 film version showcases the best performance, before or since, that this magnificent score has ever received. Beautifully photographed on location in CinemaScope and Technicolor, the poignant and tragic love story of barker Billy Bigelow and factory worker Julie Jordan unfolds with compassion and conviction. Gordon McRae gives the performance of a lifetime as Billy and his stunning rendition of the seven-minute "SOLILIQUY" is one of the greatest vocal performances of the 20th Century. Shirley Jones, ravishingly young and beautiful in only her second film appearance, is equally effective as Julie, a naive inexperienced young woman who finds in tragedy an inner strength she never knew existed within her.

CAROUSEL's greatest strength is, however, the great songs, which are woven seamlessly into the story. What else can you say about a score that includes such standards as "YOU'LL NEVER WALK ALONE' and 'IF I LOVED YOU"? In the capable hands of the legendary composer/arranger/conductor Alfred Newman, Richard Rodgers' soaring melodies are taken to heights of brilliance undreamed of in the Broadway original. This is especially evident in "Louise's Ballet." Ken Darby's excellent choral arrangements and wonderful vocals by MacRae, Jones, Claramae Turner, Barbara Ruick, Robert Rounseville and Cameron Mitchell all add up to the most perfect performance of this musical ever.

See this movie with someone you love and bring extra handkerchiefs. Also prepare to be dazzled with the glorious New England scenery rendered flawlessly on this superbly produced DVD and Rodgers and Hammerstein's greatest score in genuine 6 channel discrete stereo.

CAROUSEL is the kind of movie they just don't make any more. Most of today's filmmakers couldn't, even if they were courageous enough to try.

One of the very best movie musicals
I don't think I have ever seen Carousel on stage but my folks had a record of it when I was young, and I really liked it. Unfortunately, that leads to my only real complaint about the movie...

The music is splendid ("Carousel Waltz" in particular), the story compelling. There's even a bit of philosophy (the blossoms fell because it was their time). And Carousel isn't padded out with interminable dance scenes -- just one, six minutes of dancing on rooftops. The other big dance scene, Louise's Ballet, is the only dance I can think of that kept keep me not just away from the fast-forward, but glued to the screen! Susan Luckey, as Louise, is the star of the show (for her fifteen minutes).

One real problem with movie musicals is the opening up of the stage. We don't want to lose the stage, since this is, after all, a fantasy; but neither do we want just a filmed play. Some go too far into location (e.g., South Pacific) and others go nowhere at all (Oklahoma). Even Music Man is a bit too stagey. But Carousel has found just the right mix between the stage and location. The transitions from one to another are particularly well-done.

BUT... Somewhere between the play and the movie, we lost at least two songs, and whole verses of other songs! If I hadn't listened to that cast recording in my youth, I would never have known. But I did, and the missing music sorta spoils an otherwise superb movie.

An R and H failure.
NOT R and H material! They should have spent the whole movie at the carnival, but NOOOOOOOO!!! They spent the majority at the sea. Too lovey dovey. I expected something more brighter. I vow, I will never watch this movie again unless I have too. Oklahoma! was better and happier. In my book, R and H failed this time. Sorry.

The Best R&H Score
"Oklahoma!" was the first and broke with tradition; "South Pacific" has the most significant message; "Carousel" has the best score. The songs run from happy to inspirational. Music and lyrics are perfect.

The colors are rich, the scope wide, and the singing voices of even supporting players are magfnificent. The official review gavce picture a "3 of 5" while I think it is a "4". The only reason for the deduction is the letterbox format that creates black bars at top, bottom,and sides of my 16X9 high definition TV (no, DVD is not high definition, but it is digital). I like it much better when the, in this case the 2.55 aspect ratio, is enhanced for 16X9 so there are no side bars.

When you watch this re-mastered filmn it is difficult to believe it was made more than 35 years ago. Of the 66 musicals in my collection it is among the top four [no I can't further differentiate] and definitely the best R&H. ... Read more

Amazon.com

Romantic triangles. Unconsummated passion. Jealousy. Revenge.Just another day offstage at the New York City Ballet for ballerinaSuzanne Farrell and her mentor, legendary choreographer George Balanchine.Elusive Muse traces the development of Farrell into an extraordinary performer while trying to define her passionate professional and personalrelationship with "Mr. B." (Farrell says dancing with Balanchine was "morepassionate, more loving" than a sexual relationship would have been.) Relying heavily on interviews with Farrell and her longtime dance partner,Jacques d'Amboise (who calls her a "goddess" and the "last, great muse forBalanchine"), the film follows her evolution from awestruck student toinspiration--Balanchine created some of his most breathtaking ballets forher, and lengthy footage of them, including "Diamonds" and "Mozartiana," is shown. The story is as tortured as ballet's best: Marriage to another dancer causes their banishment from the company and she's forced to dance in Europe to keep her career alive, but she triumphantly reunites (professionally) with her mentor. While performance footage documents her artistry, interviews with other dancers and choreographers testify to her growing talent and helpexplain how Mr. B worked. "God sent her to me," he is quoted as saying. Here, the rest of us get to glory in his handiwork. --Valerie J. Nelson ... Read more

Reviews (6)

Great dancing, interesting life
In 1970, Suzanne Farrell, who since the mid-60s had become the latest of Mr. B's "muse-ballerinas", angrily quit the New York City Ballet. Balanchine's obsession had become smothering, to the point where the much-younger Farrell considered suicide. He was married (to another former muse), and Farrell married another dancer in the company. To Mr. B, this was a direct slap in the face, and to Farrell it was the only way out. The situation quickly escalated. Even 30 years later, she bursts into tears at the memory of essentially threatening Balanchine with an ultimatum. Balanchines response, of course, was equally stony, and Farrell walked out on her mentor.

This sad, even sordid story is shocking to those who want to believe ballet is an endless stream of ribbons and tutus. This documentary of the legendary ballerina is a good balance between artistic and personal. There are clips of the younger, beautiful Farrell dancing in works like "Tzigane" and "Midsummer's Night Dream." There are also interviews with Farrell's husband Paul Meija, and other important people in Farrell's life, including her stage-mother mom.

Life many documentaries it's essentially self-centered, and thus many other NYCB notables seem to not exist at all. Patricia McBride, Allegra Kent, Edward Villela, and others whome Farrell presumably danced with are not present for the documentary. Mr. B of course is no longer here, so we have to take Farrell's word about their relationship.

The story has a happy ending: Farrell eventually returned to the company, and danced for Mr. B until his death. Farrell is a good interview subject: she's surprisingly expressive and candid. A good supplement to this documentary would be Farrell's autobiography, which goes into more detail about her pre-and-post-Balanchine years.

The Muse Speaks
In 1990 Suzanne Farrell, the once-leading ballerina of the New York City Ballet, broke her silence in Elusive Muse, a documentary covering her career and legendary relationship with George Balanchine. Nominated for an Academy Award for Best Documentary, Elusive Muse tells the story through interviews with Farrell and male NYCB dancers who danced with her during her career.

If you know anything about NYCB, Suzanne Farrell, or George Balanchine, you probably know that Farrell was Balanchine's muse almost from the very beginning of her days with the company until his death in 1983 (with a 5-year break in the action during the 70s). What Elusive Muse gives us that we haven't seen or heard before is Suzanne's first person telling of her story. The video contains wonderful footage of her taking class, rehearsing, and performing Balanchine's ingenious choreography as well as intimate disclosure about the relationship she shared with "Mr. B."

Suzanne shares with us about the emotional threesome between Balanchine, herself, and her mother; the strain the relationship put on her; and the loneliness of her life as the much whispered-about woman at the center of NYCB. She talks about the almost telepathic nature of their relationship (at least through the eyes of a naïve young woman), how their feelings were interwoven throughout the ballets Mr. B created, their way of physically consummating their relationship, her eventual struggles and inability to continue, and how ballet became her "salvation" in the midst of that struggle for this good Catholic girl with very provincial beliefs. Even though Elusive Muse was made in 1990, Farrell is still visibly affected when recalling the events from her time at NYCB with Balanchine, even to the point of tears.

Farrell also talks about dancing for Maurice Bejart in Brussels. Bejart repeats what others say about her dancing-that Suzanne had wonderful technical ability and athleticism (she was an acrobat before she was a dancer), but it was her "musicality" and the soulfulness of her dancing that made her such an incredible standout. Indeed, Suzanne Farrell is easily short-listed for the greatest ballet dancers of the 20th century.

We'll never hear Balanchine's side of the story, though his reticence on the topic may have been more of a determining factor than his death. Farrell has the last word on her relationship with the creative genius, and at the end she tells us "There are no 'if onlys' in my life." She shares a remarkable experience she had after Mr. Balanchine's death, an experience that reconfirmed her commitment to dancing.

Performance footage: Apollo (in B&W) and Davidsbundlertanze with Jacques d'Amboise; Chaconne and Diamonds with Peter Martins; Romeo and Juliet with Jorge Donn; Concerto Barocco; Scotch Symphony; her final performance in Vienna Waltzes; and an absolutely exquisite Don Quixote with Balanchine in the title role. Her dancing in this piece transcends this world and alone justifies the purchase price of the video. There are many interviews with past dancers of the NYCB including Jacques d'Amboise, Arthur Mitchell, Paul Mejia, and Eddie Villella, as well as Maurice Bejart. Rehearsal footage and stagings include Slaughter on 10th Avenue with Maria Caligari, Tzigane with Isabelle Guerim and the Paris Opera Ballet, and Susan Jaffe in Mozartiana. Lots of wonderful stills as well.

If you are a student of ballet history, a lover of NYCB, or a Suzanne Farrell fan, Elusive Muse is a required addition to your video collection, worth far more than its purchase price.

Farrell review
The information regarding the relational dynamics between Ms. Farrell and Mr. B was very interesting. Also the interviews were thoughtfully presented. Though, I wish there were more scenes of Ms. Farrell's dancing. The lack of dance scenes was very disappointing.

The quality of the DVD is good.

Prima ballerina assoluta!
A thoughtful, well-prepared documentary. The right balance of talking heads and archival performance footage. Directors Anne Belle and Deborah Dickson clearly took the time to understand their subject. And Suzanne Farrell's full cooperation with the process is the single most important thing that kept this fascinating film from being one more cliche-ridden, outsider's view of the demented, masochistic world of ballet. Jacques D'Amboise and Arthur Mitchell, as well as Ms Farrell herself, go a long way to disprove the theory that dancers are inarticulate when not moving through space. Their recollections and insights serve as a nice counterbalance to Farrell's emotionally-charged self-assessments. Although much of the film focuses on explicating Farrell's relationship with choreographer George Balanchine (the film's creepiest moment of pathos is when Farrell goes into her bureau drawer and takes out a billet -doux from her mentor and reads it for the camera), ultimately it is Farrell's strength of character and survival instinct that leaves the strongest impression. The final words of the film are hers: "There have been no 'if onlys' for me."

Although the DVD has no dynamite extras, it serves as the perfect format for this kind of film. After watching the film all the way through, you're going to want to go back and watch some of the dance sequences over and over.

The Apple of Balanchine - Suzanne Farrell - A total Dancer
Suzanne Farrell is every choreographer's dream. Arthur Mitchell says: "Suzanne Farrell is extremely musical, she is very fast and never afraid of falling off point", characterizing her as "the apple of Balanchine eyes". Suzanne has intelligence of movement. She can learn a role even without music, just by counting. Diana Adams taught her her role just by moving her palms. The age difference between Balanchine and his muse Suzanne was 42 years. There was a deep intuitive understanding between them. In Suzanne's words: "Balanchine in a way became younger when he worked with me and I became older, so we met each other at the same point of time, with our dancing choreography on stage it meant that all the years he had choreographed before I was alive, all the ballets that subsequently were dances, that where choreographed for other dancers, it was like I lived all his life plus mine". This video includes many clips of historic films and also a segment of Suzanne and Balanchine himself dancing together their own life in Don Quixote. After a period of separation from Balanchine, Suzanne received an invitation from Maurice Bejart and she began to worked with him. When she returned back to Balanchine she has improved: more mature, and more experienced and we get "Suzanne Farrell and Peter Martins", guided by Balanchine, a subject worthy of special treatment in itself. ... Read more

Reviews (88)

One of the Most Energetic Musicals of all Time
1954's "Seven Brides for Seven Brothers" is rough around the edges and that's just what the doctor ordered. Stanley Donen directed this rough and tumble highly acclaimed musical, set in Oregon in 1850. It was adapted from Stephen Vincent Benét's story "The Sobbin' Women" (based on Plutarch's The Rape of the Sabine Women) and perfectly integrates song, dance, and storytelling. Russ Tamblyn as one of Howard Keel's brothers and Julie Newmar as one of the potential brides are very memorable. Besides Michael Kidd's brilliant choreography (which almost goes without saying) is Cinematographer George Folsey's CinemaScope photography that captured both the grandeur of the land (shot on MGM's back lot!) and the brilliant and bawdy dance numbers. Unfortunately it was shot in Ansco Color and not Technicolor which makes the images less vivid. Yet it does not hinder the film. I saw a recent interview with Jane Powell and she believed that MGM thought they had a real dud on their hands. Boy, were they wrong. Of the DVD versions I prefer the original MGM issue which had a 2.55 to 1 aspect ratio. The Warner Studios version is 2.35 to 1. Both DVD versions remastered the original 4-track magnetic soundtrack to 5.1 Dolby Digital discrete channels. I find this sound remastering very annoying especially to stereophonic films made in the 50s and 60s. The sound on the hi-fi VHS tape is actually truer to the original film.

Singin' & dancin' & sobbin'
A "sleeper" when it was released in 1954, "Seven Brides for Seven Brothers" is still one of the freshest musicals ever made. With a pretty, spirited score by Gene de Paul and Johnny Mercer and rambunctious but carefully-controlled choreography by Michael Kidd, this modestly-budgeted movie surprised everyone by becoming an enormous hit, even being nominated for Best Picture. Based on a short story by Stephen Vncent Benet called "Sobbin' Women" (which was the film's working title), it tells the story of a frontier woman Millie (Jane Powell) courted by a backwoodsman Adam (Howard Keel). He takes her off to his rustic home, neglecting to tell her he has six untamed brothers to care for. Undaunted, Millie sets about domesticating the household, complete with readings from classical history, including the story of the Sabine women, which the boys take to heart. The musical was filmed in AnscoColor and CinemaScope, and the wide screen is utilized to great effect, especially in the barn-raising sequence. Letter-box is mandatory. DePaul and Mercer wrote some effective songs ("Wonderful Day", "When You're in Love", "Sobbin' Women") and the numbers blend into the story perfectly under Stanley Donen's smooth direction. Dresden-doll coloratura Powell and strapping baritone Keel make such an attractive couple it's odd M~G~M never co-starred them again. (Evidently a musical version of "Robin Hood" never got past the drawing board.) The brothers include New York City Ballet star Jacques d'Amboise and a non-dancer, the mysterious Jeff Richards, who may have been the handsomest man ever to appear on the screen, Rock Hudson notwithstanding. Among the brides is Julie Newmar, who a couple of seasons later would stupefy Broadway in "Li'l Abner".Bright and pleasantly aggressive, "Seven Brides for Seven Brothers" is right up there with Metro's best musicals.

Fun movie!
The movie Seven Brides for Seven Brothers is an excellent, fun, family movie with singing, dancing, romance, and even some action. It tells the story of seven brothers who all live together way out in the country. When the eldest brother, Adam, comes home from town one day with a wife, the other six brothers decide they want brides too. They have to battle the townsmen, however, who have already "spoken for the girls." This movie is full of fun and laughs, and I would highly recommend it.

Seven Brides for Seven Brothers
This is a great film, two wonderful singers. Good story line as well. My kids, my husband and myself all like this one! It is a good family film everyone will enjoy.

I LOVE THIS FILM SO MUCH
I mean who wouldnt love, not like, but love this incredible film. This was the first film that I watched when I was growing up. It is similar to pretty woman but reverse because here are 7 rough western thugs that in need of brides to tame them, after their oldest brother got married. Not only did the film have good actors and actresses that were too funny to ignore, but the music and dancing were just as good. I love it and can you believe all but one brother are still alive today? Wow!!!! ... Read more

Reviews (88)

One of the Most Energetic Musicals of all Time
1954's "Seven Brides for Seven Brothers" is rough around the edges and that's just what the doctor ordered. Stanley Donen directed this rough and tumble highly acclaimed musical, set in Oregon in 1850. It was adapted from Stephen Vincent Benét's story "The Sobbin' Women" (based on Plutarch's The Rape of the Sabine Women) and perfectly integrates song, dance, and storytelling. Russ Tamblyn as one of Howard Keel's brothers and Julie Newmar as one of the potential brides are very memorable. Besides Michael Kidd's brilliant choreography (which almost goes without saying) is Cinematographer George Folsey's CinemaScope photography that captured both the grandeur of the land (shot on MGM's back lot!) and the brilliant and bawdy dance numbers. Unfortunately it was shot in Ansco Color and not Technicolor which makes the images less vivid. Yet it does not hinder the film. I saw a recent interview with Jane Powell and she believed that MGM thought they had a real dud on their hands. Boy, were they wrong. Of the DVD versions I prefer the original MGM issue which had a 2.55 to 1 aspect ratio. The Warner Studios version is 2.35 to 1. Both DVD versions remastered the original 4-track magnetic soundtrack to 5.1 Dolby Digital discrete channels. I find this sound remastering very annoying especially to stereophonic films made in the 50s and 60s. The sound on the hi-fi VHS tape is actually truer to the original film.

Singin' & dancin' & sobbin'
A "sleeper" when it was released in 1954, "Seven Brides for Seven Brothers" is still one of the freshest musicals ever made. With a pretty, spirited score by Gene de Paul and Johnny Mercer and rambunctious but carefully-controlled choreography by Michael Kidd, this modestly-budgeted movie surprised everyone by becoming an enormous hit, even being nominated for Best Picture. Based on a short story by Stephen Vncent Benet called "Sobbin' Women" (which was the film's working title), it tells the story of a frontier woman Millie (Jane Powell) courted by a backwoodsman Adam (Howard Keel). He takes her off to his rustic home, neglecting to tell her he has six untamed brothers to care for. Undaunted, Millie sets about domesticating the household, complete with readings from classical history, including the story of the Sabine women, which the boys take to heart. The musical was filmed in AnscoColor and CinemaScope, and the wide screen is utilized to great effect, especially in the barn-raising sequence. Letter-box is mandatory. DePaul and Mercer wrote some effective songs ("Wonderful Day", "When You're in Love", "Sobbin' Women") and the numbers blend into the story perfectly under Stanley Donen's smooth direction. Dresden-doll coloratura Powell and strapping baritone Keel make such an attractive couple it's odd M~G~M never co-starred them again. (Evidently a musical version of "Robin Hood" never got past the drawing board.) The brothers include New York City Ballet star Jacques d'Amboise and a non-dancer, the mysterious Jeff Richards, who may have been the handsomest man ever to appear on the screen, Rock Hudson notwithstanding. Among the brides is Julie Newmar, who a couple of seasons later would stupefy Broadway in "Li'l Abner".Bright and pleasantly aggressive, "Seven Brides for Seven Brothers" is right up there with Metro's best musicals.

Fun movie!
The movie Seven Brides for Seven Brothers is an excellent, fun, family movie with singing, dancing, romance, and even some action. It tells the story of seven brothers who all live together way out in the country. When the eldest brother, Adam, comes home from town one day with a wife, the other six brothers decide they want brides too. They have to battle the townsmen, however, who have already "spoken for the girls." This movie is full of fun and laughs, and I would highly recommend it.

Seven Brides for Seven Brothers
This is a great film, two wonderful singers. Good story line as well. My kids, my husband and myself all like this one! It is a good family film everyone will enjoy.

I LOVE THIS FILM SO MUCH
I mean who wouldnt love, not like, but love this incredible film. This was the first film that I watched when I was growing up. It is similar to pretty woman but reverse because here are 7 rough western thugs that in need of brides to tame them, after their oldest brother got married. Not only did the film have good actors and actresses that were too funny to ignore, but the music and dancing were just as good. I love it and can you believe all but one brother are still alive today? Wow!!!! ... Read more

Amazon.com

Why do over 1,000 New York City schoolchildren audition for a moderndance program that requires them to sacrifice free time and involvement insports and music? For a chance to study with the charismatic Jacques d'Amboiseat the National Dance Institute. Jacques d'Amboise is an inspired teacher with a knack for nurturing creativity and ambition. His philosophy--that creativity exists within everyone and that trying one's best ensures success--forms the foundation of a unique dance program. This 48-minute documentary from 1983 chronicles one school-year-long program including initial auditions, rehearsals, and the creation of an exclusive "SWAT" team, and culminates in an amazing, year-end performance at New York's Felt Forum. Program participants describe the work and fun involved in the program, praise d'Amboise's teaching methods, and compare the discipline required to that of organized sports. D'Amboise's enthusiasm is infectious--children, parents, teachers, professional dancers and musicians, and even local law enforcement officers find themselves involved in his productions. This Academy Award-winning documentary details the inspiring story of how one talented dancer's vision flourished into a coveted New York City dance program. For an in-depth look at how studying the arts as a child enriches and shapes one's adult life, check out Who's Dancin' Now?, a follow-up documentary that interviews several of these same child participants 16 years later. --Tami Horiuchi ... Read more

Reviews (1)

Entertaining and Touching
I first saw this documentary 16 years ago and it remains one of my favorites. I believe it won an Academy Award for documentary short. It's about Jacques D'Amboise, a principle ballet dancer in NYC for 27 years (you can see him in the musicals Carousel and Oklahoma), and how he founded a dance program for children in New York City. As he says in the video, Mr. D'Amboise believes in getting children involved in the arts early on, forever making the arts a part of their lives. Beginning with one school and about 30 children, it has grown into a major project that (at the time of the documentary) involved over 1,000 children from schools all over the city. Including many interviews and comments from the children themselves, this documentary is funny and entertaining and touching. Incidentally, for his many years of work and inspiration, Jacques D'Amboise received one of the Kennedy Center Honors a couple of years ago. ... Read more

Amazon.com

Well, bless my beautiful hide! Director Stanley Donen invests this rollicking musical with a hearty exuberance. Howard Keel, with his big-as-all-outdoors baritone, stars as a bold "mountain man" living in the Oregon woods who brings home a bride (plucky songbird soprano Jane Powell) to his six slovenly brothers. Taming the rambunctious brood, Jane proceeds to make gentlemen of them so they can woo sweethearts of their own. But old habits die hard: their flirting gives way to fighting in the film's celebrated barn-raising scene, a lively acrobatic dance number exuberantly choreographed by Michael Kidd. Big brother chimes in with his own brand of advice--an old-fashioned kidnapping! Donen manages to get away with such a politically incorrect plot by investing the boys with a innocent sweetness, most notably the youngest brother played with genial earnestness by Rusty (Russ) Tamblyn (pre-West Side Story). This modest production became a huge hit and remains one of MGM's best-loved musical comedies, an energetic, high-kicking classic. --Sean Axmaker ... Read more

Reviews (88)

One of the Most Energetic Musicals of all Time
1954's "Seven Brides for Seven Brothers" is rough around the edges and that's just what the doctor ordered. Stanley Donen directed this rough and tumble highly acclaimed musical, set in Oregon in 1850. It was adapted from Stephen Vincent Benét's story "The Sobbin' Women" (based on Plutarch's The Rape of the Sabine Women) and perfectly integrates song, dance, and storytelling. Russ Tamblyn as one of Howard Keel's brothers and Julie Newmar as one of the potential brides are very memorable. Besides Michael Kidd's brilliant choreography (which almost goes without saying) is Cinematographer George Folsey's CinemaScope photography that captured both the grandeur of the land (shot on MGM's back lot!) and the brilliant and bawdy dance numbers. Unfortunately it was shot in Ansco Color and not Technicolor which makes the images less vivid. Yet it does not hinder the film. I saw a recent interview with Jane Powell and she believed that MGM thought they had a real dud on their hands. Boy, were they wrong. Of the DVD versions I prefer the original MGM issue which had a 2.55 to 1 aspect ratio. The Warner Studios version is 2.35 to 1. Both DVD versions remastered the original 4-track magnetic soundtrack to 5.1 Dolby Digital discrete channels. I find this sound remastering very annoying especially to stereophonic films made in the 50s and 60s. The sound on the hi-fi VHS tape is actually truer to the original film.

Singin' & dancin' & sobbin'
A "sleeper" when it was released in 1954, "Seven Brides for Seven Brothers" is still one of the freshest musicals ever made. With a pretty, spirited score by Gene de Paul and Johnny Mercer and rambunctious but carefully-controlled choreography by Michael Kidd, this modestly-budgeted movie surprised everyone by becoming an enormous hit, even being nominated for Best Picture. Based on a short story by Stephen Vncent Benet called "Sobbin' Women" (which was the film's working title), it tells the story of a frontier woman Millie (Jane Powell) courted by a backwoodsman Adam (Howard Keel). He takes her off to his rustic home, neglecting to tell her he has six untamed brothers to care for. Undaunted, Millie sets about domesticating the household, complete with readings from classical history, including the story of the Sabine women, which the boys take to heart. The musical was filmed in AnscoColor and CinemaScope, and the wide screen is utilized to great effect, especially in the barn-raising sequence. Letter-box is mandatory. DePaul and Mercer wrote some effective songs ("Wonderful Day", "When You're in Love", "Sobbin' Women") and the numbers blend into the story perfectly under Stanley Donen's smooth direction. Dresden-doll coloratura Powell and strapping baritone Keel make such an attractive couple it's odd M~G~M never co-starred them again. (Evidently a musical version of "Robin Hood" never got past the drawing board.) The brothers include New York City Ballet star Jacques d'Amboise and a non-dancer, the mysterious Jeff Richards, who may have been the handsomest man ever to appear on the screen, Rock Hudson notwithstanding. Among the brides is Julie Newmar, who a couple of seasons later would stupefy Broadway in "Li'l Abner".Bright and pleasantly aggressive, "Seven Brides for Seven Brothers" is right up there with Metro's best musicals.

Fun movie!
The movie Seven Brides for Seven Brothers is an excellent, fun, family movie with singing, dancing, romance, and even some action. It tells the story of seven brothers who all live together way out in the country. When the eldest brother, Adam, comes home from town one day with a wife, the other six brothers decide they want brides too. They have to battle the townsmen, however, who have already "spoken for the girls." This movie is full of fun and laughs, and I would highly recommend it.

Seven Brides for Seven Brothers
This is a great film, two wonderful singers. Good story line as well. My kids, my husband and myself all like this one! It is a good family film everyone will enjoy.

I LOVE THIS FILM SO MUCH
I mean who wouldnt love, not like, but love this incredible film. This was the first film that I watched when I was growing up. It is similar to pretty woman but reverse because here are 7 rough western thugs that in need of brides to tame them, after their oldest brother got married. Not only did the film have good actors and actresses that were too funny to ignore, but the music and dancing were just as good. I love it and can you believe all but one brother are still alive today? Wow!!!! ... Read more

Reviews (35)

Better than it's usually given credit for, but....
The film version of what I consider Rodgers and Hammerstein's best stage production, "Carousel," has generally been dismissed by critics and those familiar with the stage show as a poor representation of the stage version. To some degree, that is true. Yes, the screenplay does "soften" it by giving away a major plot point at the beginning of the movie, so it would be easier to take. (I won't say more, in case you haven't seen it) And some of the score was deleted from the final print, which hurts it in the beginning. On stage, "If I Loved You" is dialogue with musical interludes leading up to the song itself. It is a beautiful scene, as the music is used to express emotions the characters can not speak, to thrilling effect. But on film, it's just dialogue leading up to the (shortened) song, which cuts away some of the power and impact. The spell cast on stage is not to be found here, though Gordon McRae and Shirley Jones sing well. The deleted "You're a Queer One, Julie Jordan" is also missed.

But after the dissapointing beginning, "along come" the spirited rendition of "June Is Bustin' Out All Over" by the cast. From then on, the film is much more engaging and better all around. McRae and Jones, while not really up to par dramatically, are capable of emoting enough and remain vocally stellar, which is what we paid for, anyway, (though it shouldn't have been that way). McRae's "Soliloquy" is a true tour de force, and his reprise of "If I Loved You" is truly poigniant. Jones' "What's the Use of Won'drin" is beautiful and touching. The rest of the cast is fine, too, and certain of the later scenes retain the power of the stage version and are just as touching. Unfortunatly, I haven't seen this in widescreen or on the big screen, so I can't vouch for the much-lauded visual scope of Boothbay Harbor, Maine, but I'm sure it's spectacular. (Nope, it's not all that exciting in pan-and-scan)

This is worth seeing, especially, I'm sure, in widescreen, but what you really should do is get the film's soundtrack, which restores the deleted songs and many of the deleted verses of other songs to better effect, and a decent cast recording of the stage version, and see a good stage production in your area. Only then will you truly experience the beauty and power of this magnificent musical.

CAROUSEL A SUPERBLY PRODUCED FILM MUSICAL!
CAROUSEL represents Rodgers and Hammerstein's finest hour musically, the closest thing to Grand Opera the duo ever wrote. The 1956 film version showcases the best performance, before or since, that this magnificent score has ever received. Beautifully photographed on location in CinemaScope and Technicolor, the poignant and tragic love story of barker Billy Bigelow and factory worker Julie Jordan unfolds with compassion and conviction. Gordon McRae gives the performance of a lifetime as Billy and his stunning rendition of the seven-minute "SOLILIQUY" is one of the greatest vocal performances of the 20th Century. Shirley Jones, ravishingly young and beautiful in only her second film appearance, is equally effective as Julie, a naive inexperienced young woman who finds in tragedy an inner strength she never knew existed within her.

CAROUSEL's greatest strength is, however, the great songs, which are woven seamlessly into the story. What else can you say about a score that includes such standards as "YOU'LL NEVER WALK ALONE' and 'IF I LOVED YOU"? In the capable hands of the legendary composer/arranger/conductor Alfred Newman, Richard Rodgers' soaring melodies are taken to heights of brilliance undreamed of in the Broadway original. This is especially evident in "Louise's Ballet." Ken Darby's excellent choral arrangements and wonderful vocals by MacRae, Jones, Claramae Turner, Barbara Ruick, Robert Rounseville and Cameron Mitchell all add up to the most perfect performance of this musical ever.

See this movie with someone you love and bring extra handkerchiefs. Also prepare to be dazzled with the glorious New England scenery rendered flawlessly on this superbly produced DVD and Rodgers and Hammerstein's greatest score in genuine 6 channel discrete stereo.

CAROUSEL is the kind of movie they just don't make any more. Most of today's filmmakers couldn't, even if they were courageous enough to try.

One of the very best movie musicals
I don't think I have ever seen Carousel on stage but my folks had a record of it when I was young, and I really liked it. Unfortunately, that leads to my only real complaint about the movie...

The music is splendid ("Carousel Waltz" in particular), the story compelling. There's even a bit of philosophy (the blossoms fell because it was their time). And Carousel isn't padded out with interminable dance scenes -- just one, six minutes of dancing on rooftops. The other big dance scene, Louise's Ballet, is the only dance I can think of that kept keep me not just away from the fast-forward, but glued to the screen! Susan Luckey, as Louise, is the star of the show (for her fifteen minutes).

One real problem with movie musicals is the opening up of the stage. We don't want to lose the stage, since this is, after all, a fantasy; but neither do we want just a filmed play. Some go too far into location (e.g., South Pacific) and others go nowhere at all (Oklahoma). Even Music Man is a bit too stagey. But Carousel has found just the right mix between the stage and location. The transitions from one to another are particularly well-done.

BUT... Somewhere between the play and the movie, we lost at least two songs, and whole verses of other songs! If I hadn't listened to that cast recording in my youth, I would never have known. But I did, and the missing music sorta spoils an otherwise superb movie.

An R and H failure.
NOT R and H material! They should have spent the whole movie at the carnival, but NOOOOOOOO!!! They spent the majority at the sea. Too lovey dovey. I expected something more brighter. I vow, I will never watch this movie again unless I have too. Oklahoma! was better and happier. In my book, R and H failed this time. Sorry.

The Best R&H Score
"Oklahoma!" was the first and broke with tradition; "South Pacific" has the most significant message; "Carousel" has the best score. The songs run from happy to inspirational. Music and lyrics are perfect.

The colors are rich, the scope wide, and the singing voices of even supporting players are magfnificent. The official review gavce picture a "3 of 5" while I think it is a "4". The only reason for the deduction is the letterbox format that creates black bars at top, bottom,and sides of my 16X9 high definition TV (no, DVD is not high definition, but it is digital). I like it much better when the, in this case the 2.55 aspect ratio, is enhanced for 16X9 so there are no side bars.

When you watch this re-mastered filmn it is difficult to believe it was made more than 35 years ago. Of the 66 musicals in my collection it is among the top four [no I can't further differentiate] and definitely the best R&H. ... Read more

Reviews (35)

Better than it's usually given credit for, but....
The film version of what I consider Rodgers and Hammerstein's best stage production, "Carousel," has generally been dismissed by critics and those familiar with the stage show as a poor representation of the stage version. To some degree, that is true. Yes, the screenplay does "soften" it by giving away a major plot point at the beginning of the movie, so it would be easier to take. (I won't say more, in case you haven't seen it) And some of the score was deleted from the final print, which hurts it in the beginning. On stage, "If I Loved You" is dialogue with musical interludes leading up to the song itself. It is a beautiful scene, as the music is used to express emotions the characters can not speak, to thrilling effect. But on film, it's just dialogue leading up to the (shortened) song, which cuts away some of the power and impact. The spell cast on stage is not to be found here, though Gordon McRae and Shirley Jones sing well. The deleted "You're a Queer One, Julie Jordan" is also missed.

But after the dissapointing beginning, "along come" the spirited rendition of "June Is Bustin' Out All Over" by the cast. From then on, the film is much more engaging and better all around. McRae and Jones, while not really up to par dramatically, are capable of emoting enough and remain vocally stellar, which is what we paid for, anyway, (though it shouldn't have been that way). McRae's "Soliloquy" is a true tour de force, and his reprise of "If I Loved You" is truly poigniant. Jones' "What's the Use of Won'drin" is beautiful and touching. The rest of the cast is fine, too, and certain of the later scenes retain the power of the stage version and are just as touching. Unfortunatly, I haven't seen this in widescreen or on the big screen, so I can't vouch for the much-lauded visual scope of Boothbay Harbor, Maine, but I'm sure it's spectacular. (Nope, it's not all that exciting in pan-and-scan)

This is worth seeing, especially, I'm sure, in widescreen, but what you really should do is get the film's soundtrack, which restores the deleted songs and many of the deleted verses of other songs to better effect, and a decent cast recording of the stage version, and see a good stage production in your area. Only then will you truly experience the beauty and power of this magnificent musical.

CAROUSEL A SUPERBLY PRODUCED FILM MUSICAL!
CAROUSEL represents Rodgers and Hammerstein's finest hour musically, the closest thing to Grand Opera the duo ever wrote. The 1956 film version showcases the best performance, before or since, that this magnificent score has ever received. Beautifully photographed on location in CinemaScope and Technicolor, the poignant and tragic love story of barker Billy Bigelow and factory worker Julie Jordan unfolds with compassion and conviction. Gordon McRae gives the performance of a lifetime as Billy and his stunning rendition of the seven-minute "SOLILIQUY" is one of the greatest vocal performances of the 20th Century. Shirley Jones, ravishingly young and beautiful in only her second film appearance, is equally effective as Julie, a naive inexperienced young woman who finds in tragedy an inner strength she never knew existed within her.

CAROUSEL's greatest strength is, however, the great songs, which are woven seamlessly into the story. What else can you say about a score that includes such standards as "YOU'LL NEVER WALK ALONE' and 'IF I LOVED YOU"? In the capable hands of the legendary composer/arranger/conductor Alfred Newman, Richard Rodgers' soaring melodies are taken to heights of brilliance undreamed of in the Broadway original. This is especially evident in "Louise's Ballet." Ken Darby's excellent choral arrangements and wonderful vocals by MacRae, Jones, Claramae Turner, Barbara Ruick, Robert Rounseville and Cameron Mitchell all add up to the most perfect performance of this musical ever.

See this movie with someone you love and bring extra handkerchiefs. Also prepare to be dazzled with the glorious New England scenery rendered flawlessly on this superbly produced DVD and Rodgers and Hammerstein's greatest score in genuine 6 channel discrete stereo.

CAROUSEL is the kind of movie they just don't make any more. Most of today's filmmakers couldn't, even if they were courageous enough to try.

One of the very best movie musicals
I don't think I have ever seen Carousel on stage but my folks had a record of it when I was young, and I really liked it. Unfortunately, that leads to my only real complaint about the movie...

The music is splendid ("Carousel Waltz" in particular), the story compelling. There's even a bit of philosophy (the blossoms fell because it was their time). And Carousel isn't padded out with interminable dance scenes -- just one, six minutes of dancing on rooftops. The other big dance scene, Louise's Ballet, is the only dance I can think of that kept keep me not just away from the fast-forward, but glued to the screen! Susan Luckey, as Louise, is the star of the show (for her fifteen minutes).

One real problem with movie musicals is the opening up of the stage. We don't want to lose the stage, since this is, after all, a fantasy; but neither do we want just a filmed play. Some go too far into location (e.g., South Pacific) and others go nowhere at all (Oklahoma). Even Music Man is a bit too stagey. But Carousel has found just the right mix between the stage and location. The transitions from one to another are particularly well-done.

BUT... Somewhere between the play and the movie, we lost at least two songs, and whole verses of other songs! If I hadn't listened to that cast recording in my youth, I would never have known. But I did, and the missing music sorta spoils an otherwise superb movie.

An R and H failure.
NOT R and H material! They should have spent the whole movie at the carnival, but NOOOOOOOO!!! They spent the majority at the sea. Too lovey dovey. I expected something more brighter. I vow, I will never watch this movie again unless I have too. Oklahoma! was better and happier. In my book, R and H failed this time. Sorry.

The Best R&H Score
"Oklahoma!" was the first and broke with tradition; "South Pacific" has the most significant message; "Carousel" has the best score. The songs run from happy to inspirational. Music and lyrics are perfect.

The colors are rich, the scope wide, and the singing voices of even supporting players are magfnificent. The official review gavce picture a "3 of 5" while I think it is a "4". The only reason for the deduction is the letterbox format that creates black bars at top, bottom,and sides of my 16X9 high definition TV (no, DVD is not high definition, but it is digital). I like it much better when the, in this case the 2.55 aspect ratio, is enhanced for 16X9 so there are no side bars.

When you watch this re-mastered filmn it is difficult to believe it was made more than 35 years ago. Of the 66 musicals in my collection it is among the top four [no I can't further differentiate] and definitely the best R&H. ... Read more

Reviews (35)

Better than it's usually given credit for, but....
The film version of what I consider Rodgers and Hammerstein's best stage production, "Carousel," has generally been dismissed by critics and those familiar with the stage show as a poor representation of the stage version. To some degree, that is true. Yes, the screenplay does "soften" it by giving away a major plot point at the beginning of the movie, so it would be easier to take. (I won't say more, in case you haven't seen it) And some of the score was deleted from the final print, which hurts it in the beginning. On stage, "If I Loved You" is dialogue with musical interludes leading up to the song itself. It is a beautiful scene, as the music is used to express emotions the characters can not speak, to thrilling effect. But on film, it's just dialogue leading up to the (shortened) song, which cuts away some of the power and impact. The spell cast on stage is not to be found here, though Gordon McRae and Shirley Jones sing well. The deleted "You're a Queer One, Julie Jordan" is also missed.

But after the dissapointing beginning, "along come" the spirited rendition of "June Is Bustin' Out All Over" by the cast. From then on, the film is much more engaging and better all around. McRae and Jones, while not really up to par dramatically, are capable of emoting enough and remain vocally stellar, which is what we paid for, anyway, (though it shouldn't have been that way). McRae's "Soliloquy" is a true tour de force, and his reprise of "If I Loved You" is truly poigniant. Jones' "What's the Use of Won'drin" is beautiful and touching. The rest of the cast is fine, too, and certain of the later scenes retain the power of the stage version and are just as touching. Unfortunatly, I haven't seen this in widescreen or on the big screen, so I can't vouch for the much-lauded visual scope of Boothbay Harbor, Maine, but I'm sure it's spectacular. (Nope, it's not all that exciting in pan-and-scan)

This is worth seeing, especially, I'm sure, in widescreen, but what you really should do is get the film's soundtrack, which restores the deleted songs and many of the deleted verses of other songs to better effect, and a decent cast recording of the stage version, and see a good stage production in your area. Only then will you truly experience the beauty and power of this magnificent musical.

CAROUSEL A SUPERBLY PRODUCED FILM MUSICAL!
CAROUSEL represents Rodgers and Hammerstein's finest hour musically, the closest thing to Grand Opera the duo ever wrote. The 1956 film version showcases the best performance, before or since, that this magnificent score has ever received. Beautifully photographed on location in CinemaScope and Technicolor, the poignant and tragic love story of barker Billy Bigelow and factory worker Julie Jordan unfolds with compassion and conviction. Gordon McRae gives the performance of a lifetime as Billy and his stunning rendition of the seven-minute "SOLILIQUY" is one of the greatest vocal performances of the 20th Century. Shirley Jones, ravishingly young and beautiful in only her second film appearance, is equally effective as Julie, a naive inexperienced young woman who finds in tragedy an inner strength she never knew existed within her.

CAROUSEL's greatest strength is, however, the great songs, which are woven seamlessly into the story. What else can you say about a score that includes such standards as "YOU'LL NEVER WALK ALONE' and 'IF I LOVED YOU"? In the capable hands of the legendary composer/arranger/conductor Alfred Newman, Richard Rodgers' soaring melodies are taken to heights of brilliance undreamed of in the Broadway original. This is especially evident in "Louise's Ballet." Ken Darby's excellent choral arrangements and wonderful vocals by MacRae, Jones, Claramae Turner, Barbara Ruick, Robert Rounseville and Cameron Mitchell all add up to the most perfect performance of this musical ever.

See this movie with someone you love and bring extra handkerchiefs. Also prepare to be dazzled with the glorious New England scenery rendered flawlessly on this superbly produced DVD and Rodgers and Hammerstein's greatest score in genuine 6 channel discrete stereo.

CAROUSEL is the kind of movie they just don't make any more. Most of today's filmmakers couldn't, even if they were courageous enough to try.

One of the very best movie musicals
I don't think I have ever seen Carousel on stage but my folks had a record of it when I was young, and I really liked it. Unfortunately, that leads to my only real complaint about the movie...

The music is splendid ("Carousel Waltz" in particular), the story compelling. There's even a bit of philosophy (the blossoms fell because it was their time). And Carousel isn't padded out with interminable dance scenes -- just one, six minutes of dancing on rooftops. The other big dance scene, Louise's Ballet, is the only dance I can think of that kept keep me not just away from the fast-forward, but glued to the screen! Susan Luckey, as Louise, is the star of the show (for her fifteen minutes).

One real problem with movie musicals is the opening up of the stage. We don't want to lose the stage, since this is, after all, a fantasy; but neither do we want just a filmed play. Some go too far into location (e.g., South Pacific) and others go nowhere at all (Oklahoma). Even Music Man is a bit too stagey. But Carousel has found just the right mix between the stage and location. The transitions from one to another are particularly well-done.

BUT... Somewhere between the play and the movie, we lost at least two songs, and whole verses of other songs! If I hadn't listened to that cast recording in my youth, I would never have known. But I did, and the missing music sorta spoils an otherwise superb movie.

An R and H failure.
NOT R and H material! They should have spent the whole movie at the carnival, but NOOOOOOOO!!! They spent the majority at the sea. Too lovey dovey. I expected something more brighter. I vow, I will never watch this movie again unless I have too. Oklahoma! was better and happier. In my book, R and H failed this time. Sorry.

The Best R&H Score
"Oklahoma!" was the first and broke with tradition; "South Pacific" has the most significant message; "Carousel" has the best score. The songs run from happy to inspirational. Music and lyrics are perfect.

The colors are rich, the scope wide, and the singing voices of even supporting players are magfnificent. The official review gavce picture a "3 of 5" while I think it is a "4". The only reason for the deduction is the letterbox format that creates black bars at top, bottom,and sides of my 16X9 high definition TV (no, DVD is not high definition, but it is digital). I like it much better when the, in this case the 2.55 aspect ratio, is enhanced for 16X9 so there are no side bars.

When you watch this re-mastered filmn it is difficult to believe it was made more than 35 years ago. Of the 66 musicals in my collection it is among the top four [no I can't further differentiate] and definitely the best R&H. ...