Unfortunatly, I don't get the cable channel that frequently shows this film, I assume, in widescreen. (It's no longer AMC) I missed the chance to see it in a theater when it was presented at a local matinee. So I ended up with the original pan-and-scan video. Therefore, poor Booth Bay Harbor, Maine, (and San Francisco, where the final shot was filmed) was not showcased in all its glory, but you make do with what you have.
Now to the film itself: I have seen this show on stage, and I really liked it. I have listened to several recordings, including the 1994 revival, and I have always been spellbound by the marvelous score, R and H's best and indeed one of the best ever, I think. Unfortunatly, some of that score was cut from the film, which hurts it, especially in the beginning. Maybe that's what was missing; just the deletion of "You're a Queer One, Julie Jordan" takes something away from "Mister Snow" and even "If I Loved You," which also has given up some of the introductory verses to the latter song sung by Julie. Therefore, it's just not as intriguing and entrancing. And yes, it is annoying that the first scene was an added one to take away the pain. (I won't say more) As for the acting, Gordon Mcrae's Billy Bigelow... well, something was missing. Same with Shirley Jones' Julie Jordan and Barbara Ruick's Carrie Pipperidge. I can't put my finger on it, but something was missing. (Though, like I said, it may be the cut part of the score)
But then "along come" the spirited rendition of "June Is Bustin' Out All Over," which finally brings that spark of life that's been missing so far. Director Henry King finally seems to get a hold of himself, and from then on, the film is great. Mcrae's "Soliloquy" is a tour de force, and Jones is perfect in "What's the Use of Wond'rin." Both act just fine, too, from then on, as does Ruick and the rest of the cast, including Cameron Mitchell as Jigger Craigin. (Too bad we don't get to see what the chereographer did with "Blow High, Blow Low," though; that was cut, too) The scenes with their daughter, played by Susan Luckey, are even a little touching. (Unfortunatly, though, the ballet showcasing her starts and ends on the beach, but for the entire middle section makes a jarring transition to an indoor set, which takes away from it a little) So, it regains its footing from a dissapointing beginning to finish off beuatifully, even with the sentimental "You'll Never Walk Alone." See the movie, but better yet, rent one of the recordings, including the film's own soundtrack, which includes the cut "Queer One" and "Blow High" and which I'll listen to right now.
Now to the film itself: I have seen this show on stage, and I really liked it. I have listened to several recordings, including the 1994 revival, and I have always been spellbound by the marvelous score, R and H's best and indeed one of the best ever, I think. Unfortunatly, some of that score was cut from the film, which hurts it, especially in the beginning. Maybe that's what was missing; just the deletion of "You're a Queer One, Julie Jordan" takes something away from "Mister Snow" and even "If I Loved You," which also has given up some of the introductory verses to the latter song sung by Julie. Therefore, it's just not as intriguing and entrancing. And yes, it is annoying that the first scene was an added one to take away the pain. (I won't say more) As for the acting, Gordon Mcrae's Billy Bigelow... well, something was missing. Same with Shirley Jones' Julie Jordan and Barbara Ruick's Carrie Pipperidge. I can't put my finger on it, but something was missing. (Though, like I said, it may be the cut part of the score)
But then "along come" the spirited rendition of "June Is Bustin' Out All Over," which finally brings that spark of life that's been missing so far. Director Henry King finally seems to get a hold of himself, and from then on, the film is great. Mcrae's "Soliloquy" is a tour de force, and Jones is perfect in "What's the Use of Wond'rin." Both act just fine, too, from then on, as does Ruick and the rest of the cast, including Cameron Mitchell as Jigger Craigin. (Too bad we don't get to see what the chereographer did with "Blow High, Blow Low," though; that was cut, too) The scenes with their daughter, played by Susan Luckey, are even a little touching. (Unfortunatly, though, the ballet showcasing her starts and ends on the beach, but for the entire middle section makes a jarring transition to an indoor set, which takes away from it a little) So, it regains its footing from a dissapointing beginning to finish off beuatifully, even with the sentimental "You'll Never Walk Alone." See the movie, but better yet, rent one of the recordings, including the film's own soundtrack, which includes the cut "Queer One" and "Blow High" and which I'll listen to right now.