Carousel (1967 TV Movie) User Reviews

Goulet surprisingly disciplined; good television production, given time restrictions.

[Bob A-2 · 7/10 · 17 February 2003]

It was really above average TV for those days. Cut for running time, but the only major story aspect that's lost is that Billy doesn't go to Purgatory, he just arrives at Heaven's back door and "Starkeeper" Charlie Ruggles tells him it's suddenly sixteen years later (reminiscent of that 80s movie version of the Liliom story, The Heavenly Kid). That cut hurt it a bit -- he just attempted a robbery and committed suicide, deeds that in Western culture usually call for some degree of ethical inquest. The duet When the Children are Asleep between Carrie and Snow is left largely intact compared to the '56 movie, so involvement of these characters adds depth, and a clue to the original stage production's more involved musical continuity.

Goulet is, as in most of his musical theatre performances, a far more disciplined singer than we perceive from his pop solo albums. The fact that he fits the part physically goes without saying. Also I think he did a good job of making Billy vulnerable, ironically at the mercy of his own attractiveness to women.

In Cousin Nettie's songs, Patricia "Pat" Neway momentarily stole the show with her trained contralto voice, without overpowering the show's content of course, since her song are intended as specialty solos.

The years may have altered my remembrances of the production, but of the three I saw in that Armstrong (no relation) Circle Theatre series (including Kiss Me Kate and Brigadoon -- sorry, missed Kismet) this was probably the best.

A solid Television production....

[gajohnso_2000 · 8/10 · 24 February 2006]

I recently obtained a DVD of this long forgotten television production. It was a part of Armstrongs Circle Theater series of four Broadway Musicals to television adaptations, the others being Brigadoon, Kismet,and Kiss Me Kate.

At 105 minutes it did need some major abridgments. The Carousel waltz prologue is shortened to about 4 minutes, Louise"s ballet is shorted somewhat, and the songs Germaniums In The Window, and Stonecutters Cut It On Stone are cut. Musically all the rest is intact, with the lengthy Bench Scene (If I Loved You) performed mostly as written.

Robert Goulet performs well, though he does indulge in some brassy Broadway singing. Mary Grover sings beautifully as Julie Jorden, but her performance lacks an emotional center. The rest of the cast all sing well and the performances in general are good.

Hapilly, there is no flashback as in the film, so the impact of the original play's tragic turn are not diminished.

They have recently done remakes of Oklahoma. and South Pacific (as well as the horrible animated The King and I for theatrical release) for television with varied results. Certainly this Rogers and Hammmerstsein masterpiece could use a definitive filmed production, that honors both the beauty and darkness of the work. After all, the hero is a wife beater and thief, and the brilliance of the work is watching him grow into a caring soul.

This was Richard Rodger's favorite of all his shows, as well as his favorite score. It veers very close to opera at time, which makes it all the more unique among musical shows of the time.

This television production is a nicely done companion piece to the 1956 film, and should be made available, as well as the other productions in the Armstrong Circle series, on DVD. But the definitive Carousel has yet to be committed to film or tape. It would sad if Carousel was only to be seen by a few on stage, such as the Cameron Mackintosh's Royal National Theatre brilliant stage revival a decade or more ago. It is a timeless classic that needs it's dark brilliance committed to film without over-sentimentality for the ages.

Character comment

[LHibberd · 8/10 · 18 December 2006]

The role of Billy Bigelow was originally written for a tenor. Gordon MacRae and John Raitt sang it high. The part was transposed down for Goulet's baritone and is hugely improved by the change. The character has immeasurably more guts, grit and general low-life-ness. That it does not impair his likability much is testament to Goulet's acting. It remains a staged for television play, but CAROUSEL is one of the few plays that this air of unreality doesn't hurt. Helped, of course, by the fact that much of it is depicted on the spiritual plane. It's hard to combine the raw reality of the sailors and the hyper-reality of the heaven scenes, but this production made it work. I saw this film as a child and it remains indelibly in my memory as one of the best musical productions I've ever seen.

A bit of television history

[jeffquis · 7/10 · 16 January 2011]

As with the 1966 ABC version of BRIGADOON, this version of CAROUSEL is superior to the film version in many ways. Somehow they have included more songs and more script than the film, and yet this has a shorter running time. Thankfully, two original plot points from the stage version are retained: The story is not a flashback, and Billy commits suicide. (Both of these points were changed for the 1956 film). The only real cuts in the score are "Stonecutters", "Geraniums in the Winder", and part of the Louise Ballet.

The entire cast is lovely and understated, especially Mary Grover (never heard of her elsewhere) as Julie. She has a light but controlled soprano, conveying the delicate nature of her character. Her scenes at the waterfront after the robbery attempt, and later scenes as an older woman, are very especially convincing. Marlyn Mason is fun as Carrie, but her voice is really not up to "Mr Snow". Still, she pulls it off with personality. Robert Goulet is real and raw as Billy, dropping his clean cut look from BRIGADOON, looking more appropriately haggard. Charlie Ruggles is warm and charming as the Starkeeper, and Marge Redmond is perfect as the jealous Mrs Mullin.

Bob Mackie's costumes are his usual best. The set design is stunningly detailed, but I did feel that at times it leaned a little toward "Main Street USA", rather than an East Coast harbor town. If I had to lodge any complaint, I feel it had some slow moments at times. Perhaps not quite as successful a TV special as BRIGADOON,but I feel lucky to have seen it at all.

Correction: Billy Bigelow's voice

[pattysue · 8/10 · 22 May 2012]

This is not a review but rather a comment on the review that says that the role of Billy Bigelow was written for a tenor. Both John Raitt, who created the role on Broadway, and Gordon MacRae, who played Billy in the film version, were baritones. I'd be interested in knowing that reviewer's source for that information. I have no way of checking at the moment what key either Raitt or MacRae sang it in. It is possible, although not likely, that it was a little bit higher, but there is no doubt that they were both baritones, as was Robert Goulet.

I wish I had seen this TV production. I've seen some of it on YouTube and it looks good. I'd love to be able to compare it to the film.

Excellent, on the most part superior to the film

[TheLittleSongbird · 9/10 · 30 September 2013]

That is no disrespect to the film, which was a very good film, and one of the better film/TV adaptations of Rodgers/Hammerstein's(who were responsible for some of the greatest songs ever written) work. It was though let down by moments of static direction and a slow and for first-time viewers confusing start, but at least looked good, had great choreography and splendid leads. This TV production is excellent, it does have a few slow spots and I do think Billy's Silliloquy is done better in the film, the notoriously difficult last minute of the song doesn't have as much power transposed and Gordon MacRae sings it with a little more passion. The Silliloquy is still very well-performed and nuanced, just not quite as good. Even with some of the abridgements, the story is more cohesive here and captures the spirit of the stage musical more, while still fun and colourful it emphasises the darkness and tragedy as well a little more while not overdoing it. The direction is more fluid, the production looks absolutely lovely and very detailed, and the choreography is lively and the drama emotional and succinct. It's somewhat simpler than the film, but that's hardly a bad thing, it's still energetic and is to the point. The music is of course outstanding and the orchestra perform it beautifully. The performances are fine, handsome Robert Goulet's Billy is both gutsy and vulnerable and he sings resonantly. Mary Glover is delicate and moving and sings in a simple, controlled and radiant way. The rest of the cast are very good with nobody disgracing themselves and taking care not to outshine the leads. All in all, excellent and a little superior to the film. 9/10 Bethany Cox

A unique take on a classic story, delightfully non-theatrical.

[mark.waltz · 8/10 · 4 June 2020]

The television video camera focuses on the drama in this Armstrong Playhouse version of the Rodgers and Hammerstein show that had a movie a decade ago and was revived two years previously in New York. Jon Reyes repeated his original Broadway role in that production, but for this production, they chose singing actor Robert Goulet show had scored a big hit on Broadway as Lancelot in the original production of "Camelot". While he did not get to repeat that role in the movie version release the same year as this, he does score in a role that focuses more on brooding than romance.

While Goulet was a household name, for the two young female roles, Armstrong Theater chose two unknowns, Mary Grover and Marlyn Mason, and the fact that they never went on to be household names makes their participation in this intriguing. Both young ladies have natural presence and while they may not be strong actors, that makes their characterizations seem more real, a benefit of the subtlety.

The presence of Pernell Roberts as the nasty Jigger crane gives this cake on "Lilliom" a Shakespearean viewpoint, making him similar to Horatio from "Hamlet". His performance, along with Goulet's, utilizes their amorality in a unique way to comment on the domestic violence issues of the plot.

For warmth, there's Patricia Neway, who won a Tony Award playing the Mother Superior in "The Sound of Music" and did not get to play that role on screen, is an excellent Nettie Fowler, reminding me of fellow Rodgers and Hammerstein actress Helen Traubel who was the star of their short lived "Pipe Dream". Those who only know Marge Redmond from TV's "Flying Nun" or the Cool Whip commercials will be done to see her as disease envious Mrs Mullin, quite different than the cheery nun who concurrently was Sally Fields' protector.

There are some interesting touches in this TV production, having Goulet start the Soliloquy in his head and then beginning to sing live. The intimacy of video tape over the big Cinemascope screen production makes it more personal, and as much as I love the movie version (and the various Broadway productions I've seen over the years), that puts an interesting twist on this version.

Even with the limited soundstage, the choreography is very good, although the use of close up is dominant from the photographer. For director Paul Bogart, his focus on character rather than spectacle makes the intimate production more touching, and by the time Neway gets around to singing "You'll Never Walk Alone", emotions are high. The beloved Charlie Ruggles pops up as the starkeeper, and it's like seeing the ghost of a beloved grandfather appear in your dreams.

Having collected cast albums, movie soundtracks and recordings of TV shows when albums were popular, I had all four recordings of the Armstrong Playhouse, and have discovered three of them thus far. At that time, I had no idea that I've ever got a chance to see any of them so it is an absolute thrill to have slowly discovered what I have.