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Revisiting this film, I was immediately pulled in by Howard Keel's opening song Bless Your Beautiful Hide. Audacious even in it's day, there's a tenderness in Mercer's lyrics that makes it somewhat forgivable-remember suspending your reality for a musical? Handsome Howard Keel's virility doesn't hurt. Instead of recoiling over the idea of "finding a wife" I just rolled with it as a silly plot idea. Once I had put myself in the same fantasy mode as when watching a Busby Berkeley musical, I started enjoying it.

I really paid attention to the musical numbers, most notably the Barn Dance & Lonesome Polecat. Amazing. Not too many dances in movies were designed to actually TELL a story, showing what the characters were feeling so eloquently. The Barn Dance scene is the best example I've ever seen of this. The dancing styles of townies vs mountaineers, the girl's being hoisted up in the air, the colors, the acrobatics all contribute to a very coherent "story" in dance.

Lonesome Polecat is also just extraordinary. It has a low base line of something like 3/4 but the lyrics are sung in some odd time signature like 5/9. (help me here music experts) The choreography too, is just excellent- the men really stand out as athletic, as is typical in many cultures such as Indian & Hawaiian dances.

I was again struck by how awful crazy the story line is, but how easily it's vindicated by Keel's character explaining how tough life is for mountain settlers. And Janie Powell was so perfect as the sweet young pretty girl who makes lemonade out of a bunch of sour lemons. The entire story is really about how she orchestrates a success out of her bad situation. I like that she's physically tiny but controls the fate of everyone in the story, not with weak conniving but with strong confident guidance.

At first you think this is a terribly sexist story, but it's truly a pioneering and feminist story.

It would be difficult, I suspect not to like, "Seven Brides For Seven Brothers". This film boasts an attractive frontier setting, famously excellent dance numbers choreographed by Michael Kidd, powerful Howard Keel as the head of the Pontifee clan and Jane Powell as the lovely girl who is swept off her feet by his charms. Of course when she finds out that he has six brothers, all scruffy backwoodsmen in need of manners and wives, trouble ensues. But all turns out well, with a little help from a lesson in Roman history, hard work, and the willingness of six other local girls to be (finally) swept off their feet. Howard Petrie, Ian Wolfe and such lovelies as Ruta Lee, Julie Newmar and Virginia Gibson contribute to the fun as the girls; the brothers include Russ Tamblyn, non-dancer Jeff Richards and some of the best dancers on the planet. The movie also presents some famous songs including, "Wonderful Day", "I'm a Lonesome Polecat", "June Bride" and, "When You're in Love" as well as "Goin' Courtin'", among others. Well-remembered scenes include the hilarious barn raising, the town dance, the sleigh pursuit and avalanche and the "Spring, Spring, Spring" vocal climax. Forget the acting, which is sometimes a bit potty; the director and the music add to a clearly-defined script a rare sense of frontier life, where taking risks for happiness and facing the precariousness of things where life is less than settled become necessary. Very few films have followed the lead of "Seven Brides" as a frontier or western musical; and none has been as well received nor appreciated. What a pity, its fans say, it was not given an outdoor setting instead of backlot scenery--and an "A" budget...It has a few flaws; but for five decades it has been one of the happiest musical films ever made; and that is quite an enduring achievement.

If you like musicals don't look beyond this one. MGM goofed when it slashed the movie's budget and gave it away to Brigadoon in 1953 but it doesn't matter for the simply stunning songs and choreography shine through. As good as Brigadoon was, it is outclassed by this, for me, the greatest musical of them all.

Howard Keel stars with Jane Powell but for me I cannot look beyond the awesome dancing talent of Matt Mattox as Caleb. Check out the 'polecat scene' and bookmark it on your DVD. It doesn't get any better than this. Thank you Matt, you were great!

Terry

Ok-will admit I'm to young to have seen this movie when it first came out-wasn't even born yet! But a friend of mine(who has GREAT taste) pursueded me to watch it one night. She thought, knowing I'm a big fan of musicals that I would like this.

I must confess I fought her on it-mainly because I, being the generation xer I am, prefer, generally more modern musicals. But I gave in and did watch it and am glad I did. This musical was very enjoyable! Despite the somewhat traditional feel to it, there's a quality that's very appealing and you really get into it. I liked it more then I thought I would.

Now, that still doesn't mean that this is my favorite musical but it is a pretty darn good one and appears to have a somewhat timeless quality to-the characters are sometimes zany and full of fun, the story is a clever one and it is the rare moment when your bored. That was good enough for me and I wouldn't be adverse to a second viewing.

I think this musical transcends the age factor and can appeal to people of all ages and that's a plus. I did enjoy this though my faves still run along the line of "Chicago" but this is a wonderfully inviting musical that anyone(as long as they like musicals) can enjoy.

Well, I wanted to show a musical to my critical viewing class but knew it would be difficult since the boys were the most unlikely candidates for liking musicals that I'd ever seen. I chose this because of the outstanding dance sequence and because the DVD had such an excellent "making of" which I showed first. It was wonderful to realize at the end of things that they totally got into it, even confessing that they were predisposed against it when I made my intentions known. They found the action funny, the dancing riveting and found lots to comment on in the growth of the relationship between Adam and Millie. One of my reluctant students even confessed to me that he'd found himself singing "Bless Your Beautiful Hide" in the shower one morning! This is a wonderful film for teens today and has the ability to draw them in. While they are totally aware of the sound stage sets and how "stagey" it looks, they also realize why it was filmed that way and manage to get past it. I showed this film only weeks after Howard Keel had died and was so glad that he had done the documentary, which is outstanding because all of the original cast were available to comment. It was charming to see them and how well they had aged.

This charming musical not only took home an Oscar for Best Music, but gathered up a bushel basket full of nominations: Best Cinematography, Best Film Editing, Best Screenplay, and lost Best Picture to On the Waterfront - No shame in that loss!

There wasn't a whole lot of story here, not surprising as it was based upon a short story by Stephen Vincent Benet; but there sure was some excellent musical numbers, and amazing dance routines.

It is a funny story and good enough that they actually made a Broadway musical out of a movie. This is definitely an ensemble performance, and the story is good even 50 years later.

Adam Pontipee (Howard Keel) lives with his six brothers in a cabin in a remote area of the woods. He goes to town one day and convinces a girl named Milly (Jane Powell) to marry him. They return to the cabin, where she suddenly realizes he has six brothers.

Milly tries to teach them some manners after her initial shock, but they are not entirely keen to change their ways. They are, however, anxious to get wives of their own.

After Adam reads about Roman capturing of Sabine women, he hatches a plan for his brothers - kidnap whoever they want to marry and bring them back to the cabin.

"Seven Bridges for Seven Brothers" is, today, somewhat of a classic; Stanley Donen adapts the screenplay by Albert Hackett, Frances Goodrich and Dorothy Kingsley; their combined efforts are superb.

I have grown up on this film and was surprised at the fact that, after having seen it very recently, it continues to hold up as well as it did when I was younger. I recommend it to everyone of all ages - it's funny, charming, sweet-natured and very enjoyable.

There's a part of me that worries about what modern, cynical audiences would think of Seven Brides for Seven Brothers, but then the other, saner part of me tells that first part to shut up and just enjoy this musical for what it is: ridiculous and innocent entertainment. With memorable songs, impressive choreography and bright colors, it's no wonder this film is beloved by so many. Bless this movie's beautiful hide!

As an experienced woodsman compounded by being a fan of great music, it is so refreshing to see a perfect musical centered around men behaving like men. So many shows have slim little dandies spinning around and leaping to and fro and the only way you can tell them from a 13 year old girl is their shorter haircuts. I truly enjoyed seeing someone masculine (gay or straight doesn't matter) move in a skilled manner, and disprove the stereotypes of "White Men Can't Dance." Seven Brides for Seven Brothers has the great Howard Keel (the John Wayne of Musicals), supported by a cast of 6 men (some actors, some dancers and some acrobats) and the outcome is nothing short of spectacular. Michael Kidd's choreography is fantastic, demonstrating grace and strength, yet remaining believable in the fact that the skills could be something done by woodsmen. Mercers music, especially "Bless Your Beautiful" and "Lonesome Polecat" is simply awesome and are in my head for days every time I watch it. The cinema-scope and vibrant colors are unbelievably crisp. I watched this with my 2 year old daughter, and aside from her dragging me up to dance with her during the big production numbers, she sat in her chair and watched the ENTIRE 2 hour movie. A two year old that watches an entire 2 hour movie with her dad, you say!?! Do I need anymore proof of the perfection of this movie!? Bless Howard Keel, as he must be smiling down on me whenever I collapse back into my seat, exhausted from dancing with my little girl...who also slept very, very well that night.

Most people have their favorite eras for musicals. Some like all or none, regardless of the type of music and dancing. For me, I really enjoyed the 1930s and 1940s which featured tap dancers and great duos, beginning with Fred Astaire and Ginger Rogers.

I preface my review with those marks because it the '50s that made me first start losing interest in musicals. The tap dancing disappeared and some of the female singing stars, such as Jane Powell in this movie, wee almost operatic with their soprano voices. I just don't like it, nor most of the songs in this musical.

I might have endured it better, too, if all the male characters in here weren't so stupid. That was just plain insulting and not humorous, just dumb. I could put up with some of Astaire's stupid characters just to see his or Ginger's dancing but there was no one in here to compensate for this insipid dialog.

A permanent place in the history of film musicals is obviously the fate of 'Seven Brides for Seven Brothers' the minute Howard Keel begins to sing 'Bless Your Beautiful Hide'. His robust romantic presence and voice are perfectly suited to blend with Jane Powell's sweet soprano--the Nelson and Jeanette of the '50s era. Jane is as perky as can be as the girl who impulsively marries him only to find that she's expected to keep house for him and his seven handsome brothers. (Echos of 'Snow White and the Seven Dwarfs' here and a touch of political incorrectness). But all that can be forgiven, for what follows is the most outrageously entertaining musical treat from the MGM factory--singin' and dancin' like you've never seen before! The exuberant acrobatic dancing of the brothers is a special highlight--particularly during the barnraising sequence. And their wistful rendering of the carefully staged 'Lonesome Polecat' is another high point. Powell and Keel get to warble some enchanting tunes and both are totally charming and professional in their roles. Keel probably never had a better role--except perhaps 'Showboat' or 'Annie Get Your Gun', handsome, macho and utterly believable. By all means reward yourself with this gem--either in regular format or widescreen, it's certainly one of the greatest MGM musicals of the '50s. Perhaps, as others have noted, the only drawbacks are some of the obviously painted mountain backgrounds--but this never destroys the overall charm of the film. The songs are splendid and the dances are as zestful as any you're ever likely to see.

When red-headed Oregon farmer Howard Keel (as Adam Pontipee) comes home married to pretty Jane Powell (as Milly), his six scarlet-dyed brothers want to get into the act. The brothers are too gruff for girls, so Ms. Powell gets them to shave their beards, wash their underwear, and dance as well as they fight. Then, the brothers abduct six potential brides. Ah, those hit standards, that love story, the adventure, locations… "Seven Brides for Seven Brothers" doesn't have much of that. But it does have a lot of energy. Director Stanley Donen, choreographer Michael Kidd, dancer Russ Tamblyn (as Gideon) and the barnstorming group brought down the house and saved the film.

******* Seven Brides for Seven Brothers (7/22/54) Stanley Donen ~ Howard Keel, Jane Powell, Russ Tamblyn, Tommy Rall

One of the best of all the1950s MGM musicals, this film is blessed with danceable original score by Gene DePaul and Johnny Mercer and the inspired choreography of Michael Kidd, which move the story along. Enjoying this move is a guilty pleasure for some people because its take on women makes it politically incorrect these days, even though it is set in Oregon in the mid 19th century. Personally, I always thought the take on men was much more insulting (essentially, they are swine without women). The dance numbers have never been outdone, and what makes them so splendid is the vigor and athleticism of the men and women dancers equally. Howard Keel and Jane Powell star, and they have the voices and vigor to carry the movie. Greater dance sequences have never been filmed. ---from Musicals on the Silver Screen, American Library Association, 2013

Howard Keel died yesterday bringing a lifetime of energetic and fun films to a close. Seven Brides for Seven Brothers was one of those films. It had catchy memorable tunes with strong hooks that stay in the brain for days. It took full advantage of brilliant color, fabulous choreography, and even managed to have that one thing that too many musicals eschew... a plot... complete with character arcs. Adam Pontipee is the eldest of seven brothers who decides that living in a squalor with six other scroungy bachelors and horrible cooking has gone on long enough. When Milly agrees to marry him on the day they meet, everyone's in for a shock.

Adam finds that a wife is more than a cooking and cleaning slave and that his actions can effect others far more than he ever thought. Milly learns that expectations and dreams don't always work out the way you hope, but they can still work out. The six brothers learn that there's more to life than chopping wood, that Adam isn't always right and that you can't just take what you want. And six young women (the brides) discover that there are more choices than the ones people put in front of you.

The movie asks some hard questions and doesn't answer all of them. Initially the brides are all quite take with the brothers, until the bachelors in town chase them back into the mountains. When the bachelors decide to kidnap the brides we have to ask ourselves how such an act could work out well. Before we heap indignities on the writers, we should also ask whether the townsfolk should be allowed to chase off anyone who might contend for the affections of the girls they have their eyes on. That's one of the finest points of this movie. These aren't matters of black and white. This is a story of humanity and of men and women. But mostly, this is a fine musical and part of Howard Keel's enduring legacy.

What do you get when you cross Snow White and the Seven Dwarfs with Oklahoma!?

Seven Brides for Seven Brothers.

Like Snow White, Milly finds herself in a remote cabin with seven unkempt, ill-mannered bachelors, finds herself cleaning and cooking for them, and has to coerce them into washing and learning table manners, among other social skills.

I don't know who was dubbing Jane Powell's voice, but it sounded rather like Adriana Caselotti, who was the voice of Snow White, with a similar strong, high-pitched vibrato. When you combine this with the similarity in the story line, it suggests the singing style was a reference to that seminal animated musical. Disney kept Caselotti from appearing in subsequent movies, but I wonder if this could have been her singing voice, uncredited?

The dancing cowboys, particularly the barn raising scene, are reminiscent of Oklahoma!, which is ironic, since the movie came out a year later, although the stage musical had been on Broadway for years. Oklahoma! was the first Broadway cowboy musical, followed by the first movie cowboy musical, MGM's The Harvey Girls in 1946. Then there was MGM's Annie Get Your Gun in 1950, Warner Bros' Calamity Jane in 1953, and MGM followed that with Seven Brides in 1954.

The music in Seven Brides bears a family resemblance to some of the Calamity Jane numbers, particularly with Whip Crack Away vs. Bless Your Beautiful Hide. It's as though there was a brief sub-genre of what a cowboy song should sound like. Fortunately, the music and lyrics in Seven Brides are pretty good, and fit the storyline well.

This movie is very 50s, and was above average for its time. The story line is still entertaining, though it feels a bit dated. But what stands out is the cowboy barn-raising dance scene. It is an extraordinary combination of dancing and gymnastics, especially on the part of Russ Tamblyn. Watch closely and you will see he does his own stunts, falls and stuff that others would use a double for. If you watch him in Tom Thumb you will see him perform even more remarkable acrobatics.

Musicals like this, especially MGM musicals are fantasies that take you into an imaginary world, not unlike Snow White and the Seven Dwarfs. You need to pass through that imaginary door and get into the spirit of things to enjoy them. So leave your 21st century sensibilities and political correctness behind for two hours and have a good time.

How can "Seven Brides for Seven Brothers" be such a wonderful musical? While the songs are lovely, they are mostly forgettable. The characters of the six brides and five of the brothers are almost hopelessly underwritten. Credit director Stanley Donen, choreographer Michael Kidd, cinematographer George Folsey, and a perfect cast led by Howard Keel and Jane Powell for creating one of the all time great musicals and an unforgettable motion picture experience even 50 years after its release. "Brides" has never been surpassed for ensemble performance, and that includes "West Side Story". This is largely due to Michael Kidd's choreography and the Donen/Folsey scene composition. Kidd exploited the best elements of each character's dance style (one brother is a ballet star; another, an acrobat) and created the most bravura ballroom/freestyle dance number in motion picture history, the barn dance sequence which formally introduces the "brides" to the "brothers". Kidd's work would have been in vain, however, had not Donen and Folsey so skillfully composed the scene. "Brides" is the best example of scene composition of any wide screen musical I've ever seen; every frame is filled with something visually interesting. Donen frequently, but subtly uses Jane Powell's tiny stature for comic effect by surrounding her with the tall brothers in submissive poses. Powell is clearly always in control, but her size and generally cheery temperament prevent her from ever seeming a bully. Donen also carefully chose to dress the brothers in bright, distinctly colored shirts, which enables the audience to clearly distinguish the characters during key scenes.

The movie also has a subtle feminist slant. Powell is clearly younger than her husband, Howard Keel, but she is also clearly a more mature and dominant character. For the time, "Brides" was also daring in its depiction of "good" women looking forward to enjoying sex. Prior to one song/dance number, bride Julie Newmarr poses on a bed in a position clearly representing "missionary position" sex, legs up and astride an imaginary lover's back.

Though the brides don't get as much screen time or individuality as the brothers, each looks as if she would be a great partner. Both the brides and the brothers get a satisfactory showcasing as couples in the last song, "Spring, Spring, Spring".

I'll leave others to explain the plot. I would like to mention that Donen had an uphill battle with the studio while making "Seven Brides for Seven Brothers". The studio had so little faith, they continually cut "Brides" budget to put more money into the lumbering "Brigadoon." Sets and even cast members were loaned out to other movies. Brothers Russ Tamblyn an Jeff Richards, as well as part of the set can be seen in "Many Rivers to Cross." Instead of Technicolor, the studio used Ansco color. Thus, "Brides" looks about as good as "Wizard of Oz," but no where near as good as "Harvey Girls" or "Meet Me in St. Louis." That's quite an achievement being the best photographed, best choreographed and best ensemble acted musical of the last 50 years. I think it's also the most entertaining. I give "Seven Brides for Seven Brothers" a "10."

In the 1850s a man (Howard Keel) who lives with his six brothers out in the middle of nowhere takes a bride (Jane Powell). He expects her to be a maid, housecleaner, cook, etc. She does but makes all seven of the guys dress nicely, eat correctly and have good manners. Soon the six brothers fall in love with some town girls. So Howard tells them go off and kidnap them (!!) They do and the girls fall in love with them (!!!!!)

OK--this film has good things---some absolutely beautiful, if fake, scenery; some pretty good songs; an incredible barnraising sequence (the dancing is unbelievable) and it's shot in bright color and widescreen. BUT...

the film has an annoying boys will be boys attitude and some really upsetting violence (for a musical)--during the barnraising sequence especially. Also there's horrible back projection (especially when Keel takes Powell to his house) and a just astonishing hatred of women. We're supposed to find it amusing that the seven guys KIDNAP the women (after beating their boyfriends senseless) and the women fall in love! Yeah yeah I know it was made in the 1950s but that doesn't excuse it. I had a LOT of problems with that. Still I'm giving it a 7 for the dancing alone.

I read the negative reviews saying the brothers were basically kidnappers and rapists. Talk of the Sabine Women, Stockholm Syndrome, etc. To all of these progressive snowflake types, lighten up. It's a colorful, light hearted, fun musical from the 50's.

The women were beautiful and the men were rugged frontiersmen. The men probably didn't see too many prospective brides and vice versa, that's just how it was back then. Why don't we just change the facts and rewrite history for the PC police.

Howard Keel and Jane Powell's singing were great. The choreography and dancing were superior in this movie, especially the barn scene.

This is a really enjoyable musical movie and I'll give it a 9. I know I'll get some thumbs down because all the positive reviews have the same 2 down votes.

A true classic and very wholesome musical to enjoy. This is a film to sit back and enjoy, a true classic that is easy to follow and enjoy. Good performances from the cast. Despite being made in the 1950s, this is still a gem to enjoy

My mom (RIP) loved this film so I finally sat down to watch it, and was, with my modern point of view, unfortunately, shocked. Perhaps my expectations were to blame; I thought it might be a rousing, all-talking/singing/dancing musical in widescreen technicolor, with great performances by a stellar cast. Instead, I watched a group of illiterate animals kidnap a posse of helpless women and make them their slaves. Next, the girls seemed to come to a realization that the men who had captured them were the perfect mates, and all was forgiven, and true love prevailed, the women barefoot and pregnant in the kitchen, music swells, fade out...

I know, I know, "that was a different time." And lest I be accused of being too sensitive, a quick look over the list of films I've reviewed (Including the "Happy Hooker" movies, "Mark of the Devil" and "Crimes of Passion") might suggest otherwise. This film just didn't sit well with me, and I felt it was worth writing about on a public forum in case anyone else might be interested.

There are other films from this era that portray women, men and their interactions in a more mature, or at least positive light (even "Oklahoma" comes closer), so the notion of this simply being dated doesn't hold up for me, even if it still might be something worthy of study for particular reasons. Great musical numbers, dancing, acting, directing, etc, but I can't help but wonder if I'm the only one who cringed when Howard Keel started advising his brothers to look to the story of the (rape of the) Sabine women. I'm glad the times have changed, and I'll take all the global strife we have today over the view of the world held by many in previous generations, whether the view was the result of ignorance or not, whether it's important to change one's beliefs or not.

If only for that realization to come to me, I'm glad I watched this, but I thought it was worth writing about in the the hopes of furthering any discussion on the matter of how films some films have aged well and others have not, and the implications that come up.