Eine Braut für sieben Brüder

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.

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.

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.

It could be the word defining many musicals of the same period. but, in this case, it is more than a nice film, good performances, seductive songs. first - it is...America of 1850. out of western recipe. second - it is a charming story about love. not the last - amazing choreography. it is one of films who must see. time by time. for humor, dances, fights and the simple but convincing deffinition of love. so, ...magic.

After 50 years, this movie musical still warms the heart and the senses.

It has been alluded to, revived somehow, often imitated but never duplicated.

The songs, the scenery, the dances are the frosting on the cake.

Although by today's standards SB4SB is dated, it nevertheless remains an industry and studio standard.

A great way to chart the early appearances of Ruta Lee and Julie Newmar, who at the time were using their original respective surnames of Kilmonis and Newmeyer. Don't blink or you'll miss Sheila James, who later went on to appear in The Trouble With Father and, of course, Dobie Gillis. Last, but not least, there's Amber Tamblyn's father, Russ, in his famous hatchet dance (Don't try this at home).

Again, happy 50th anniversary to a cool classic.