Süd Pazifik

The most obvious flaw is its running time, it's very long. I think it's longer than Chitty Chitty Bang Bang. Unfortunately there were other flaws with the movie, so I can't overlook what I've just said. Another flaw was the colour filtering;the orange and yellow picture did get a bit distracting after a while, although the Pacific does look beautiful. Rossano Brazzi, whose singing voice was dubbed, looked wooden, but was he ever not wooden? I must say though, the dubbed singer did a marvellous job.

However, there were a lot of truly excellent things about this movie. Mitsi Gaynor was a lovely lead, and she was wonderful in the musical numbers. She does get a little tiresome toward the end, but most musicals do have the same problem. But Juanita Hall was just perfect as Bloody Mary, I had absolutely no problem with her. The songs were absolutely outstanding. Rodgers and Hammerstein have given us some truly fantastic music scores, and South Pacific is among them. Ray Walston gives comic relief as Luther, I think, and the focus on the war was very endearing. The real star was the stunning choreography, that made the musical numbers so energetic.

All in all, an entertaining, but flawed film, that is underrated in my opinion. 7/10 Bethany Cox

When are folks going to give 'South Pacific' an even break? It's a wonderful film. A great big, colourful, emotional wallow, filled with romance, song, splendor, humor, and expert acting. Sure the colour filters are somewhat jarring. Blame it on the awful prints now (and it seems, forever) in circulation. Back in June 1958 the Films and Filming reviewer put it this way, "Logan has hit on the ingenious idea of using colour rather in the way that a composer underscores a films drama with music. As the emotions of his characters find their expression in music, so the cold clear tones of reality dissolve into the warm yellow and red hues of fantasy. I found this a wholly acceptable compromise, and many of the effects (indeed the whole level of the Todd-AO photography) were outstandingly good." Works for me to - and goodness knows I've seen them often enough. It also worked for the millions of cinemagoers who flocked to see the film - over and over again. Mind you, had Logan decided to supervise all aspects of the cutting etc., instead of trotting off to direct 'Blue Denim,' Fox might, possibly, have been persuaded to remove the filters before release? Perhaps, with film preservation on so many agendas these days, some of this colour-filter-exasperation could be channeled in that direction.

Now, regarding all this rubbish about 'South Pacific' being a financial and critical disaster? How? In Great Britain, where it had a four-and-a-half year run at the Dominion Theater in London, it recouped three times its negative cost before going into general release. It ran for three-and-a-half years in Sydney and Copenhagen. For over two years in NYC. It even broke box office records in Salt Lake for goodness sake. And this is just the tip of the successful iceberg. The critics? Sure there were dissenters, there always are, for any film. Most, however, echoed the headline which ran in London's Daily Mirror, 'South Pacific is just terrific.'

Which brings me to my final irritation, the casting of Mitzi Gaynor as Nellie Forbush. The delicious Mitzi is bloody marvelous in 'South Pacific.' She gives a beautifully multi-layered performance filled with truth and honesty. Her Nellie is real, human, and natural. In scene after scene this immensely talented actress subtly conveys, with humor and great sensitivity, her character's ever-changing moods. And, again, from NYC's Daily News to London's Daily Express, by way of Picturegoer and Films in Review, the majority of critcs agreed that, "Mitzi doesn't leave a palm-leaf on the trees when she goes into action."

'South Pacific?' It really is terrific.

This is my favorite R&H musical and I play the original Broadway s/t frequently because I love Pinza.

I agree with an earlier poster who commented that Mary Martin was much too old and earthy for the young innocent Nellie. Mitzi Gayner was perfect. I also love the different hues for the singing. It does give the movie a different feel to it.

Of all the R&H musicals, this one was the best to transfer to the screen (with exception of King and I). Too bad they can't find a complete reel of the latter movie.

And my favorite song from the show/movie is This Nearly Was Mine, a heartbreaking song if there ever was one. Pinza breaks my heart on the OBC recording. Tozzi is good, too, but Pinza is the peak.

And R&H were pressured to drop You've Got to be Carefully Taught and they refused. The racial prejudice runs right through the picture without hitting you over the head with it and it was way ahead of its time. But then the book was written by James Michener who had an Asian wife and who knew about prejudice.

I love this movie -- still!

Having taped this off HBO nearly 22 years ago, I finally got to see the 1958 version of Rodgers and Hammerstein's South Pacific just now (I had also seen the PBS Great Performances Carnegie Hall version with Reba McEntire, Brian Stokes Mitchell, and Alec Baldwin last year). Mostly wonderful film version although I agree with most posters that the color filters during the songs can be a little distracting. Mitzi Gaynor is fine as Nurse Nellie Forbush in singing, dancing, and especially acting that I don't understand the criticism against her. Rossano Brazzi is likewise (although his singing, like the other cast members, was dubbed) as paramour Emile de Becque. John Kerr does indeed seem stilted and the dubbed singing of him is so obvious and I can't believe completely his love for France Nuyen. Ms. Nuyen is luminous, by the way. Juanita Hall and Ray Walston (who I first encountered as Mr. Hand in Fast Times at Ridgemount High) also lend fine support. That all said, this is classic R & H all the way in line with The Sound of Music, The King and I, Oklahoma!, and Carousel. P.S. Thurl Ravenscroft was the singing voice of Stewpot in the "There is Nothing Like a Dame" number. You might know him best as Tony the tiger and the singer of "You're a Mean One, Mr. Grinch" in How the Grinch Who Stole Christmas.

This slush-fest version of Rodgers and Hammerstein's famous musical suffers on the small screen because of its constant use of colour filters during the songs. On a big screen, this looks great, but just looks odd on TV.

This aside, though, this film of 'South Pacific' has much to enjoy. Mitzi Gaynor is a bubbly personality and is clearly enjoying herself as Nellie Forbush, 'washing that man out of her hair' and so on. Rossano Brazzi is charming as Emile (the singing is expertly done by Giorgio Tozzi); we can have a pang of regret that Ezio Pinza was seen to be too old to play the role by the time the film appeared - his work with Mary Martin in the original cast survives in cast recordings - but Brazzi looks the part.

John Kerr is a bit of a wet fish as Lt. Cable, while Juanita Hall as Bloody Mary is excellent, and Ray Walston as Luther, and France Nuyen as Liat, make an impression in smaller roles. The musical numbers are done extremely well - 'Bali Ha'i', 'I'm in Love With a Wonderful Guy', 'Some Enchanted Evening', 'Younger Than Springtime', and 'Happy Talk' and the rest.

Where the film does flag is in the sequences where Emile and Cable go to the island to report on the Japanese invaders. This was handled rather better in the 1990s remake, and also moves along better in the stage version. Here, it clashes a bit with the romantic overtones of the rest of the production.