Al sur del Pacífico

This is indeed one of the classics of musical theater but the use of the colored filters during many of the musical numbers was very distracting. I have this movie on laser disc and every time I watch it I want to choke whoever was responsible for giving the go ahead to this failed experiment. There they are in one of the most beautiful places in the world to shoot a movie and they use colored filters to take out most of the color during the best moments of the film. I also felt that with certain songs (particularly Mitzi Gaynor's) that there should have been considerably more dancing. Instead she sings 70% of most of her songs directly into the camera. Why did they hire a dancer for that role in the first place if they weren't going to have her dance?

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

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!

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.

Although Rogers and Hammerstein wrote many great musicals, I believe that overall the score of South Pacific is the strongest, producing many 'old standards'.

"There is Nothing' Like a Dame", "Younger than Springtime", "Bali Hai", Gonna Wash that Man Right outa my Hair", and the eternal "Some Enchanted Evening" are major highlights, but many other delightful and strong songs help fill this impressive musical.

Of course there is a love story, but there is also a strong lesson of the dangers of bigotry even for people who would never imagine themselves to be so.

Many have criticized the filters used in camera shots during many songs (and a few other scenes). It was ground breaking at the time, and certainly different. Although I myself would certainly rather see the 'pure colors' of those scenes as well, I can respect the wish of the cinematographer to try something that had really seldom been done in major films, but is a staple of still photography.

Unless you just hate musicals, this is a must see film in its genre.