Brigadoon

I'm sure that when Gene Kelly and Van Johnson wandered into that quaint Scottish village called Brigadoon they must have thought they were entering a Scottish theme park. Certainly no modern conveniences around and everyone dressed in costume. But there's a reason for it, a most enchanting reason, the heart and secret of Brigadoon.

Brigadoon ran in the 1947-1948 season on Broadway for 581 performances in the initial production. It was Alan Jay Lerner's and Frederick Loewe's first really big Broadway success though it was their second collaboration. MGM bought the property for the Arthur Freed unit and it lay dormant for a few years while a lot of creative and financial differences got worked out.

Gene Kelly curiously enough had the reverse problem with this that his Broadway hit Pal Joey had. The original production of Pal Joey was his first big musical hit and he never went back to Broadway after. But when the film for Pal Joey finally got made it was with Frank Sinatra in the lead and the part was changed to a singer's as opposed to dancer's role.

Similarly the original Broadway Tommy Albright was a singer named David Brooks and Fiona was played by Marion Bell both pretty good singers. Kelly who could carry a tune had a whole lot of trouble with some of the songs, in fact he himself asked that his version of There But For You Go I be cut from the final film.

Changing over to dancing leads, Kelly got Cyd Charisse as his partner and as was usual, Cyd's singing was dubbed with Carole Richards's voice. They did do some mighty nice dancing though, especially The Heather on the Hill ballet and Kelly's lighthearted romp to Almost Like Being in Love which was the big hit from Brigadoon.

Kelly wanted to shoot the film on location in Scotland, but MGM eying budgetary problems and director Vincente Minnelli's desire to do it on their sound stage the film was shot indoors with Brigadoon recreated at Culver City.

One of my favorite numbers from Brigadoon is My Mother's Wedding Day which the character Meg Brockie sings. It was eliminated by the Breen office censors would you believe. They thought it inappropriate for drunken Scotsmen to be cavorting about on a solemn occasion like a wedding. As a result the character of Meg Brockie was cut down to nothing. A pity because Pamela Britton won rave reviews for her Broadway performance and Dody Heath is left with next to nothing in the role.

Still there's enough of Brigadoon for audiences to still enjoy and dream about an enchanted Scottish village we might all like to escape the travails of the world to.

Other commentors have criticized this movie up and down for its casting, props, stage, singing and dancing. I don't profess to be an expert on any of those things. I enjoy movies and I enjoyed this one. It is the story line that gets me most. That an entire village appears for just one day every 100 years may be far fetched but is great fantasy. I'll have to admit that I've enjoyed this story more in live theater than the movie version, but the movie version is much easier to pop in the VCR for anytime viewing. I think its a great movie and might make a great remake if someone was willing to address the criticisms left here by other commentors.

I have adored Gene Kelly ever since I saw Singin' in the Rain when I was about 10, but I had never seen Brigadoon until renting it a couple of days ago. Yes, the story is far-fetched--but somehow it works. Yes, the scenery looks like it is from a high school play, but I became too caught up in the story (yes, there IS a story) to care. In reading the other comments, I'm SO glad that the Keel/Grayson team wasn't used. Keel is too macho and gruff and Grayson is too sugary. I think Gene Kelly and Cyd Charisse gave their characters the necessary gentility and earthiness. My only complaint is that I wish the director let the viewer linger with the closing scene for a few more seconds. It ends a little too abruptly and with a few unanswered questions about Van Johnson's character. Despite that, it was very enjoyable and even ponders some deep points, especially in the line "Sometimes things you have faith in become more real to you than the things you can see and touch." Watch it with a light heart and you won't be disappointed.

This Vincent Minelli musical is usually considered a flop, which is unfair. Gene Kelly wanted to shoot it on site in Scotland (where Brigadoon is set), but it was vetoed as too expensive. So Minelli had to create a magical, 18th Century Scottish village on a studio set. He also was using cinema scope for the first time, and felt it lacked the compositional unity and beauty of the regular film he had been using. It is apparent it's a set, but the story and music is so superior (despite the lack of two songs, including my favorite - "My Mother's Wedding Day") that one can actually forget the artificiality of the set. Moreover, the actual issue of artificial sets seems ridiculous when considering the story. If the set was actually realistic, the film would have had to be shot in one day, because the set would have vanished for a century at the end of the day (as the village does in the story)!! Except for one five minute sequence at the end of the film, set in a noisy New York City nightspot, most of the film is set in the Scottish highlands. Tommy (Gene Kelly) and Jeff (Van Johnson) are vacationing in Scotland, when they stumble into a village that is not on their maps. The village is Brigadoon. It is later explained by the village elder, Mr Lundie (Barry Johns) that the village was granted a special wish of it's very religious minister to preserve it forever by having it only reappear once a century, so the people in it would never be hurt. There is, however, another side to the deal: the citizens have to remain (as well as their livestock) within the boundaries of the town by sundown, because they go to bed early, and awake one hundred years later the next day. If any decides to leave the town's boundaries, that person will cause the wish and blessing to dissipate, and the town will be destroyed and it's citizens destroyed. BRIGADOON is a very colorful and tuneful show, and a nice blend of humor and tragedy. It also asks what people require for happiness: simplicity or sophisticated modern life. Jeff would opt for the latter (and he does quite strenuously up to the conclusion of the movie), but he is a confirmed alcoholic - some advertisement for modern civilization and it's benefits! Tommy is more inquisitive and easier - and he finds he is not so happy with modern life. But the search for happiness is not an easy one, and it takes a tragedy and much soul searching for Tommy to reach his conclusion. And there is the music, especially Learner and Lowe's "The Heather On the Hill" (attractively sung and danced by Kelly and Charisse), and "It's Almost Like Being In Love." A failure by Minelli? Well it's not MEET ME IN ST. LOUIS, or GIGI, or THE PIRATE but it is far better than many other musicals.

And that is exactly the story BRIGADOON tries to tell. Two urbanites from New York, Tommy (Gene Kelly) and Jeff (Van Johnson), are grouse-hunting in Scotland--yes, they've come all the way to Scotland to shoot grouse, if you can believe that to begin with!--when they happen upon the tiny magical little Scottish village of Brigadoon, a (very literal) throwback to the mid-18th century in customs, livelihood and people. The Campbells are holding a wedding for their daughter Jean, whose sister Fiona (Cyd Charisse) is the first person who doesn't treat the strangers like... well, strangers. It doesn't take long, just a walk through 'The Heather On The Hill', for Tommy and Fiona to fall deeply in love. The only problem is that Brigadoon, thanks (or not) to their eager chaplain Mr. Forsythe, surfaces once every hundred years--it's been two hundred since Mr. Forsythe made his 'contract with God', and only two days have passed for the villagefolk in that same year in 1754. The question becomes one of love, of whether one is able to give up everything for a miracle: just as Mr. Forsythe has to give up his beloved Brigadoon to bring it its miracle, Tommy and Fiona, because 'if you love someone deeply enough, anything is possible', get their miracle as well.

There is certainly charm aplenty in BRIGADOON: the morning fair 'Down On MacConnachy Square' is lively and bustling; the beautiful dance between Kelly and Charisse as they gather 'The Heather On The Hill' is tender and beautiful, with more balletic romance than any choreography of Kelly's to date; even the forward girl who tries to turn Jeff's head (only to disappear from the movie thereafter) is cute in her way and her fervent belief that she might actually have a romance like that of her parents. BRIGADOON most certainly sets out to charm--even the general dodginess of the Scottish accents does not really detract from the rest of the film.

However, there is an element of uneasiness in BRIGADOON, perhaps conscious, perhaps not, that somewhat undermines its message. It wants us to believe that it really is the humanity, the *kind* of humanity that one gets in Brigadoon and in New York that makes one place preferable to the other. This is quite unsubtly displayed in the merry dreaminess that surrounds Brigadoon, in contrast with the almost *too* loud chattering that goes on in the New York bar teeming with humanity. Yet one is never quite sure whether Brigadoon is really the utopia it appears to be: this is underscored by the fact that (despite Kelly's pleas for on-location filming in Scotland) the scenery is obviously constructed on a set. It's still eerily beautiful in a fake way, and this is the trouble with the village portrayed in the film. Everything *seems* perfect, idyllic--happy and charming and easy and light. But then you learn the real history of the village, and the aura surrounding it doesn't look so much as magic but as *black* magic. Mr. Forsythe sounds more like an authoritarian dictator obsessed with his Brigadoon than a benign sweet old chaplain, and when Harry Beaton (Hugh Laing) tries to make a break for it, the hunt for him and the subsequent covering up of his death has such sinister undertones that one really starts to feel uncomfortable about what the people have become in the two short days (for them) that they have known about their village's uniqueness.

Of course, the film itself actually states this uneasiness that the audience will feel, not merely suggests it. This is evident in how Tommy performs a gentle reprise of his courtship dance with Fiona and rushes off, full of glee and love, to tell Jeff that he is staying in Brigadoon... only to be persuaded by a few curt sentences from Jeff that he should really give up the love of his lifetime to return to reality, to return to New York. Jeff plays the cynical, hard-headed pragmatist in all of us, and is then immediately depicted as a drunkard who spends all his days lounging in a bar, broken by his own inability to have faith in a 'miracle'. It's fitting for this film full of contradictions that the person who saved Brigadoon was the one who refused to believe it, and that the people of Brigadoon were saved by the death of one of its number.

Perhaps this is far too much analysis than BRIGADOON can bear. If one doesn't poke beyond its shiny, lavish MGM surface (and there really is no need to), then it is merely a star vehicle for Kelly, not a particularly good one, but one that is moderately entertaining and does allow him to showcase his talents (though again, not too effectively). The best number is probably the most famous song in it, 'Almost Like Being In Love', sung by a heart-light and foot-merry Kelly as he dances through a Scottish farm. The runner-up would be the beautiful 'Heather On The Hill' couples ballet--Kelly's ballet training really comes to the fore in BRIGADOON, his other films having been more influenced by tap dancing.

All in all, a charming package with a sinister underside, if one can believe that this shadowy underside to BRIGADOON--both village and film--could exist. 7/10.