Non sparare, baciami!

From her first appearance aboard the stagecoach, singing "Deadwood Stage," Doris Day dominates the movie in exuberant—possibly too exuberant—fashion, with strong assistance from Howard Keel and his virile voice…

Returning home from a visit to Chicago, Day gives her account of the "Windy City" in a song that suggests Oklahoma!'s "Kansas City" in more ways than the title… Her quarrelsome duet with Wild Bill—"I Can Do Without You"—echoes Annie Oakley's competitive duet with Frank Butler in "Annie Get Your Gun."

But one song is all Doris Day's—and the film's—very own: walking through the countryside on a beautiful morning, Calamity realizes that she loves Bill, and in a voice exuding warmth and tender feeling, she sings the Academy Award-winning song "Secret Love."

Calamity Jane is a wonderful way to lose yourself. We have three daughters who love this a lot.

Great, great fun all so professionally packaged that you just lose yourself in the moment.

Great tunes, a great looking cast, and sets, and above all an enormous sense that everyone was really enjoying themselves while making this, make Calamity Jane one of the best musicals for escapist entertainment.

Very easy to watch, and nothing that would shock a six year old it is impossible not to be carried away by Doris Day's and Howard Keel's performances.

While it won't change the world, it will make it a brighter place instantly.

Recommended to bring a genuine smile to anyone's face.

A rollicking musical western, featuring Doris Day and Howard Keel both singing their hearts out. It's a simple story and none the worse for that. Above all it's a vehicle for Doris Day - showcasing that sparkling voice. The opening sequence is memorably vibrant and her exuberance also comes to the fore in "Windy City". Howard Keel has a fine solo but perhaps the most memorable moment is Doris's rendition of "Secret Love". This whole sequence has a serenity that is absent from the rest of the film and Doris wears a wonderfully elegant shirt and trouser combination - which shows that a more casual look - a very simple outfit- is what makes a lady look her best. I find it amusing that designer gowns about which so much fuss is made in the media and whose labels and creators are so over praised are here comprehensively put in the shade. These few minutes of film show how bogus the fashion industry is!

The film is marvelous, but it's been dissected to death; consequently, I can't add any comment you haven't already heard. Lovely Technicolor cinematography of the outdoor frontier and rich period costuming enhances this top-notch cornucopia of story, score, and songs- including 'The Deadwood Stage,' 'I Can Do Without You,' 'Windy City,' 'The Subject of Harry,' and 'Secret Love.' Two special moments for me are Howard Keel singing 'Higher Than A Hawk' to the portrait of Allyn McLerie, and 'A Woman's Touch,' which shows McLerie and Doris Day become sisters in solidarity. They clean the house (in fact, renovate it) while discovering Calamity's femininity at the same time. They joke, they bond, and at the end of the scene our heroine is in a dress and quite the looker. There's no shocking sexist message here; it's a musical showing how a woman gets her man. I don't think in 1953 you could've asked for more. On the other hand, most of Day's scenes with Keel are a locked-horns battle of the sexes- absolutely no question. They compliment each other beautifully- from 'I Can Do Without You', right up to their nearly romantic duet of 'The Black Hills of Dakota.' Enjoy the film again, and look between the lines- some of it is quite timeless.

... who else could put across the Deadwoodstageis number like Doris Day in the opening sequences of this wonderful movie? Right through to her mushy ballad 'Secret Love' she is perfect for the role of the butch cowgirl who gets a feminine makeover and snares her shooting buddy (the excellent Howard Keel, in fine voice here). Doris was a true star, a great actress and singer, game for a laugh and a pretty blonde who transcended her rather trite public image through her talent. Calamity Jane is possibly her best work, and certainly one of the best musical movies of the 1950s (against some pretty stiff competition). They might be making musicals again, but they won't make them quite like this.