Capobanda

It seems redundant to add my comments when so many people have already done justice to it, but I'm still in the glow of having finally seen this movie as God intended--in Cinemascope! When I saw it long ago on TV, I was struck by how unusual it was but kept noticing certain distracting bits around the edge of the screen--it was the fade-outs and split-screen effects I was missing! Watch this film in letterboxed form ONLY please--it's visually, musically and dramatically innovative.

Its splendors have already been mentioned. I add two minor treats: 1) appearance of lanky character actor Hank Worden (of "The Searchers" and "Twin Peaks") as the undertaker, and 2) script so full of bizarre slang and expressions, it's as if P.G. Wodehouse or Damon Runyan were writing turn-of-the-century Americana.

My two carps are minor: I would have told Morton Da Costa to lose all the heavy-handed cutaways to the train wheels ("Rock Island") and chickens ("Pick a Little, Talk a Little") because we already got the point, and Ron Howard's cute lithp is a turn-off for me, but I never like cute kids. However, he's good at the climax, and when Shirley Jones hears him singing "Wells Fargo Wagon" and tears the evidence against Harold Hill out of the book (a librarian!), it's one of the most convincing turnarounds in musical history. Especially because she's still not fooled by the hucksterism, she just perceives it differently in comparison with the easily manipulated small-towners around her. She realizes that he's selling hope and joy despite himself ("There's always a band.") And when she just thanks him for his gift ("Till There Was You") and doesn't mind if he flees, of course he realizes he would be insane to leave. Another heartfelt turnaround.

One of the most graceful musicals, marked by blurring of the line between straight dialogue and songs--as the line "there was love all around but I never heard it singing" implies, you can hear the singing if you listen for it in the world. It's in the trains and the chickens and the bands you hear in your head and the pride in your children playing that clarinet by the "think system." Moving.

I first saw "The Music Man" on its first run in 1962. I just saw it again last night on cable. If anything, I enjoyed it more last night. I think that your belief in "fairy tales" such as this only grows with the passing of the years. Preston's performance is so near-perfect that the viewer starts to believe his line of corn-fed BS. The knowledge of what Ron Howard has become enhances the enjoyment of his fine work here. It's funny, magical and a musical treat to the ears!!

bright, fun, colorful, unforgettable songs, likeable characters, great choreography, true to the time period, and i'd like to see anyone try to find an actor blend so naturally into a character as robert preston.

The Music Man is a musical film that was done right and which, if anything, improves on its well regarded source material. It ranks up there with the all-time great musicals of Hollywood's golden age (and such British marvels such as "Evergreen," which starred the incomparable Jessie Matthews.

This movie has it all - wonderful music, a fine script, good production values and a top cast. What makes it really special is Robert Preston's tour-de-force performance. His performance is, quite simply, one of the most memorably great performances in the history of film.

It's one of those benchmark performances that must make any other actor who takes the role shake in their boots, for as long as the memory of Robert Preston as Prof. Hill exists all others will be compared against him and, likely, found lacking.

The rest of the cast is superior. I especially love Pert Kelton as Marian the Librarian's mother. Kelton was the original Alice on the classic "The Honeymooners" (she played Alice's mother later on in the series) and she had incredible comic timing. She reminds me of a combination of Ethel Merman, with her brassy voice and larger-than-life presence, and the comic genius of the great Patsy Kelly. It's a shame Kelton was not put to better use in the movies. She was a natural.

And then there is Shirley Jones. Lovely to look at and wonderful to hear and a good enough actor to keep up with Preston.

Buddy Hackett usually annoyed me but he's perfect as Prof. Hill's sidekick and his "Shafoofie" (sp?) number is a blast.

Funniest scene - Grecian Urns.

A splendid movie and one of the last great musicals. They truly don't make 'em like that anymore.

This was a very difficult musical, I suspect, for Morton da Costa to direct. To his great credit, it never looks to me like a stage musical; taking his cue from a few famous examples of adaptations done on non-musical films, he has used the entire River City, Iowa, USA town as his stage, moving his mobile cameras wherever the action could best be served. But I suggest "The Music Man" is most important not for its entertainment qualities, which are considerable perhaps, but for its importance as a fantasy-for-the-sake-of-an-idea plot. Without it, we might never have had "Finian's Rainbow", "Chicago" or "City of Angels" for instance. Hollywood's studio tsars, despite their surrealized applying of pseudo-Christian endings to plots, were always very cautious about introducing any "fantasy" element into a film. (Note the lengthy apologia by David Selznick for "Portrait of Jenny", for instance.) In this story, Meredith Wilson used his personal knowledge of the people and ways-of-thinking of Iowa to ground a charming and genial fantasy about music-course salesman Harold Hill firmly within its milieu--one of a group of U.S minds in need of more imagination. The town's kindly folk, in fact, are shown as barely tolerant toward its librarian, who inherited the institution from its elderly compiler; they are suspicious of how Marian Paroo acquired the stock, and suspicious of her desire to teach their young minds to think for themselves. Enter Professor Hill--to change the lives of the almost charming but repressed early twentieth-century denizens forever. The basic plot is very simple to state. Professor Hill comes to towns, sells the town's citizens on the idea of starting a boy's band, and then skips out before they can ever perform. Here, he is brought to the point of leading his troops, trained by his "think system", in a concert; and the townsfolk are enthralled by hearing their sons play. This simple tale starred Robert Preston as the wily city-bred Hill, Shirley

Jones as the lovely but doubting 'Marian the Librarian', Pert Kelton as her mother, Buddy Hackett as his fine friend, Paul Ford and Hermione Gingold as the pretentious Mayor and his wife, plus many citizens of the town young and old, Harry Hickox as the envious rival who exposes Hill and the Buffalo Bills singing quartet. Well-known songs in this sprightly US romp include, "Till There Was You", "Somethin' Special", "Goodnight My Someone", "Marian the Librarian" and "Trouble", among others. In the film, the leads are award caliber, everyone else from Ronnie Howard to Susan Luckey to the quartet do very well. Marion Hargrove adapted Wilson's libretto and songs written by Wilson and Franklin Lacey. The cinematography by Robert Burks was vivid and stylishly old-fashioned. Paul Groesse did the art direction, with set decorations being supplied by George James Hopkins and his staff. The very elaborate costumes were the work of the brilliant designer Dorothy Jeakins. This is a sense of life film written by, about and for non-practicing Christians of the last century that was mounted somehow in 1962, as an homage to a simpler and more optimistic time. We can all be grateful it was; it is a great deal of fun and its ending is a happy part of the fantasy, which needs to be seen to be appreciated.