Capobanda

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.

One of the greatest musicals ever put onto film is how I would describe "The Music Man" with its show stopping numbers like "Ya Got Trouble Right Here in River City", "The Sadder But Wiser Girl For Me", "Wells Fargo Wagon", "Seventy Six Trombones" and many more.

Confidence trickster Harold Hill arrives in River City with the intention of setting up a boy's band and taking money for costumes and instruments but intends to leave town with the money before these arrive. Things don't exactly work out to plan when he finds himself falling for the town's librarian and he becomes involved with the lives of many of the River City citizens. Meanwhile, the mayor tries his best to have Hill run out of town but one by one the River City townspeople begin to realise that Hill has actually brought much happiness and contentment to several of them since his arrival. Marian the librarian gradually succumbs to Hill's charms and defends him against the wild accusations of the mayor.

A high class ensemble of players make this a captivating film - in addition to Robert Preston himself (absolutely brilliant as Professor Harold Hill) we have Shirley Jones as Marian Paroo (the librarian), Buddy Hackett as Hill's friend Marcellus Washburn, Harry Hickox as another salesman determined to expose Hill, Paul Ford as Mayor Shinn and Hermione Gingold as Mrs Eulalie Shinn. Paul Ford's excellent portrayal of Mayor Shinn was not that far removed from his role as Colonel Hall in the long running "Sergeant Bilko" TV series. (I half expected to see Phil Silvers turn up in River City with some new gambling scheme on his mind!). Also in the "Music Man" cast was a very young Ron Howard (aged only eight) as Winthrop Paroo who was outstanding in his featured number "Gary, Indiana" which he had to sing with a lisp!! (He is of course now well established as a competent film director). I was surprised to see the talented actor Max Showalter (also known as Casey Adams) only used in one scene at the opening of the film. An actor of his calibre should have had a much larger part I consider. I was delighted to see Percy Helton (albeit briefly), one of my favourite character actors, pop up as the train conductor at the beginning of the film. Percy Helton has appeared in hundreds of films and is instantly recognisable with his distinctive voice and chubby frame. A word of praise is due to "The Buffalo Bills" who provide many delightful musical interludes throughout the film. "The Music Man" was produced and directed by Morton da Costa and I loved his theatrical device when the screen went dark after some of the musical numbers - a fascinating innovation.

Some favourite lines from the film:-

Harry Hickox: "But he doesn't know the territory!".

Robert Preston: "Gentlemen, you intrigue me - I think I'll have to give Iowa a try!".

Paul Ford: "I said all along - get his credentials didn't I?".

Paul Ford: "Where's the band? Where's the band?".

Preston (to the boy's band): "Now think, men, think!".

In 1958 Robert Preston won the prestigious "Tony" Award as Best Actor in a musical (on Broadway) for "The Music Man" but was overlooked by the Academy of Motion Picture Arts and Sciences when it came to the "Oscars". Why Preston wasn't even nominated as "Best Actor" is a mystery to me as this was the perfect role for him having performed it so long on Broadway. He was ideally suited in the part of Harold Hill and played it to perfection. The film was nominated for six Academy Awards (including one for best picture but was beaten by "Lawrence of Arabia").

A fabulous musical with entertaining storyline, noteworthy acting talent, and impeccably photographed in ravishing colour. "The Music Man" is an exceptional musical which can be viewed again and again with increasing enjoyment. 10/10. Clive Roberts.

I first learned of the Music Man when my brother's fifth grade class put it on. (My brother played Mayor Shinn.) Our entire family learned the train scene, all of the monologues (especially "Trouble"), and the Music Man became part of our lives. I still remember most of those monologues, and I still love to watch Robert Preston and Shirley Jones create their magic and make their music. Like "My Fair Lady," the players have refined their parts to high art, but have not burned out; the details delight again and again. The chorus is the best I've heard (Wells Fargo Wagon), the cast is just great. When my older son was two years old, The Music Man was his favorite video; he watched it over and over, laughing and gurgling. He "outgrew" it, and is now almost ten. Last night we watched it (again): I, my wife, and both of our sons. It touched me as much as the first time I saw it. ("I always think there's a band, kid.") I hear and read criticism of Robert Preston's acting, that as a performer he is a dilettante. But I feel this criticism misses the point. Harold Hill is the dilettante, trying to pass himself off as a music expert--until he gets his foot caught in the door. Preston is perfect as Hill. I love this film, and will watch it with my loved ones for a long, long time to come.

This wonderful production has to be watched on the big screen to be fully appreciated. It is,in my opinion, the best translation from Broadway musical theater material to the opening-up on the screen. The performance and general character portrayal of Robert Preston is irresistible and a joy to watch. As far as musicals are concerned, this is the one to take along to your desert island! Í always look forward to the next opportunity there is to show it on the screen of my cinema again. Sentimental, nostalgic, funny and romantic, this picture has it all. And that includes the wonderful melodic songs and the fantastic choreography. I'm running out of superlatives. It's my favorite musical.

One of the best musicals ever made. So much of the movie is perfect: plot, music, most of the cast. One weak spot is Susan Luckey as Zaneeta, though the part is not well written. Another is Monique Vermont as Amaryllis, worse than average for a child actor. But the 8-year-old Ronny Howard as Winthrop is excellent. He shines at the end when Harold Hill gets his foot caught in the door. Of course, Preston is perfect, as is Shirley Jones, who never looked better. (Someone said Heaven is where all the men are 33 and all the women are 30. Jones was in her late 20s.) Paul Ford, Hermione Gingold (overdoing it once), and Pert Kelton are all outstanding.

The director Morton DaCosta uses a gimmick here and in Auntie Mame that I don't care for. At the end of some scenes, all the lights go out except those on the principals. Sometimes that's more of a jolt than necessary, because we've gone from outdoors to inside the studio.

My favorite song is Sadder But Wiser Girl. The reference to Hester winning just one more A meant nothing until 11th grade when we read The Scarlet Letter. And after Preston sings that line, he looks guiltily over his shoulder at Amaryllis to see if she understands how naughty he's been.

My second favorite is Lida Rose/Will I Ever Tell You. Such a beautiful song. It pains me that the rocking chairs at either end of the screen are sometimes out of sync. It should have been done perfectly.

One brilliant touch concerns the Buffalo Bills. Early on, Mayor Shinn says "The members of the School Board will not present a patriotic tableau. Some disagreement about costumes, I suppose." At the time, the four are dressed quite differently. As their singing progresses, they start dressing more and more alike, until at the end they're dressed alike (I'm pretty sure).

Marion's epiphany during The Wells Fargo Wagon is quite sweet.

As is a lovely line from Goodnight, My Someone: But I must depend on a wish and a star/ As long as my heart doesn't know who you are. (Sigh.)