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Adicionar um enredo no seu idiomaThe Victorian-era theatrical partnership of English librettist William S. Gilbert and English composer Arthur Sullivan produced fourteen comic operas to great public acclaim, yet they clashe... Ler tudoThe Victorian-era theatrical partnership of English librettist William S. Gilbert and English composer Arthur Sullivan produced fourteen comic operas to great public acclaim, yet they clashed on both personal and creative levels.The Victorian-era theatrical partnership of English librettist William S. Gilbert and English composer Arthur Sullivan produced fourteen comic operas to great public acclaim, yet they clashed on both personal and creative levels.
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The film Gilbert And Sullivan came in for much of the same criticism that so many musical biographies coming out of Hollywood did. But when we went to see such work as Till The Clouds Roll By, Words And Music, and Night And Day, we were hardly seeing the real stories of Jerome Kern, Rodgers&Hart, and Cole Porter. Their work is what people went to see those films for and thus it is with Gilbert&Sullivan whom we were lucky to get them working in harness for as much as they did give us.
Robert Morley plays W.S. Gilbert the word half of the duo who started in life as a barrister, but I suspect the law probably bored him and he had a gift with a phrase and turned it into writing lyrics. Morley who was at his best playing such witty people as Oscar Wilde and James Fox was the best possible fit for Gilbert.
Arthur Sullivan is played by Maurice Evans who had ambitions to be a serious composer and he did compose some truly serious music like Onward Christian Soldiers for example. But these comic operas did pay the bills. Right at the beginning of the film there is a marvelous bit with Wilfrid Hyde-White who plays the father of Dinah Sheridan whom Evans is courting. She wants to be the wife of a celebrated serious composer, but dad just wants a son-in-law who can pay his own way, he does not want to wind up supporting genius as he put it. Sullivan never did marry, but the author of Onward Christian Soldiers was quite the ladies man including a rather lengthy affair with at least one married woman that went public.
Peter Finch plays D'Oyly Carte their producer who created the light opera company that bears his name and has first call on the works of Gilbert And Sullivan. Finch and wife Eileen Herlie must have felt more like referees than producers as they kept the two working in harness as long as they could.
And the heart of this film is the D'Oyly Carte company giving highlights of the various Gilbert And Sullivan comic operas which are loved in every part of the English speaking world. I've seen performances of HMS Pinafore and The Mikado myself and God willing I'll get to see others. The musical numbers are the heart of this film as they are in any American film about one of our persons of music.
The copy I rented looks like it has been restored, the color is quite nice. Good thing too, because Gilbert And Sullivan and their talent deserve the best.
Robert Morley plays W.S. Gilbert the word half of the duo who started in life as a barrister, but I suspect the law probably bored him and he had a gift with a phrase and turned it into writing lyrics. Morley who was at his best playing such witty people as Oscar Wilde and James Fox was the best possible fit for Gilbert.
Arthur Sullivan is played by Maurice Evans who had ambitions to be a serious composer and he did compose some truly serious music like Onward Christian Soldiers for example. But these comic operas did pay the bills. Right at the beginning of the film there is a marvelous bit with Wilfrid Hyde-White who plays the father of Dinah Sheridan whom Evans is courting. She wants to be the wife of a celebrated serious composer, but dad just wants a son-in-law who can pay his own way, he does not want to wind up supporting genius as he put it. Sullivan never did marry, but the author of Onward Christian Soldiers was quite the ladies man including a rather lengthy affair with at least one married woman that went public.
Peter Finch plays D'Oyly Carte their producer who created the light opera company that bears his name and has first call on the works of Gilbert And Sullivan. Finch and wife Eileen Herlie must have felt more like referees than producers as they kept the two working in harness as long as they could.
And the heart of this film is the D'Oyly Carte company giving highlights of the various Gilbert And Sullivan comic operas which are loved in every part of the English speaking world. I've seen performances of HMS Pinafore and The Mikado myself and God willing I'll get to see others. The musical numbers are the heart of this film as they are in any American film about one of our persons of music.
The copy I rented looks like it has been restored, the color is quite nice. Good thing too, because Gilbert And Sullivan and their talent deserve the best.
Biography documenting the fraught and creatively tense relationship between master opera collaborators William S.Gilbert (played with aplomb by the portly Morley) and Arthur Sullivan (Evans). The film documents their collaboration from their first operetta in 1871, through to Sullivan's premature death at just 58, and Gilbert's subsequent knighthood early in the 20th century. Sullivan's growing reluctance to compose the light opera demanded of him serves as a constant bane upon which the collaboration with Gilbert (the lyricist) is often strained. When the pair eventually agree to part ways, those around them manage to cajole the pair together to resurrect their fragile partnership time and time again.
While the subject matter obviates the need for plenty of musical numbers, also present are colourful sets and vibrant exteriors of the Thames and English countryside, wry dialogue that depicts their egos humorously, and an attractive supporting cast that includes Peter Finch as the talent agent who masterminds the pairing, while stalwarts Dinah Sheridan and Wilfrid Hyde-White also feature prominently.
Rotund and expressive, the presence of Morley ensures that the tone is mostly comedic, and while it's a lavish production, the momentum is often lacking pace and I found the biopic sometimes tedious. Nevertheless, if you're a fan, there's ample excerpts of "Pirates of Penzance" or "The Mikado" (among others) to enjoy and perhaps discover more about the eccentric relationship 'endured' by the famed duo.
While the subject matter obviates the need for plenty of musical numbers, also present are colourful sets and vibrant exteriors of the Thames and English countryside, wry dialogue that depicts their egos humorously, and an attractive supporting cast that includes Peter Finch as the talent agent who masterminds the pairing, while stalwarts Dinah Sheridan and Wilfrid Hyde-White also feature prominently.
Rotund and expressive, the presence of Morley ensures that the tone is mostly comedic, and while it's a lavish production, the momentum is often lacking pace and I found the biopic sometimes tedious. Nevertheless, if you're a fan, there's ample excerpts of "Pirates of Penzance" or "The Mikado" (among others) to enjoy and perhaps discover more about the eccentric relationship 'endured' by the famed duo.
I have never forgotten having seen this movie when others like The Red Shoes, Tales of Hoffman, the Alec Guiness and Peter Sellers comedies, Olivier performances in Hamlet and Henry V, were being received and cherished. The "Story of Gilbert and Sullivan" cast, script, and production values were as good, if not better than, the above mentioned. I have never understood how it didn't seem to get much attention for reproduction and reshowing in view of the fact that G&S productions are still being done in today's live performance theaters! Is it really too late to salvage and restore it for revival? Since it's action is largely in closeup, it's mono sound needs only to be upgraded to today's sound projection technology ... it will still be brilliant. I'll never forget the scene with Gilbert (the great Morely) riding in his horse cab during his customary opening night anxiety attack with the picture (and sound of the horse's hoof beats) superimposed over Martin Green (peerless Grossman) singing the Nightmare song ...matchless!! Please ... somebody ... rescue this film!!!
An enjoyable handsomely well-mounted production in Technicolor, there's actually far more music than story (under the baton of Malcolm Sargent). Not being an expert I can't comment on the quality of the arrangements but they're probably sufficiently clearly enunciated and long enough to please most serious Gilbert & Sullivan aficionados.
As Sullivan Maurice Evans is almost unrecognisable, as Gilbert Robert Morley only too recognisable; while the depictions of the tensions between them anticipates 'The Commitments'.
As usual the best performance is by Peter Finch as D'Oyly Carte, although like many of the men in the cast his singing voice is obviously dubbed.
As Sullivan Maurice Evans is almost unrecognisable, as Gilbert Robert Morley only too recognisable; while the depictions of the tensions between them anticipates 'The Commitments'.
As usual the best performance is by Peter Finch as D'Oyly Carte, although like many of the men in the cast his singing voice is obviously dubbed.
Every scene propels the film through the collaboration of Gilbert and Sullivan, hitting most of the high points and portraying the lows with the sympathy and understanding that creative geniuses deserve. I was predisposed to liking it, because I was a fanatical G&S enthusiast first, but it was a relief to discover that this film was a worthy tribute to their legacy. Providence deserves the credit for forcing friends to acquaint me with the operas of Gilbert and Sullivan, when I was dead set against them (for no apparent reason). Later, Providence rewarded my open mind by delivering into my hands (from out of the blue) a 35mm Technicolor print of the film. My reason for mentioning it is that the print had an intermission at about the one hour point. It seemed silly at first, but I later discovered that the print had been shown "double system," with separate hour-long reels of 35mm magnetic sound tracks. This was confirmed by an article in the Journal of the Society of Motion Picture and Television Engineers, which stated that The Story of Gilbert and Sullivan had been one of the earliest films presented with magnetic stereo sound (before the composite magnetic prints of Cinemascope). I never found the magnetic stereo tracks, but the print also had the usual monaural optical track, of very good quality. My print eventually decomposed from vinegar syndrome, but I was able to buy a VHS tape from a G&S society in England, which apparently owns the rights. I wonder whether they own the stereo tracks, or will ever release a DVD. Are there not enough G&S fans in the world to make it hugely profitable?
Você sabia?
- CuriosidadesThe film ends with Gilbert's knighthood ceremony, but very carefully does not show which British monarch knighted him, although in an earlier scene, it was made clear that Queen Victoria had knighted Sullivan. Gilbert was knighted by Victoria's son, King Edward VII, almost 25 years after Sullivan received the honor. The delay may have been due to Victoria's famous lack of a sense of humor, she was known to admire Sullivan most for his more serious musical compositions, rather than the G&S light operas, which she considered rather frivolous, while everything Gilbert wrote was humorous. The concealment of King Edward's presence at Gilbert's knighthood ceremony may have been done to avoid confusing the audience over Victoria's apparent withholding of the honor from Gilbert.
- ConexõesReferenced in Frasier: They're Playing Our Song (2000)
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- Tempo de duração1 hora 49 minutos
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