Em Perfeita Harmonia

Perfect Harmony is a somewhat simplistic morality play about the tensions between whites and blacks in a small South Carolina community in 1959. There are scenes at the local swimming pool and on the 'wrong side of the tracks', but most of the action takes place on the campus of Blanton Academy, a fictitious, lily-white, private, boys' school world-renowned for its vocal music program. The high point of the Blanton school year is the picking of the 'Lead Boy' from among the seniors in the vocal music program. The Lead Boy is then featured at the graduation sing.

The majority of the action involves the two top candidates for Lead Boy as well as a black youngster whose grandfather is the maintenance person for the school. While both of the white boys are southern, one is a rabid racist; the other is more open and tolerant. Marc, the yankee roommate played aptly by Skye Ashley Berdahl, brings additional conflicts to the production.

Eugene Byrd as Landy Allen was the most believable of the characters to me. His interactions with blacks and whites were unstrained and natural, making his performance the most believable. Justin Whalen as Taylor Bradshaw came in a close second. He seemed well suited to the role; he, too, brought realism to his performance. David Faustino's racist character, Paul, was easy to dislike; I guess that means he did a good job, too. Moses Gunn was well-placed as Landy's grandfather, Zeke. Cleavon Little brought realistic energy and a masterful performance as Pastor Clarence Johnson of the blacks' church. (It's hard to believe that this actor could display so much energy and talent in this film, yet die of colon cancer hardly more than a year later. What a loss!)

The plot is liberally sprinkled with vocal music, most of it classical. I recognized Mozart, Schubert, and Handel, but there were others as well. The singing in the blacks' church and at their community gatherings provided an interesting counterpoint. To me, the music was by far the best part of the movie. In a no doubt carefully planned twist, the lyrics of each piece fitted like a glove the action of the moment, focusing a Christian microscope on the racist underpinnings of the story.

The school choir was loaded with clear, pure, youthful sopranos, and their singing was technically and emotionally exceptional. In contrast, the sheer energy, exuberance, and faith expressed by the blacks' choir showed that there's more than one way to express one's religious beliefs and social convictions. The appearance of Richie Havens singing "C. C. Rider" and "I Shall Not Be Moved" at a fundraiser for the black community was a special treat.

Unfortunately, the music also provided lows. Peter Scolari as choir master Derek Sanders had plenty of great lines, but it was obvious that he'd never directed a musical performance, and his character was too often insipid when intensity was expected. Darrin McGavin (head-in-the-sand-Headmaster Mr. Hobbs) suffered from the same shortcoming in an otherwise believable performance. We're asked to believe that the seniors in the choir are still sopranos. In real life they were all 17 when this movie was filmed; their conversational voices were mature. Please!

In spite of this, I found myself with belief suspended, immersed in a believable world with believable characters, thoroughly enjoying myself. I rated Perfect Harmony a 9.

Perfect Harmony is one of those perfect films that you occasionally come across by accident.

As a former teacher and a lover of Chorale music, especially boys choirs, I watched the film basically because of the choir. I thought that the film would be very much like Disney's 1960's film Almost Angeles, spotlighting the Weinersangerknaben (Vienna Boys Choir), long on music but very short on story line.

I was very pleasantly surprised to find a very believable, moralistic story with a deep meaning to me. As a very conservative person, I have a very liberal streak when it comes to social issues. Especially race relations.

Justin Whalin was a standout, as were most of the other young actors. I was disappointed with Darin McGavin's performance as I feel that racist tendencies are very deep rooted. Darin just seem to be too shallow in his beliefs.

Overall I can honestly say that this was one of the movies that really stand out in my mind, especially as this post is being made in December 2004, several years after seeing the movie.

I was 10 when this movie came out and in a boychoir at the time. For someone in my position, the music sung by the Blanton boys was so relatable. I've done the solo of Laudate Dominum that Taylor does in the opening scene of the movie. Keeping with the theme of music, the film accurately shows the two ends of the spectrum from classical to blues as depicted by Taylor's world and Landy's world, respectively. The pieces are well chosen on both sides. The unchanged voices in the film provide a certain nostalgia for me since my days as a soprano are long gone. Some others on IMDb have questioned how or if boys can sing that high. Speaking from personal experience, yes unchanged boys voices sound exactly like they do in the movie. I myself could sing soprano until I was 12.

As for the other theme of the film, racial tension in the south during the 1950s, the film is also very realistic. I am black and although I don't speak from personal experience, my own studies of that period in American history combined with comments from my parents and grandparents that were present during that time paint a very similar picture. There was an almost palpable tension between blacks and whites especially in the deep south. I think the movie demonstrates that tension. It also demonstrates the movement of change that would culminate with the Civil Rights movement during the 1960s. The strong friendship Taylor and Landy develop stems from their mutual love of music. They show interest in what they've grown up hearing as well as the music of other cultures. To both of them, music in any form is beautiful. The ultimate lesson of the story centers around how music can act as bridge.

I would highly recommend this movie. It's a great film for the family to watch to open a dialogue regarding race. There are acts of violence along racial lines and KKK references, but the realism of the movie makes it worth watching.

This movie is actually a lesson I use in 6th grade music class. The essays our students write after this movie show that young people today (in small-town midwest communities) get the message in Perfect Harmony. I use great care and preparation in showing this movie, but the music and culture expressed throughout are worth it. Students appreciate this film, and love the ending. Disney does a good job with the trope, "can music bring people together?".

I'm also careful with the offensive word (volume button). But these hard topics create teachable moments. I'm glad to see in other IMDb reviews that this film sticks with young people for years. In fact, my 8th graders ask if they can see it again. It may be my most important lesson in the semester.

The song goes that I'd love to teach the world to sing in perfect harmony. Unfortunately, in the area of racism and segregation, perfect harmony has yet to be achieved.

This film takes place in a South Carolina elite private school for boys in 1959, when segregation was the in-thing down south. The school supposedly prepares boys to take their place in the world-a world where they will continue to practice segregation.

The best performance in the film is given by Darren McGavin, the headmaster, who epitomizes the old southern tradition of bigotry. His daughter conveys an absolutely phony southern accent and her attempt to emulate Scarlett O'Hara is outlandish at best.

You would certainly think that the conflict between the new choirmaster and McGavin would come to the front due to the former's liberal ideas but this really doesn't happen. By the way, who was that brat of a young Klansman who attacks our white hero, Taylor, so viciously? We never find this out.

The film also deals with the coming friendship of Taylor and a black child, an orphaned grandson of the handyman, played nicely by the usually reliable Moses Gunn. Miscast in the film is Cleavon Little, as the town preacher. His call for justice is made in a voice that sounds too familiar from "Blazing Saddles" in 1974.

It has to be said that the boys exhibit beautiful choir singing.

Paul, the promising student, is consumed by hatred. We see his typical rebelliousness due to being insecure, parents who never come to visit and his trend to sneaking a smoke in private areas.

The film should be praised for its attempt to wipe out bigotry. Unfortunately, this problem is too big to be conveyed in 1:33 minutes.