La blonde du Far-West

First and foremost, CALAMITY JANE is a fun musical. The 29-year-old Doris Day thoroughly enjoys herself in the central role as a gun-totin' tomboy, the fastest draw in the city of Deadwood, South Dakota - apart from Wild Bill Hickok (Howard Keel). She demonstrates an apparently limitless capacity for telling tall stories, as well as a unique ability to ride a horse. She and Keel make a lovable double-act, especially in their song "I Can Do Without You" - which is of course completely ironic in tone. They clearly cannot do without one another, as proved at the end of the film when they celebrate their nuptials. Sammy Fain and Paul Francis Webster's score contains at least two classics, "The Deadwood Stage (Whip Crack-Away," which opens and closes the film, and "Secret Love," a typically schmaltzy Day song that topped the charts on its initial release. Yet perhaps the film's most interesting aspect today is the way in which it embodies early Fifties attitudes towards gender. Calamity Jane's decision to don male attire is perceived as something aberrant; she is tolerated by her fellow-citizens of Deadwood, but no one really takes her very seriously. It is only when she is 'educated' in feminine ways by visiting singer Katie Brown (Allyn McLerie) that she understands what her 'proper' role should be. She should accept that females (unlike males) are capricious in nature, apt to make spontaneous decisions without rhyme or reason. In a ball scene towards the end of the film, Calamity appears in a long gown, her blonde hair neatly tied at the back - the male guests stare at her in disbelief, as if they cannot believe they have a "true" woman within their midst. Calamity feels uncomfortable in the role, and returns briefly to her male attire; but when the citizens refuse to speak to her later on (punishing her for her decision to banish Katie from their town), she understands the "error" of her ways. At the film's end she wears a bridal gown and tosses her six-shooter away, in symbolic acknowledgment that she should no longer try to adopt masculine attitudes. Rather she should accept her designated role as wife and (probably) mother.

Doris Day plays an unrefined tomboy who is handy with a gun and learns about refinement on the way to finding romance and singing some hit songs. If that sounds like a rehash of 1950's successful "Annie Get Your Gun", it's probably no coincidence. And both starred Howard Keel as the male lead.

Even if "Calamity Jane" can't match the array of notable, classic tunes that "Annie Get Your Gun" boasts, it can an stand on its own as a solid musical with songs by Sammy Fain and lyrics by Paul Francis Webster. In fact, the film relies mostly on its music and the wholesomely talented Miss Day to make its mark.

Ms. Day, besides displaying her usual enthusiasm while singing the film's musical numbers, including its best song "Secret Love", also plays the role of Calamity with a physicality that deserves special praise. Not only does she adapt a carriage that rings true for a woman who tries to be manlier than any man, but she also talks the talk and performs stunts that most actresses would hesitate to consider.

The other major female character, Katie Brown, is portrayed by Allyn Ann McLerie (in only her fourth screen credit). Ms. McLerie holds her own with Doris and has a presence that seems to portend more leading roles in her future.

Fans of fifties musicals should find what they're looking for in "Calamity Jane" unless they are seeking biographical truth.

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.

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.

Calamity Jane with Doris Day was my first experience with musicals. i was so entranced I talked my mother into letting me stay to watch it again. I was left with an unknown women who had come to watch the next showing. (Something unheard of in this day!) The sheer joy of the singing, dancing and innocence of a time past is something that is sorely missed today.

Doris Day's Calamity Jane is a story of love between men and women and women and women during a time when this love was innocent and people did not worry that someone might look at it in a sexual way. Women could hold hands and hug to support each other in happiness as well as grief.

Songs like 'Secret Love' and 'Take Me Back to the Black Hills' are beautiful even to the audiences today. this type of music will never die.