Pacifique Sud

This film is due to be re-released in 70MM for limited engagements next year. A new restored DVD is also being prepared by Twentieth Century Fox Home Entertainment which includes scenes that were cut back in 1958. Somebody commented recently about the fact that "lap-dissolves" were used between many scenes in this film and this person obviously felt that this was some kind of fault. This was a common editing technique utilized in the past and was used usually to signify the passage of time. It is rarely used these days and obviously that person has not encountered this technique before and has assumed that it is a fault, but this is not the case.

I am curious to know if the new transfer will feature the Broadway continuity(the Emile-Nellie Plantation scene before the "Bloody Mary" scene)? I hope it is an anamorphic transfer?

Having taped this off HBO nearly 22 years ago, I finally got to see the 1958 version of Rodgers and Hammerstein's South Pacific just now (I had also seen the PBS Great Performances Carnegie Hall version with Reba McEntire, Brian Stokes Mitchell, and Alec Baldwin last year). Mostly wonderful film version although I agree with most posters that the color filters during the songs can be a little distracting. Mitzi Gaynor is fine as Nurse Nellie Forbush in singing, dancing, and especially acting that I don't understand the criticism against her. Rossano Brazzi is likewise (although his singing, like the other cast members, was dubbed) as paramour Emile de Becque. John Kerr does indeed seem stilted and the dubbed singing of him is so obvious and I can't believe completely his love for France Nuyen. Ms. Nuyen is luminous, by the way. Juanita Hall and Ray Walston (who I first encountered as Mr. Hand in Fast Times at Ridgemount High) also lend fine support. That all said, this is classic R & H all the way in line with The Sound of Music, The King and I, Oklahoma!, and Carousel. P.S. Thurl Ravenscroft was the singing voice of Stewpot in the "There is Nothing Like a Dame" number. You might know him best as Tony the tiger and the singer of "You're a Mean One, Mr. Grinch" in How the Grinch Who Stole Christmas.

This is my favorite R&H musical and I play the original Broadway s/t frequently because I love Pinza.

I agree with an earlier poster who commented that Mary Martin was much too old and earthy for the young innocent Nellie. Mitzi Gayner was perfect. I also love the different hues for the singing. It does give the movie a different feel to it.

Of all the R&H musicals, this one was the best to transfer to the screen (with exception of King and I). Too bad they can't find a complete reel of the latter movie.

And my favorite song from the show/movie is This Nearly Was Mine, a heartbreaking song if there ever was one. Pinza breaks my heart on the OBC recording. Tozzi is good, too, but Pinza is the peak.

And R&H were pressured to drop You've Got to be Carefully Taught and they refused. The racial prejudice runs right through the picture without hitting you over the head with it and it was way ahead of its time. But then the book was written by James Michener who had an Asian wife and who knew about prejudice.

I love this movie -- still!

This slush-fest version of Rodgers and Hammerstein's famous musical suffers on the small screen because of its constant use of colour filters during the songs. On a big screen, this looks great, but just looks odd on TV.

This aside, though, this film of 'South Pacific' has much to enjoy. Mitzi Gaynor is a bubbly personality and is clearly enjoying herself as Nellie Forbush, 'washing that man out of her hair' and so on. Rossano Brazzi is charming as Emile (the singing is expertly done by Giorgio Tozzi); we can have a pang of regret that Ezio Pinza was seen to be too old to play the role by the time the film appeared - his work with Mary Martin in the original cast survives in cast recordings - but Brazzi looks the part.

John Kerr is a bit of a wet fish as Lt. Cable, while Juanita Hall as Bloody Mary is excellent, and Ray Walston as Luther, and France Nuyen as Liat, make an impression in smaller roles. The musical numbers are done extremely well - 'Bali Ha'i', 'I'm in Love With a Wonderful Guy', 'Some Enchanted Evening', 'Younger Than Springtime', and 'Happy Talk' and the rest.

Where the film does flag is in the sequences where Emile and Cable go to the island to report on the Japanese invaders. This was handled rather better in the 1990s remake, and also moves along better in the stage version. Here, it clashes a bit with the romantic overtones of the rest of the production.

Although Rogers and Hammerstein wrote many great musicals, I believe that overall the score of South Pacific is the strongest, producing many 'old standards'.

"There is Nothing' Like a Dame", "Younger than Springtime", "Bali Hai", Gonna Wash that Man Right outa my Hair", and the eternal "Some Enchanted Evening" are major highlights, but many other delightful and strong songs help fill this impressive musical.

Of course there is a love story, but there is also a strong lesson of the dangers of bigotry even for people who would never imagine themselves to be so.

Many have criticized the filters used in camera shots during many songs (and a few other scenes). It was ground breaking at the time, and certainly different. Although I myself would certainly rather see the 'pure colors' of those scenes as well, I can respect the wish of the cinematographer to try something that had really seldom been done in major films, but is a staple of still photography.

Unless you just hate musicals, this is a must see film in its genre.