The Personal Canon is a recurring column discussing my favorite movies of all time. While they may not necessarily be "A" rated, they are the movies that, for some reason or another, hold a special place in my filmgoing experience.
The Music Man (1962)
Starring Robert Preston, Shirley Jones, Ron Howard, Buddy Hackett, Hermione Gingold, Paul Ford, Pert Kelton, and The Buffalo Bills
Directed by Morton DaCosta
It's been nearly a year since I've added to my Personal Canon on the blog, but it's time to add another movie into that hallowed compendium of films. The first time I saw The Music Man I was probably about eleven or twelve. Classic films often had a place in our house as trips to the video store were a common occurrence and journeys into the older sections of "Choices" (any Delawareans remember that video store?) were always taken. I imagine my mom probably picked this one out as I likely had never heard of it, but after watching it back then, I knew it was going to become one of my favorite movies.
The Music Man is as close to a piece of classic Americana captured on film as you're ever going to get. Flags are flying everywhere, small town camaraderie is the name of the game, and people are so goshdarn happy that they've got to sing how they feel for all to hear. Cut yourself a slice of apple pie and settle in for a cinematic treat.
A full-fledged musical, we meet Professor Harold Hill (Robert Preston), a con man traveling salesman, as he stops by River City, Iowa, attempting to sell the town on forming a boy's marching band by giving him money for instruments and uniforms and then skedaddling before the townsfolk realize he's completely incapable of teaching anyone a note. Along the way, Harold meets Marion (Shirley Jones), the town's librarian who seems to be the only one in town who fails to fall for Harold's quick-talking smooth lies. It shouldn't be surprising that the shrewish Marion begins to be won over by the dashing Harold and therein lies the film's second half.
The story is light-hearted and amusing, but it wouldn't make any difference if the music wasn't any good. However, there's nothing to worry about there as Meredith Wilson's music and lyrics are some of the best ever written for a musical. It's a tremendously successful and varied collection of songs with nary a one hitting a bum note or causing a lull. Director Morton DaCosta who directed the original Broadway version of the show has a surprisingly good eye for creating a successful cinematic experience. Dance sequences are appropriately peppered throughout, but not too heavily to become overbearing bores. He eases into songs naturally which is something that isn't easy to come by in movie musicals and, particularly great for the time, it hardly ever appears that the cast is singing to a pre-recorded track (of course, I'm assuming that they were and maybe that is an incorrect assumption). There is a "theatricality" on display which I think helps the audience accept that they're watching a musical, but it certainly never once feels like you're watching a filmed stage musical.
Performances are great across the board from the leads down to the townsfolk who only speak one line. Robert Preston won praises for his Tony-winning role as Harold Hill. This is not an easy role to undertake as Meredith Wilson has created incredibly quick patter singing for the con man Hill. Tackling difficult syncopation and counterpoints comes with such ease to Preston that it's hard to imagine anyone else taking on the role. [Matthew Broderick tried in a remake and pretty much failed.] Shirley Jones is simply lovely exuding charm at every turn. You can't help but smile when she's onscreen. Add in the young and precocious Ron(ny) Howard and a delightfully stuck-up Hermione Gingold among others and the whole cast shines.
The Music Man is as close to a piece of classic Americana captured on film as you're ever going to get. Flags are flying everywhere, small town camaraderie is the name of the game, and people are so goshdarn happy that they've got to sing how they feel for all to hear. Cut yourself a slice of apple pie and settle in for a cinematic treat.
A full-fledged musical, we meet Professor Harold Hill (Robert Preston), a con man traveling salesman, as he stops by River City, Iowa, attempting to sell the town on forming a boy's marching band by giving him money for instruments and uniforms and then skedaddling before the townsfolk realize he's completely incapable of teaching anyone a note. Along the way, Harold meets Marion (Shirley Jones), the town's librarian who seems to be the only one in town who fails to fall for Harold's quick-talking smooth lies. It shouldn't be surprising that the shrewish Marion begins to be won over by the dashing Harold and therein lies the film's second half.
The story is light-hearted and amusing, but it wouldn't make any difference if the music wasn't any good. However, there's nothing to worry about there as Meredith Wilson's music and lyrics are some of the best ever written for a musical. It's a tremendously successful and varied collection of songs with nary a one hitting a bum note or causing a lull. Director Morton DaCosta who directed the original Broadway version of the show has a surprisingly good eye for creating a successful cinematic experience. Dance sequences are appropriately peppered throughout, but not too heavily to become overbearing bores. He eases into songs naturally which is something that isn't easy to come by in movie musicals and, particularly great for the time, it hardly ever appears that the cast is singing to a pre-recorded track (of course, I'm assuming that they were and maybe that is an incorrect assumption). There is a "theatricality" on display which I think helps the audience accept that they're watching a musical, but it certainly never once feels like you're watching a filmed stage musical.
Performances are great across the board from the leads down to the townsfolk who only speak one line. Robert Preston won praises for his Tony-winning role as Harold Hill. This is not an easy role to undertake as Meredith Wilson has created incredibly quick patter singing for the con man Hill. Tackling difficult syncopation and counterpoints comes with such ease to Preston that it's hard to imagine anyone else taking on the role. [Matthew Broderick tried in a remake and pretty much failed.] Shirley Jones is simply lovely exuding charm at every turn. You can't help but smile when she's onscreen. Add in the young and precocious Ron(ny) Howard and a delightfully stuck-up Hermione Gingold among others and the whole cast shines.
I hadn't watched The Music Man in several years and I was a tiny bit worried that my fond childhood remembrances were not going to hold up. I was incredibly pleased to throw those worries out the window and rediscover the fantastic film.
The RyMickey Rating: A
Check out the other films in my Personal Canon like Saving Private Ryan and Beauty and the Beast by clicking this link.
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