Category Archives: Best Picture-Musical or Comedy Golden Globe Winners

1961 Films, Best Picture Oscar Winners, Best Picture-Musical or Comedy Golden Globe Winners, Drama, Favorite Film of the Year, Musical, New York City, Romantic Drama, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

West Side Story-1961

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West Side Story-1961

Director Robert Wise, Jerome Robbins

Starring Richard Beymer, Natalie Wood

Top 250 Films #12

Scott’s Review #188

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Reviewed November 3, 2014

Grade: A

West Side Story is a 1961 musical (based on the Broadway stage production from the 1950s), during a period in Hollywood when every other film released seemed to be a version of an enchanting musical.

This particular film version is much darker than most of its contemporaries within this genre.

The dreary ending, fantastic and compelling in its dramatic elements, does not detract from the rest of the musical and its hum-along tunes.

West Side Story was crowned the 1961 Academy Award winner for Best Picture.

West Side Story is undoubtedly based on the Shakespearean tragedy of Romeo and Juliet- the Capulets and Montagues becoming rival teen street gangs of the Puerto Rican “Sharks” and the Polish”Jets,” with the lovesick teens Tony and Maria serving as Romeo and Juliet.

And yes, spoiler alert, the story does not end happily ever after.

Loads of suspension of disbelief must be taken- how many gangs sing and dance to each other, snapping their fingers in unison to perfectly choreographed beats?

Additionally, some gang characters do not look authentic, with clearly dyed hair, bronzed skin, or some other phony-looking get-up.

The film is a cherished friend, and these can be overlooked for my enjoyment of the film.

The story, set in 1950s New York City, pits the Sharks (a gang led by Bernardo) against the Jets (led by Riff), who have been bitter rivals for the turf of the rough streets of Manhattan’s west side for many years.

The gang’s girlfriends and one female, “Anybodys,” are in tow. She longs for the day when she can join the Jets and fight alongside the boys.

The other supporting characters primarily include various policemen (Lieutenant Schrank and Officer Krupke) who attempt to keep the gangs apart.

They also include a local shopkeeper, Doc, who is the story’s moral compass. Doc encourages the gangs to get along and questions the logic of gang fights.

After a scuffle, the gangs decide to fight after an upcoming dance, and the Jets elect Tony to face Bernardo.

The story is surprisingly dark, especially in the inevitable final act. Amid all this darkness, however, lies a musical with cheery, catchy numbers (I Feel Pretty, Jet Song) and love-struck tunes (Maria and Somewhere).

A musical about diversity and rivalry, the story centers on lovesick Maria and Tony, a la Romeo and Juliet, and their struggle to be together despite adversity from their friends and family due to their significantly different backgrounds.

Throughout the film, we get to know other characters well- Anita, the girlfriend of Bernardo, for example, played by Rita Moreno, is the stubborn yet likable best friend of Maria, who thinks that Maria and Tony are wrong for each other and that things just are not supposed to be that way when you mix cultural diversity.

The film moves along quickly, featuring standoffs, fights, and plots to eliminate the other gang, a failed attempt at a dance to bring the two groups together, and Tony and Maria sneaking off to meet.

The lack of chemistry between Natalie Wood (Maria) and Richard Beymer (Tony) is noticeable, primarily upon multiple viewings. Still, decades later, it is also challenging to imagine anyone else in either role—so ingrained is the duo in film culture.

The cultural diversity of much of the cast (Rita Moreno was the only Puerto Rican) is fascinating, as is the fact that most of the singing was dubbed by other singers.

Yet, the film still manages to work very well.

Oscar Nominations: 10 wins-Best Motion Picture (won), Best Director-Robert Wise and Jerome Robbins (won), Best Supporting Actor-George Chakiris (won), Best Supporting Actress-Rita Moreno (won), Best Screenplay Based on Material from Another Medium, Best Scoring of a Musical Picture (won), Best Sound (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing (won)

Golden Globe Nominations: 3 wins-Best Picture-Musical (won), Best Director-Motion Picture-Robert Wise, Best Performance by an Actor in a Motion Picture-Musical or Comedy-Richard Beymer, Best Performance by an Actor in a Supporting Role in any Motion Picture-George Chakiris (won), Best Performance by an Actress in a Supporting Role in any Motion Picture-Rita Moreno (won), New Star of the Year-Actor-George Chakiris, Richard Beymer

1965 Films, Best Picture Oscar Winners, Best Picture-Musical or Comedy Golden Globe Winners, Drama, Favorite Film of the Year, Musical, Musical Drama, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Sound of Music-1965

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The Sound of Music-1965

Director Robert Wise

Starring Julie Andrews, Christopher Plummer

Top 250 Films #18

Scott’s Review #49

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Reviewed June 20, 2014

Grade: A

The Sound of Music (1965) is a film that almost everyone has seen multiple times. It is undoubtedly ingrained in most people’s childhood memories, especially around the holiday season, and is a treasure to watch.

It is tough to be objective, since I’ve probably seen the film dozens of times and still appreciate and love it with each viewing.

Maria (Julie Andrews) is a pretty, young, free-spirited woman living in the gorgeous hills of Austria. We first meet her on a lush hilltop where she sings with the birds and enjoys life.

Although popular with the other nuns, she doesn’t quite fit in at Nonnberg Abbey, where she studies to become a nun.

She is sent to discover herself as the governess of seven nearby children. They are the children of well-known and now-retired Georg von Trapp (played by Christopher Plummer).

Since his wife died, no life or music exists inside the house. Maria brings life and music to all, transforming everyone’s existence into a happier one.

The threat of the powerful Nazis wishing to recruit a disapproving von Trapp adds tension.

Maria and the von Trapp family fall madly in love.

As a musical, it is top-notch and a hallmark of the genre. The songs are challenging to get out of one’s head (“The Sound of Music,” “Climb Ev’ry Mountain,” and “My Favorite Things” are personal favorites), but the list of gems goes on and on.

The political/Nazi story was lost on me as a child, but now I see the film does have a darker tone in the second half and becomes quite severe.

Indeed, since it is a family film, the details are glossed over a bit, but so what? The wonderful music makes The Sound of Music great and memorable.

The first half is wholesomely sugary, sweet, and safe, and, from what I’ve read, exceptionally loosely based on the real von Trapp family. However, this hardly matters, as escapism is sometimes needed.

I hate to dissect and overanalyze a film like this —a fantasy/musical extravaganza meant to be enjoyed, lighthearted and fun for everyone.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Robert Wise (won), Best Actress-Julie Andrews, Best Supporting Actress-Peggy Wood, Best Scoring of Music-Adaptation or Treatment (won), Best Sound (won), Best Art Direction, Color, Best Cinematography, Color, Best Costume Design, Color, Best Film Editing (won)

Golden Globe Nominations: 2 wins-Best Motion Picture-Musical or Comedy (won), Best Director-Motion Picture-Robert Wise, Best Performance by an Actress in a Leading Role-Musical or Comedy (won), Best Performance by an Actress in a Supporting Role in any Motion Picture-Peggy Wood

1968 Films, Best Picture Oscar Winners, Best Picture-Musical or Comedy Golden Globe Winners, Drama, Kids, Musical, Musical Drama, Period Drama, Top 100 Films, Top 250 Films, Top 50 Films

Oliver!-1968

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Oliver! -1968

Director Carol Reed

Starring Mark Lester, Ron Moody

Top 250 Films #38

Scott’s Review #203

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Reviewed December 10, 2014

Grade: A

Oliver! is a 1968 film based on Charles Dickens’ novel Oliver Twist, which was later adapted into a successful stage musical. Surprisingly, the film won the Academy Award for Best Picture that year.

This is not because Oliver! is poor; it is magnificent, but no one predicted it would take home the honor.

Telling the tale of the woeful orphan Oliver, the film comes across as a dark musical with a wholesome, happy-ending feel, largely because its musical compositions lend a cheerier tone.

When the film begins, Oliver lives in a despicable orphanage outside of London. A drawing of straws forces meek Oliver to ask for more gruel.

After being deemed a problem child, he is sold for cheap to an undertaker, where he is bullied. Defeated, Oliver makes his way towards the big city in hopes of finding his fortune.

He then meets sinister characters such as Fagin, the Artful Dodger, and Bill Sikes, as well as the sympathetic Nancy and Mr. Brownlow.

I love the musical numbers in the film, and for me, they are the film’s strongest aspect. The film would have been much darker without the musical numbers.

Numbers such as “Consider Yourself”, “Food, Glorious Food”, and “As Long As He Needs Me” stick with audiences for days.

The entertaining songs lighten the somber moments- as noted earlier, when meek Oliver dares to ask for more gruel, the enchanting “Food, Glorious Food” cannot help but be hummed along to, which lightens the mood of the scene.

I also enjoy how the film contains the long-ago popular trend of containing two acts with an intermission in between- very grand and classy, and an aspect of the film I wish would return in today’s movies.

The London art direction is magnificent, revealing a cold, industrial feel, mixed in with a warm, sunny atmosphere when Oliver stays at the palatial estate of Mr. Brownlow.

The bright and enchanting musical number “Who Will Buy?” is the perfect backdrop for this setting and my favorite number.

Nancy (Wallis) is one of the most complex characters- a prostitute, she happily sings, in denial about her life, in “It’s a Fine Life”, secretly wishing her life was better than it is.

Later, conflicted over helping Oliver or standing by her man, she sings a melancholy number, “As Long As He Needs Me”, which cements her role as a tragic, sad character.

However, as she leads a drunken barroom in a dance of “Oom-Pah-Pah”, the drama is thick when she attempts to help Oliver at the risk of putting her own life in severe jeopardy.

Shani Wallis fills the character with heart and feeling.

Oliver! is a much darker film than one might imagine.

Curiously rated G, the film should have at least been rated PG. The film’s heart is that of a children’s movie- to me personally, a turn-off- but the film is much stronger than that.

Some subject matters (like pedophilia) are toned down from Dickens’ novel, but not completely toned down.

Examples: the novel made clear overtones of child abuse by the thieves led by Fagin, yet there is none of that in the film.

Contrasting this, the film blatantly shows the brutal death of Nancy, albeit out of camera range, but the audience gets enough of a glimpse to ascertain what is happening.

The shooting and swinging death of Bill Sikes borders on brutality.

A glaring flaw is that Oliver’s voice is dubbed by a female singer rather than actor Mark Lester. To me, it’s pretty clear the voice isn’t male.

Oliver Reed, nephew of director Carol Reed, convincingly plays Bill Sikes.

Perfect around holiday time, Oliver! (1968) is a terrific musical drama to be enjoyed for eons to come.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Carol Reed (won), Best Actor-Ron Moody, Best Supporting Actor-Jack Wild, Best Screenplay Based on Material from Another Medium, Best Score of a Musical Picture-Original or Adaptation (won), Best Sound (won), Best Costume Design, Best Art Direction (won), Best Cinematography, Best Film Editing

Golden Globe Nominations: 2 wins-Best Motion Picture- Comedy or Musical (won), Best Director-Carol Reed, Best Actor-Comedy or Musical-Ron Moody (won), Best Supporting Actor-Hugh Griffith, Best Original Score, New Star of the Year-Actor-Jack Wild

1967 Films, Best Picture-Musical or Comedy Golden Globe Winners, Comedy, Drama, Favorite Film of the Year, Independent, Independent Comedy, Romantic Comedy, Romantic Drama, Top 100 Films, Top 250 Films

The Graduate-1967

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The Graduate-1967

Director Mike Nichols

Starring Dustin Hoffman, Anne Bancroft

Top 250 Films #57

Scott’s Review #335

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Reviewed January 9, 2016

Grade: A

The Graduate is an immeasurable success and highly influential comedy from 1967- a time when films were gaining creative freedoms and pushing the envelope in new, edgy ideas and risqué subject matter.

Almost scandalous at the time of release, the film holds up exceptionally well and remains fresh and cutting-edge.

It is slick, sophisticated, and quite funny, though peppered with dark humor.

Thanks to Dustin Hoffman and Anne Bancroft, the film succeeds and remains among my all-time favorites.

Hoffman plays Benjamin Braddock, a nervous and insecure recent college graduate who returns home to sunny California, unsure of what his future holds.

His overbearing parents throw a lavish celebration at their home, where Benjamin is flocked by well-wishers, most of whom have a materialistic edge to them. His parents live in a very affluent community where wealth and material possessions matter most.

All Benjamin wants is to be by himself. At the party, Benjamin is pursued by the much older and glamorous Mrs. Robinson (Bancroft), who lives nearby and asks Benjamin for a ride home.

Her attempted seduction sets the film’s narrative in motion as their relationship unfolds, especially when Mrs. Robinson’s daughter, Elaine (Katharine Ross), enters the picture and captures Benjamin’s heart.

Director Mike Nichols sets the right tone for the film, and we see the style and sophistication of wealthy 1960s California.

Fashion, style, and glamour are prevalent, but they run counter to what Benjamin and Elaine stand for.

The film also explores generations. Benjamin’s parents and all their friends are into material things like cars, houses, and parties.

The triangle between Benjamin, Mrs. Robinson, and Elaine is the film’s heart. At first, we find ourselves rooting for Benjamin and Mrs. Robinson. Their romance has a sweet quality.

She is the aggressor- mature, in control, and confident, whereas Benjamin is insecure and shy, yet enamored with Mrs. Robinson.

Their awkward exchange in the hotel bar and their liaison in the hotel room are fantastic scenes.

Slowly, once Elaine emerges, Mrs. Robinson becomes more manipulative, taking on a villainous role as the youngsters’ love blossoms, and we begin to root for their happiness.

A fantastic aspect of The Graduate is its musical soundtrack, which was composed entirely by Simon and Garfunkel, a central musical duo of the late 1960s, from the opening chords of ‘The Sound of Silence ‘ to the appropriate ‘Mrs. Robinson’, the music adds life and energy to the film and helped attract young viewers at the time.

The featured soundtrack was highly influential to other films released after The Graduate.

Still fresh today, The Graduate (1967) launched the very successful career of Dustin Hoffman and emerged as an inspirational film that, though controversial in its day, seems tame now; however, the writing remains as crisp as ever.

A film to watch over and over again.  

Oscar Nominations: 1 win– Best Picture, Best Director-Mike Nichols (won), Best Actor-Dustin Hoffman, Best Actress-Anne Bancroft, Best Supporting Actress-Katharine Ross, Best Screenplay Based on Material from Another Medium, Best Cinematography

Golden Globe Nominations: 6 wins-Best Motion Picture-Comedy or Musical (won), Best Director-Mike Nichols (won), Best Actress-Comedy or Musical-Anne Bancroft (won), Best Supporting Actress-Katharine Ross, Best Screenplay (won), New Star of the Year-Actor-Dustin Hoffman (won), New Star of the Year-Actress-Katharine Ross (won)

1959 Films, Best Picture-Musical or Comedy Golden Globe Winners, Black & White, Comedy, Crime Drama, Drama, Top 100 Films, Top 250 Films

Some Like It Hot-1959

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Some Like It Hot-1959

Director Billy Wilder

Starring Marilyn Monroe, Jack Lemmon, Tony Curtis

Top 250 Films #88

Scott’s Review #388

Reviewed March 26, 2016

Grade: A

Considered one of the best comedies ever made, Some Like It Hot (1959) is a funny, outlandish, yet controlled film that never goes too over the top or dives into outrageous camp. Instead, it is well-written, well-acted, and contains excellent chemistry between the stars.

In summary, it is a film in which all the elements come together just right. In film comedy, this is an infrequent occurrence. Instead, we are typically treated to formulas or retreads of past successes.

Some Like It Hot feels refreshing and brilliant.

The film was also monumental in paving the way to the eventual elimination of the hated Hays Code, which imposed many restrictions on American cinema from 1930 to 1968.

Some Like It Hot pushed the envelope in essential ways, leading to a spike in creativity and art within the film industry that lasted mainly throughout the 1960s and 1970s.

For that, it is a masterpiece.

Down on their luck, broke, and needing work, Jerry and Joe (Jack Lemmon and Tony Curtis) are struggling jazz musicians seeking a meager existence in snowy Chicago.

Having witnessed the St. Valentine’s Day massacre, they go on the run from the assailants, who have seen them, and pose as Josephine and Daphne, dressed in drag.

This leads to one humorous situation after another as they take the bus from Chicago to Miami with an all-girl musical band, a sort of slumber party led by boozy starlet Sugar Kane (played by Marilyn Monroe), who serves as the band’s vocalist and ukulele player.

Once arriving in sunny Miami, “the girls” find themselves entangled in romantic relationships with Sugar and the wealthy millionaire Osgood Fielding III, which leads to some blatant comic antics.

Josephine poses as a male Shell Oil Junior, attempting to woo Sugar with his assumed riches in the oil business.

What makes Some Like It Hot work so well is that it does not go too far over the edge to seem campy, nor does it play it too straight. This perfect balance makes the film rich with natural, fresh comedy.

Director Billy Wilder chose to film in black and white, avoiding Lemmon and Curtis looking ridiculous with colorful, bright makeup. This was toned down and muted to allow for greater believability.

Additionally, the film’s subtle edginess impresses me with each passing watch. Some Like It Hot got away with a lot in 1959, considering the restrictions, and that knowledge gives it a groundbreaking quality.

There is an air of homosexuality throughout, and the final line is my favorite, allowing for a thought-provoking interpretation.

When Daphne reaches her breaking point with Osgood’s romance and yanks off his wig, she professes exasperation, “I am a man!! Only to hear Osgood’s startling reply, ‘Well, nobody’s perfect,’ is clever dialogue.

Did Osgood know all along that Daphne was male? Will he marry ‘her’ anyway?

Who wouldn’t have blushed gazing at Monroe’s skin-colored and quite revealing outfit? It gave the impression that she was nude and showed how funny Lemmon and Curtis’s physical comic timing together is.

Bumbling around in stockings, heels, and dresses, attempting to be feminine but never quite succeeding, makes all the other characters think they are women, which is excellent.

Curtis was reportedly quite uncomfortable in drag, which shows on camera, but this works out well, giving Josephine a natural awkwardness.

Lemmon went all out in his costumes, and his energy came across.

In my opinion, although not looking her best, slightly plump and tired, Marilyn Monroe still gives the film added life and charm, and who is not mesmerized by her on stage singing “You Wanna Love Me”?

To think that Monroe died only three short years later is sad, and it highlights the appreciation for her career in its final stages.

A risqué, laugh-out-loud, funny treat, Some Like It Hot resonates with me and did so with audiences upon release in 1959.

Comical, thoughtful, and highly influential, the film is a must-see for fans of honest and cliché-free film comedy.

It is a blueprint for all witty comedies to follow.

Oscar Nominations: 1 win-Best Director-Billy Wilder, Best Actor-Jack Lemmon, Best Screenplay Based on Material from Another Medium, Best Art Direction, Black-and-White, Best Cinematography, Black-and-White, Best Costume Design, Black-and-White (won)

Golden Globe Nominations: 3 wins-Best Picture-Comedy (won), Best Performance by an Actor in a Motion Picture-Musical or Comedy-Jack Lemmon (won), Best Performance by an Actress in a Leading Role-Musical or Comedy-Marilyn Monroe (won)

1951 Films, Best Picture Oscar Winners, Best Picture-Musical or Comedy Golden Globe Winners, Comedy, Musical, Paris, Romantic Comedy, Top 250 Films

An American in Paris-1951

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An American in Paris-1951

Director Vincente Minnelli

Starring Gene Kelly

Top 250 Films #113

Scott’s Review #120

Reviewed July 19, 2014

Grade: B+

A classic film directed by Vincente Minnelli, An American in Paris is a musical from 1951 set in marvelous Paris- though, to be fair, the entire movie, save for the opening scenes of Paris, is shot exclusively on a sound stage.

Gene Kelly stars as Jerry Mulligan, a struggling American artist who lives in a quiet neighborhood with his best friend, Adam Cook.

Jerry optimistically sings and tap-dances his way through life, befriending neighbors and school kids and spending time at the local cafe until he is finally noticed by wealthy art buyer Milo, played by Nina Foch.

This sets off a quadrangle when Jerry falls for youthful Lise (Leslie Caron), already dating a suave French singer, Georges Guetary.

An American in Paris is a cheerful fantasy film. It is bright and colorful and filled with musical numbers and dancing.

Highlights in this department are “‘S Wonderful” and “I Got Rhythm”.

The brilliance lies in the incredible eighteen-minute epic finale, which features Gene Kelly’s ballet on Parisian sets designed by various artists. It is as innovative as anything in film history.

The film’s drawback is the lack of chemistry between Kelly and Caron, which I notice more with each passing viewing.

There is more chemistry between Kelly and Foch, who is meant to be the odd woman out, and I still find myself rooting for them rather than the intended couple.

I love that none of the four characters in the story is a villain, which adds to the film’s merry feel.

The predictable ending is fantastic and romantic.

An American in Paris won the 1951 Best Picture Oscar, upsetting the heavily favored A Streetcar Named Desire.

Oscar Nominations: 6 wins-Best Motion Picture (won), Best Director-Vincente Minnelli, Best Story and Screenplay (won), Best Scoring of a Musical Picture (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing

Golden Globe Nominations: 1 win-Best Motion Picture-Musical or Comedy (won), Best Director-Motion Picture-Vincente Minnelli, Best Performance by an Actor in a Motion Picture-Musical or Comedy-Gene Kelly

1962 Films, Best Picture-Musical or Comedy Golden Globe Winners, Musical, Top 250 Films

The Music Man-1962

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The Music Man-1962

Director Morton DaCosta

Starring Robert Preston, Shirley Jones

Top 250 Films #192

Scott’s Review #929

Reviewed August 9, 2019

Grade: A

The big-screen offering of The Music Man (1962) is based on the 1957 Broadway musical of the same name, written by Meredith Wilson, and one of the most upbeat Hollywood renditions of stage productions.

Featuring talented stars like Robert Preston and Shirley Jones, the former appearing in the stage version, the film was one of the biggest hits of the year.

It is to be watched and re-watched whenever the mood strikes for sing-along tunes and a cheery story told from a purely Americana viewpoint.

In the summer of 1912, deceitful traveling salesman Harold Hill (Preston) arrives in River City, Iowa, intent on swindling the town folks out of their money.

Masquerading as a traveling music instructor, he plans to trick parents into enrolling their kids in a marching band and selling the instruments.

He uses scare tactics to instill fear in the gullible parents and romantically sets his sights on the local librarian, Marian (Jones). Marian, distrustful of men, slowly falls in love with Harold, and his plot is eventually discovered, resulting in a witch hunt.

Of the plethora of musical releases bombarding Hollywood throughout the 1950s and 1960s, The Music Man arguably possesses the catchiest tunes and spirit.

It is impossible not to hum along to or tap one’s foot to the songs, which stick in the viewer’s heads for days after watching the addictive production.

My favorites are “Seventy-Six Trombones”, “Gary, Indiana”, and “Pick-a-little, Talk-a-little” as each has distinctive melodies, rhymes, and rapid-fire dialogue.

The soundtrack always pleases on the gloomiest days and speaks volumes about the legs the musical contains.

Besides the tunes, The Music Man’s best aspect is its romantic storyline. Preston and Jones’s chemistry is complete, and they are perfectly cast.

The studio wanted “a big name,” so Preston nearly didn’t make the cut, which would have been a shame. By infusing life and humor into a character who could be perceived as dastardly, he tips the likability scale and makes the character the hero.

Jones is a treasured singer and is just as good as Preston, playing the mousy and serious Marian. Her “slice of the Midwest” innocence and blonde hair portray her as corn-bred, but the actress makes the character work for her.

Together, the duo is sensational.

The best sequence in which the pair appears is the remarkable “Marian the Librarian,” a sneaky and naughty number—the most adult rendition. Their mutual attraction becomes evident, and the film brings the audience to its knees at this moment.

The musical is purely a slice of Americana, which may limit its popularity across oceans, but it works and feels authentic. This is no surprise, given that composer Willson hails from the Midwest.

With an uplifting message and a nostalgic ode to a country once filled with promise and innocence, the film is arguably even more critical in today’s divisive environment.

The piece wisely does not celebrate small-town cliches but instead offers a wholesome message. The townsfolk sing and dance together and celebrate life as a neighborly bunch; this nuance is refreshing.

The supporting cast adds flavor and comedy to the production. A very young child actor, soon-to-be-famous director Ron Howard, offers a heartfelt performance of “Gary, Indiana.”

Character actors Paul Ford and Hermione Gingold offer delightful hysterics as Mayor Shinn and his wife, Eulalie.

Oklahoma (1955) and Picnic (1955) are thematically similar, at least from geographical and time-period perspectives, but distant relatives in mood and drama.

All three could be watched in one marathon weekend.

The Music Man (1962) provides the most warmth and, at its conclusion, will fill even the most stone-faced individuals with beaming smiles.

The film version is a perfect example of a stage musical successfully brought to the silver screen with energy and gorgeous singing and dancing.

Oscar Nominations: 1 win-Best Picture, Best Scoring of Music-Adaptation or Treatment (won), Best Sound, Best Art Direction, Color, Best Costume Design, Color, Best Film Editing

Golden Globe Nominations: 1 win-Best Picture-Musical (won), Best Director-Motion Picture-Morton DaCosta, Best Performance by an Actor in a Motion Picture-Musical or Comedy-Robert Preston, Best Actress in a Leading Role-Musical or Comedy-Shirley Jones, Best Performance by an Actress in a Supporting Role in any Motion Picture-Hermione Gingold, Best Original Score-Motion Picture

1964 Films, Best Picture Oscar Winners, Best Picture-Musical or Comedy Golden Globe Winners, Comedy, Drama, Musical, Musical Comedy, Musical Drama

My Fair Lady-1964

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My Fair Lady-1964

Director George Cukor

Starring Audrey Hepburn, Rex Harrison

Scott’s Review #938

Reviewed September 6, 2019

Grade: A-

Winner of the Best Picture Academy Award (it would not have been my choice), My Fair Lady (1964) is a good adaptation of the stage version, which is, in turn, based on the famous 1913 stage play Pygmalion by George Bernard Shaw.

The musical’s central negative aspect is its casting choices. Hepburn and Harrison have only mediocre chemistry, and Hepburn does not sing.

However, the film is enchanting and filled with lavish sets, colorful costumes, and earnest songs, making it entertaining for the whole family.

The iconic Eliza Doolittle (Hepburn) and Henry Higgins (Harrison) are household names to every fan of the musical genre.

Set in London, the sophisticated and arrogant Professor Higgins, a scholar of phonetics, is intent on proving that the tone and accent of one’s voice determine one’s lot in society.

As an experiment, he chooses flower saleswoman Eliza, with her horrid Cockney accent, and is determined to crown her duchess at a ball.

Unaware of his scheme but soon to find out she has been had, romance eventually blooms as the song “I’ve Grown Accustomed to Her Face” becomes essential.

My Fair Lady is quite the epic, with a runtime of two hours and fifty-two minutes, which is lofty for a film.

The misty London setting adds layers of mystique and atmosphere, and the cinematography drizzles with color and pizzazz, making the overall content look fantastic.

Because of the film’s length and magnificent trimmings, the production looks like a spectacle, reminiscent of the elegant extravagance of the 1950s and 1960s, when musicals made into films were grand and robust.

It’s no wonder it won Best Picture, Best Director, and many other awards. Hollywood loves this film.

When dissected and analyzed, social and class systems are a large part of the film amid the cheery singing, dancing, and big-screen bombast.

Social status and hints of socialism pepper the production, rising way above the fluff it could have been if just a “boy from the good side of the tracks meets girls from the wrong side.”

Eliza’s father, Alfred (Stanley Holloway), a waste collector, is also an opportunist. He sings his story during “With a Little Bit of Luck.” The differences between the “haves” and the “have-nots” are evident.

Since the chemistry is limited, I never bought Harrison and Hepburn as a romantic duo.

The teacher/student angle somewhat works, though it’s always bothersome, but Henry’s self-assured behavior and superior attitude make him tough to root for.

The controversy surrounding the film includes the decision to dub nearly all of Hepburn’s singing with another singer’s voice. This devastated the actress and cost her an Academy Award nomination. Her snub is especially jarring, given the dozen other nominations it received.

The story is heartwarming and follows the like-minded theme of a hero rescuing a damsel in distress.

Hints of Cinderella (1950) and even Pretty Woman (1990) glisten, with only a hint of male chauvinism that does not ruin the experience or reduce the film to a dated guy film, as with Pretty Woman.

“I’m an Ordinary Man” describes how women ruin men’s lives and is not the most progressive or female-friendly of all the numbers.

My Fair Lady (1964) is a film from the past that begs to be viewed on the big screen so that all its qualities can be enjoyed.

Like Lawrence of Arabia (1963), it is best viewed in a wide-angle, enormous theater setting to ensure that all its aspects are noticed and enjoyed.

It’s a Hollywood film done tremendously well. Young viewers would be wise to be exposed to this film to delight in the cinematic treats.

Oscar Nominations: 8 wins-Best Picture (won), Best Director-George Cukor (won), Best Actor-Rex Harrison (won), Best Supporting Actor-Stanley Holloway, Best Supporting Actress-Gladys Cooper, Best Screenplay Based on Material from Another Medium, Best Scoring of Music-Adaptation or Treatment (won), Best Sound (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing

Golden Globe Nominations: 3 wins-Best Motion Picture-Musical or Comedy (won), Best Director-Motion Picture-George Cukor (won), Best Performance by an Actor in a Motion Picture-Musical or Comedy-Rex Harrison (won), Best Performance by an Actress in a Leading Role-Musical or Comedy-Audrey Hepburn, Best Performance by an Actor in a Supporting Role in any Motion Picture-Stanley Holloway

1955 Films, Best Picture-Musical or Comedy Golden Globe Winners, Musical

Guys and Dolls-1955

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Guys and Dolls-1955

Director Joseph L. Mankiewicz

Starring Marlon Brando, Frank Sinatra, Jean Simmons 

Scott’s Review #887

Reviewed April 19, 2019

Grade: B+

The interesting pairing of Marlon Brando and Frank Sinatra in the playful musical Guys and Dolls (1955) provides enough bombast and playboy inclinations to make the music lively and entertaining.

Though not one of my all-time favorites in the genre, the film keeps pace with a nice flow and hearty musical numbers, successfully transferring the Broadway show to the big screen with an endearing production.

Nathan Detroit (Sinatra) is a full-fledged gambler who lives and breathes the sport.

Although he is commonly criticized for his deeds, the police are clamping down on the shenanigans around town. He is desperate to obtain a deposit for the use of a secret venue that allows gambling.

Spotting acquaintance and fellow gambler Sky Masterson (Brando) the duo embark on a ridiculous and hilarious bet involving Sky’s invitation to dinner in Havana, Cuba with Sarah Brown (Jean Simmons) a devout religious figure and non-gambler.

Predictably, events spiral out of control with romance, misunderstandings, and charming musical numbers.

The setup is plot-driven but forgivable, given the fun involved. We are sure Masterson will fall head over heels for the missionary and seemingly unattainable Sarah.

Will he get the girl? Will she forgive him when she realizes what Masterson and Nathan have hatched at her expense? Of course, the fun is in the revelations as the film goes along.

Naturally, Nathan has his antics. He must marry his years-long intended, Adelaide (Vivian Blaine), because he lost a different bet.

The premise, plot, and conclusion all feel rather frivolous and chauvinistic in the modern world, as do many 1950s productions.

The film clearly shows a naughty guy meeting a good girl. The guy pursues the girl, gets her, and then rides into the sunset. The overall production is not cutting-edge or particularly progressive, but it is okay because of the fun and good chemistry among the characters.

Brando and Sinatra possess as much chemistry together as Brando and Simmons do.

The conclusion is satisfying and wrapped neatly like a tidy Christmas bow. To no one’s surprise, both couples tie the knot in beautiful style as all the misfires and misunderstandings end with a double wedding in Times Square, with Sky marrying Sarah and Nathan marrying Adelaide.

A perfect climax and a way to show the bright and bustling New York City amid a romantic backdrop can forgive any other weaknesses the film may contain.

What makes the film rise above standard fare and mediocrity as an overall piece is the wonderfully adorable tunes and the pairing of Sinatra a Brando.

The actor-turned-singer Brando and the singer-turned-actor Sinatra crackle with harmony as they play off each other in style.

The clap-along “Sit Down You’re Rockin’ the Boat” never fails to get any audience on its feet, and the clever “Luck Be a Lady,” a classic Sinatra standard, still resonates today.

The art direction, cinematography, costumes, and music all wrap the film together nicely, giving it a tight, well-muscled, extravagant feel with maturity and richness that is perfect for the decade in which it was released.

Guys and Dolls sits beside other musicals with a style all its own. A handful of Oscar nominations followed, though none were for the top honors of Picture or any acting nominations.

The 1960s brought a decidedly darker texture to cinema, leaving many 1950s films feeling dated or superfluous compared to more essential story directions.

While this is the case with Guys and Dolls (1955), there also exists an innocence in watching the pure and charming character relationships and the resulting fun and frolicking.

A lively musical score, the bright lights of New York City, and the unusual locale of Cuba make the film lovely entertainment.

Oscar Nominations: Best Scoring of a Musical Picture, Best Art Direction, Color, Best Cinematography, Color, Best Costume Design, Color

Golden Globe Nominations: 2 wins-Best Motion Picture-Musical or Comedy (won), Best Performance by an Actress in a Leading Role-Jean Simmons (won)

1954 Films, Best Picture-Musical or Comedy Golden Globe Winners, Drama, Musical, Musical Drama

Carmen Jones-1954

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Carmen Jones-1954

Director Otto Preminger

Starring Dorothy Dandridge, Harry Belafonte

Scott’s Review #736

Reviewed April 3, 2018

Grade: B+

It was pretty taboo at the time of release (1954) because it featured an all-black cast with no white members. Carmen Jones is to be celebrated for her contribution to film history for this groundbreaking feat alone.

Directed by Otto Preminger (who, ironically, is Caucasian), the film features legendary actress Dorothy Dandridge in a Marilyn Monroe-style performance worthy of the stars’ talents.

The film is a musical with an inevitable tragedy at the conclusion.

The 1954 feature is based on a 1943 stage production of the same name, based on the music of the famous 1875 Georges Bizet production of Carmen.

These facets add to the film’s richness, as it is layered with solid historical detail, and the well-known tragic elements make the conclusion unsurprising.

Brazen and beautiful, Carmen is a seductress who works in a parachute factory in North Carolina during World War II.

After trading fists with a co-worker, Carmen is jailed and assigned to handsome Corporal Joe (Harry Belafonte), who is to escort her to the authorities.

While Carmen is not shy about pursuing the young man, his fiancée, virginal Cindy Lou, fumes and schemes to keep her man.

The result is a triangle. Carmen and Joe eventually fall madly in love, leaving poor Cindy Lou behind, but their love faces hurdles.

The somewhat lighthearted first portion of the film, with coquettish humor, is offset by a much darker path it takes.

As Carmen and Joe finally profess their love and share a night of passion, she leaves him in the middle of the night, unable to endure prison time.

This results in Joe being imprisoned, as the couple ultimately cannot stay apart despite repeated obstacles to their happiness.

An additional character, a boxer named Husky, with designs on Carmen, is introduced, complicating matters.

In a sad form, much like the opera Carmen, the final scene is devastating and startling as Joe treads a dark, gloomy path of destruction. The character of Joe is nuanced- at first, a “nice guy”; the character is an example of complexity and what a man will do for love.

The viewer wonders what will become of Joe and how he could risk his life performing an act in the heat of passion.

In 1954, what a profound and fantastic role for a female, let alone a black female. Typically cast in roles such as maids, servers, or even less glamorous parts, Dandridge was wonderful to see capture a challenging role of this caliber.

She is a vixen as she sinks her teeth into the meaty and flirtatious Carmen.

Dandridge’s pizzazz, flair, and singing and dancing performances made her a star, and she is forever known as a groundbreaking talent.

There cannot be enough said about the importance of casting all-black actors in Carmen Jones. Monumental, of course, given the time.

The result is a film of significance to black culture, showing that they no longer needed to appear in “white films” as supporting players but could carry a movie on their own.

How profound and remarkable this was!

My only criticism of the film is undoubtedly related to the progress made for black actors and characters, though there is still plenty more work to be done.

At times, the filming feels a shade dated (there are more great roles for black actors now) and has a slightly grainy look.

Some of the supporting characters’ acting is also not the strongest, but as Carmen Jones is a historical film, liberties must be taken.

Thanks to the genius and the funding of Preminger, who needed to produce the film independently due to a lack of interest, the result is a film that has gone down in history as worthy, edgy, and open-minded.

Wisely casting talented stars with great pipes, the film is a solid success.

Oscar Nominations: Best Actress-Dorothy Dandridge, Best Scoring of a Musical Picture

Golden Globe Nominations: 2 wins-Best Motion Picture-Musical or Comedy (won), New Star of the Year-Actor-Joe Adams (won)

1956 Films, Best Picture-Musical or Comedy Golden Globe Winners, Musical

The King and I-1956

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The King and I-1956

Director Walter Lang

Starring Yul Brynner, Deborah Kerr

Scott’s Review #26

671936

Reviewed June 17, 2014

Grade: B

The King and I (1956) is another of the many Rodgers and Hammerstein musicals that dominated the 1950s and 1960s film era.

Having seen the stage version, I found the film contained two gigantic stars of the period (Yul Brynner and Deborah Kerr), with Brynner making this role his legacy.

The story is similar to The Sound of Music, as the teacher takes on the King’s children, but it is not quite as gripping, and the chemistry among the leads is not entirely there.

The Bangkok palace set and the costumes are stylish and fantastic in design.

As a whole, the songs are not as memorable as those in some other similar musicals, but that is to be expected given the magnificence.

Much of the cast is not Asian, a characteristic of the stage version that is often overlooked and accepted. This is not a criticism, merely a notice.

It’s a lovely musical, but not as enjoyable as others, and it’s still worth watching.

Oscar Nominations: 5 wins-Best Motion Picture, Best Director-Walter Lang, Best Actor-Yul Brynner (won), Best Actress-Deborah Kerr, Best Scoring of a Musical Picture (won), Best Sound Recording (won), Best Art Direction-Color (won), Best Cinematography, Color, Best Costume Design, Color (won)

Golden Globe Nominations: 3 wins-Best Motion Picture-Musical or Comedy (won), Best Actor in a Motion Picture-Musical or Comedy-Yul Brynner (won), Best Performance by an Actress in a Leading Role-Musical or Comedy-Deborah Kerr (won), Promoting International Understanding

1960 Films, Best Picture Oscar Winners, Best Picture-Musical or Comedy Golden Globe Winners, Comedy, Drama, New York City, Romantic Comedy, Romantic Drama

The Apartment-1960

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The Apartment-1960

Director Billy Wilder

Starring Jack Lemmon, Shirley MacLaine

Scott’s Review #7

Reviewed June 17, 2014

Grade: A-

The Apartment (1960) is another gem by Billy Wilder (Sunset Boulevard-1950, The Lost Weekend-1946).

This one is set in 1959 New York City, a setting and period I adore.

The black-and-white images effectively portray the loneliness and bleakness of the characters, who are all friendless, sad, and starved for love.

It questions social morality and getting ahead in the corporate world but goes from drama to romantic comedy with no sappiness.

Quite the contrary, as the film has dark moments of despair and angst.

The film influenced the television series “Mad Men”. As with most Billy Wilder films, there is a darkness of humanity, which is fascinating to watch.

Jack Lemmon and Shirley MacLaine are terrific, but their chemistry is lacking. Despite this, the film is still excellent.

The Apartment (1960) won the Best Picture Oscar.

Oscar Nominations: 5 wins-Best Motion Picture (won), Best Director-Billy Wilder (won), Best Actor-Jack Lemmon, Best Actress-Shirley MacLaine, Best Supporting Actor-Jack Kruschen, Best Story and Screenplay Written Directly for the Screen (won), Best Sound, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White, Best Film Editing (won)

Golden Globe Nominations: 3 wins-Best Picture-Comedy (won), Best Director-Billy Wilder, Best Performance by an Actor in a Motion Picture-Musical or Comedy-Jack Lemmon (won), Best Performance by an Actress in a Leading Role-Musical or Comedy-Shirley MacLaine (won)