The Music Man (1962)

The acting in this movie is really good.

The best films of this genre always show a path and provide a takeaway for being a better person.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Pretending to be an esteemed music professor, a fast-talking conman plans to swindle the residents of the small Iowa town by forming a band that requires expensive costumes and instruments in this big screen version of Meredith Wilson's hit Broadway play. While there are some memorable songs and well choreographed dance routines ("Shipoopi" stands out in particular), the film is mostly carried by the energy that Robert Preston brings to the lead role. He also manages to make his somewhat despicable character likable despite his flaws. In fact, one of the film's best elements is how he unexpectedly brings hope and joy to the lives of so many youngsters when all that drives him (at least initially) is the con. Co-lead Shirley Jones is less effective, though much of that has to do with how the character is written. Described as an "old maid" and pitched as love interest for Preston (who looks old enough to be her father!), it feels like a part written for a much older actress. The way Jones quickly flips from being scrupulous of Preston to falling in love with him never quite feels right either and the pair lack romantic chemistry together. Fortunately, much of the film focuses instead on Preston inadvertently changing the town for the better and between the detailed costumes and catchy music, this remains a pleasant enough musical experience.

This review contains spoilers. The ending is brilliant. It is an intelligent, yet subtle statement on American consumerism. At the end, we see that the Town has bought the lie, they allowed themselves to be grifted and were so delusional and desperate to believe that their children weren't horrible musicians that we the viewer are witnessing a unified mass hysteria taking place. During this surreal moment, the uniforms that once were filthy rags, change to beautiful band outfits, and the band begins to play like John Sousa himself. The reason I reached this conclusion is that through out the film, we see no signs of magic, or fantasy, thus the ending is either done because they couldn't come up with an ending and whipped out a "magical anomaly", or this was a deftly crafted representation of the American citizen so willing to be lied to , and an examination at the happiness they feel when they buy a product and the weird yet fantastical reality that they then delve into after acquiring that product, believing their lives are better and now they are better than others. I gave this film a ten, because it is a classic, yet on a much deeper level than is comfortable for us to view openly.

I haven't seen this musical for years and was watched it recently - it wore very well. What strikes me about this musical is that it seems like a labor of love for the author. Quirky characters in a small early 20th century mid-western town are portrayed affectionately - there is no edginess or cynicism. For example, the mayors wife, with her 'ladies auxiliary for classical dance' performing 'Grecian Urns' is very gently poked fun at, without ever being nasty. It reminds me a bit of Mayberry RFD (which I am also a fan of). Besides having lots of great tunes and funny lines, what really makes this movie for me is the casting. Robert Preston and Shirley Jones are as close to perfect for the leads as I can imagine. Like the movie 'Casablanca', what really sets this apart is the amazing collection of character actors assembled - Paul Ford, Hermione Gingold, Pert Kelton, Harry Hickox, Buddy Hackett and a very young Ron Howard. There are a few little things that mar it - during the 'pick a little' routine, the director can't resist cutting to a shot of real live chickens. I mean, we get it - why not trust people to draw their own conclusion? Small flaws in editing and directing aside, this is by far and away my favorite musical.

By the early 1960s, musicals were, for the most part, passé in Hollywood. While a few really exceptional musicals would be made in this era (such as "My Fair Lady", "Oliver!" and "The Sound of Music"), the output of musicals was a tiny fraction of Hollywood during the 1930s, 40s and 50s. It was the final gasps of the genre--albeit some very strong and enjoyable gasps. One of the better ones of this time clearly is "The Music Man". While the ending really was very poor (more about that later), the sets and costumes are very lovely and nostalgic. And, most importantly, the songs are simply great! Robert Preston reprises his Tony Award-winning role as Professor Henry Hill--a shyster traveling salesman who is about to bilk yet another small town out of their money. His m.o. is this--he pretends to be a musical professor and convinces everyone to buy his overpriced musical instruments. He convinces them that it's easy for the town to create a band and become great--even though he apparently can't read music or play anything...except a con-game! Amazingly, the folks in this Iowa town are all complete idiots--and quickly fall for his routine. The only exception is the LOVELY town librarian, Marian (Shirley Jones). Soon she learns the truth--and at this point the film is simply terrific. However, what she does with this information makes no sense at all and the film loses a couple points in the final portion because of this as well as the town's reaction (though a hanging might have been more realistic, it would have been a bit dark!). In addition, while the songs are WONDERFUL, "Shipoopi" isn't. It, like the title, is pretty dumb--though the dance number is quite nice...but...SHIPOOPI?!?! Uggh! It has to rank as one of the dumber songs in film history. But, looking past the film's faults, it is a delight in so many other ways that it's still well worth seeing. Full of high energy and fun---it's still a lovely little film.