Oscar Hammerstein II Movies

In this animated adaptation of the popular musical, British widow Anna Leonowens (voiced by Miranda Richardson, with singing by Christiane Noll) and her ten-year-old son Louis (Adam Wylie) travel from London to Siam in 1863. The King of Siam (Martin Vidnovic) has requested a proper English governess to teach his Royal children about the western world, from which he feels his nation can no longer remain isolated. While the King is an absolute monarch bound to uphold the traditions of his country, he is also a man of science. Uncertain about change, he realizes he must lead Siam to find its place in the world, but there are many roadblocks ahead. Anna begins to teach not just the children but also the King. The two strong-willed individuals immediately clash, but Anna soon proves an able advisor, convincing the King not to fight the approaching British emissaries, but to throw them a grand ball instead. There he will convince the world he is the modern monarch of a civilized country. Kralahome (Ian Richardson), the Prime Minister of Siam, has other ideas. As the Royal Astrologer, Kralahome possesses the ability to create powerful and horrific illusions to prey on the fears of his enemies, and he has his own plans for the country. He seeks to rule the nation but he must first get rid of the King. He plans to show the British that the King is a barbarian who should be removed from office, and only a man of Kralahome's sophistication can properly lead the people. With his bumbling assistant, Master Little (Darrell Hammond), the Prime Minister hatches a plot to dethrone the King. ~ Ron Wells, Rovi

Seen on ABC's Wonderful World of Disney, this $12-million production is the only musical Rodgers and Hammerstein wrote for television. The CBS-TV original, with 21-year-old Julie Andrews in the title role and Edie Adams as the Fairy Godmother, played on live television March 31, 1957 to TV's largest audience ever to that date (107-million viewers). That historic production, captured on kinescope, can still be seen today on library monitors at the Museum of Television & Radio in New York and Los Angeles. Hammerstein died in 1960 and did not get to see 18-year-old Lesley Ann Warren as Cinderella in the February 22, 1965 restaged production, repeated annually on CBS until 1977 and later made available on videotape from CBS/Fox Video and Facets Multimedia. Added to the 1965 show was "Loneliness of Evening", a song actually written for South Pacific but cut before the Broadway opening.

Running a half-hour longer, this third interpretation premiered November 2, 1997. Filmed over a 28-day period, it stars Brandy Norwood as Cinderella and Whitney Houston as the Fairy Godmother, with Bernadette Peters as the Stepmother, Whoopi Goldberg as the Queen (wearing $60 million worth of borrowed Harry Winston jewelry), Paolo Montalban as the Prince, and Jason Alexander as the Prince's steward, Lionel. Scripter Robert L. Freedman provided a rewrite of the original Oscar Hammerstein book, and three other Richard Rodgers songs were added to the existing score: "There's Music in You" (from the 1953 movie musical Main Street to Broadway), "The Sweetest Sounds" (a Brandy/Montalban duet), and "Falling in Love with Love". Originally set in motion as a follow-up to the highly successful TV Gypsy (1993) with Bette Midler, this 1997 multicultural version (sometimes referred to as the "rainbow Cinderella") was years in the making, since it was initiated in 1994 when Houston joined executive producers Craig Zadan and Neil Meron (the team responsible for the TV Gypsy). ~ Bhob Stewart, Rovi

One of the most popular movie musicals of all time, The Sound of Music is based on the true story of the Trapp Family Singers. Julie Andrews stars as Maria, a young nun in an Austrian convent who regularly misses her morning prayers because she enjoys going to the hills to sing the title song. Deciding that Maria needs to learn something about the real world before she can take her vows, the Mother Superior (Peggy Wood) sends her off to be governess for the children of the widowed Captain Von Trapp (Christopher Plummer). Arriving at the Trapp home, Maria discovers that her new boss is cold and aloof, and his seven children virtual automatons-at least, whenever the Captain is around. Otherwise, the kids are holy terrors, as evidenced by the fact that Maria is the latest in a long line of governesses. But Maria soon ingratiates herself with the children, especially oldest daughter Liesl (Charmian Carr), who is in love with teenaged messenger boy Rolf. As Maria herself begins to fall in love with the Captain, she rushes back to the Abbey so as not to complicate his impending marriage to a glamorous baroness (Eleanor Parker). But the children insist that Maria return, the Baroness steps out of the picture, and Maria and the Captain confirm their love in the song "Something Good." Unhappily, they return home from their honeymoon shortly after the Nazis march into Austria. Already, swastikas have been hung on the Von Trapp ancestral home, and Liesl's boyfriend Rolf has been indoctrinated in the "glories" of the Third Reich. The biggest blow occurs when Von Trapp is called back to active duty in the service of the Fuhrer. The Captain wants nothing to do with Nazism, and he begins making plans to take himself and his family out of Austria. ~ Hal Erickson, Rovi

Lesley Ann Warren plays the title role in this television production of the classic Richard Rodgers and Oscar Hammerstein III musical. Cinderella (Warren) is a sweet and pretty young woman who has been given a poor hand by fate; her stepmother (Jo Van Fleet) treats her cruelly, and while her graceless sisters are invited to a royal ball, Cinderella is not allowed to attend. But her Fairy Godmother (Celeste Holm) has other plans, and Cinderella attends the ball, where she makes a tremendous impression upon the Prince (Stuart Damon). But her Godmother's magic only works until midnight, and Cinderella is forced to leave the festivities at their height; will she ever see the Prince again? And how will he ever find her? This was the second television production of this musical version of the classic fairy tale; the original 1957 version featured a young Julie Andrews in the lead. ~ Mark Deming, Rovi

This is the third time around for the Rodgers and Hammerstein musical. The action takes place in urban Texas instead of the traditional setting in rural Iowa. This film version contains five extra songs written exclusively by Richard Rodgers. Box office results were adequate at best, and movie going public deemed this version the least interesting of the three. The youth audience was lured by the casting of Ann-Margaret, Pat Boone and Bobby Darin. Alice Faye returned to the big screen after a sixteen year absence as Melissa Frake. Tom Ewell plays her husband, Abel. The plot finds a family traveling to Dallas for the Texas State Fair. Singing commences on the ferris wheel, the merry-go-round and in other locales. The only real action is the anticipation of a drag race between Wayne (Pat Boone) and the carrot topped, malevolent motorhead Red (Edward "Tap" Canutt). ~ Dan Pavlides, Rovi

Producer/director Joshua Logan's long-awaited filmization of Rodgers & Hammerstein's Pulitzer Prize winning musical South Pacific was not the classic that everyone hoped it would be, principally because of some curious creative choices made by the production personnel. Adapted from James A. Michener's best-selling novel Tales of the South Pacific, the film stars Mitzi Gaynor as WAVE officer Nellie Forbush, who while stationed overseas during World War II falls in love with wealthy French planter Emile De Becque (Rosanno Brazzi). The Navy would like DeBecque to help them in a reconnaissance mission against the Japanese, but he refuses; having run away from the outside world after killing a man in his home town, De Becque sees no reason to become involved in a war which he did not start and in which he has no interest. But when Nellie, her inbred bigotry aroused when she discovers that Emile has two mixed-race children, refuses his proposal of marriage, DeBecque, having nothing to lose, agrees to go on the mission. His partner in this venture is Lt. Joseph Cable (John Kerr), who like Nellie is a victim of prejudicial feelings; Cable has previously thrown away a chance at lasting happiness by refusing to marry Liat (France Nuyen), the dark-skinned daughter of Tokinese trader Bloody Mary (Juanita Hall). When Cable is killed and DeBecque is seemingly lost in battle, Nellie, realizing the stupidity of her racism, prays for Emile's safe return. The dramatic elements of South Pacific are offset by the low-comedy antics of "Big Dealer" seabee Luther Billis (Ray Walston). Outside of Walston and Hall, both repeating their stage characterizations, South Pacific suffers from a largely noncharismatic cast. Mitzi Gaynor never rises above cuteness in the difficult role of Nellie Forbush, while Rosanno Brazzi (whose singing is dubbed by Giorgio Tozzi) seems to be striking poses rather than acting as Emile DeBecque. These casting deficiencies might have been ignored had not South Pacific been laboring under an additional handicap: director Joshua Logan's decision to use colored filters in several key scenes, representing the emotions experienced by the actors. The constant color shift is more unsettling than attractive, drawing attention to Logan's technique and thereby taking the audience "out" of the picture. With all this going against it, however, South Pacific has much to be treasured. For one thing, all of Rodgers & Hammerstein's immortal songs--"Some Enchanted Evening," "Bali H'ai," "There is Nothing Like a Dame," "I'm in Love With a Wonderful Guy," "Younger Than Springtime" etc.--are retained, and, as a bonus, a song cut from the original stage production, "My Girl Back Home," is revived herein. In addition, the film is a bonanza for movie buffs who enjoy playing "spot the bit player:" among the supporting-cast ranks are Tom McLaughlin, Ron Ely, Doug McClure, John Gabriel and James Stacy (rumors persist that Joan Fontaine shows up unbilled as a nurse, but we've yet to spot her). Though artistically disappointing, South Pacific ended up one of the biggest box-office gold mines of the 1950s. ~ Hal Erickson, Rovi

The King and I, Richard Rodgers and Oscar Hammerstein's 1951 Broadway musical hit, was based on Margaret Landon's book Anna and the King of Siam. Since 20th-Century-Fox had made a film version of the Landon book in 1946, that studio had first dibs on the movie adaptation of The King and I. Deborah Kerr plays English widow Anna Leonowens, who comes to Siam in the 1860s to tutor the many wives and children of the country's progressive King (Yul Brynner, recreating his Broadway role-and winning an Oscar in the process). The culture clash between Anna and the King is but one aspect of their multilayered relationship. Through Anna, the King learns the refineries and responsibilities of "modern" western civilization; Anna meanwhile comes to realize how important it is for an Oriental ruler to maintain his pride and to uphold the customs of his people. After a successful evening entertaining foreign dignitaries, Anna and the King celebrate with an energetic dance, but this is cut short by a bitter quarrel over the cruel punishment of the King's new Burmese wife Tuptim (Rita Moreno), who has dared to fall in love with someone else. Despite the many rifts between them, Anna and the monarch come to respect and (to a degree) love one another. When the King dies, Anna agrees to stay on to offer help and advice to the new ruler of Siam, young Prince Chulalongkhorn (Patrick Adiarte). In general, The King and I tends to be somewhat stagey, with the notable exception of the matchless "Small House of Uncle Thomas" ballet, which utilizes the Cinemascope 55 format to best advantage (the process also does a nice job of "handling" Deborah Kerr's voluminous hoopskirts). Most of the Broadway version's best songs ("Getting to Know You", "Whistle a Happy Tune", "A Puzzlement", "Shall We Dance" etc.) are retained. None of the omissions are particularly regrettable, save for Anna's solo "Shall I Tell You What I Think of You?" This feisty attack on the King's chauvinism was specially written to suit the talents of Gertrude Lawrence, who played Anna in the original production; the song was cut from the film because it made Deborah Kerr seem "too bitchy" (Kerr's singing, incidentally, is dubbed for the most part by the ubiquitous Marni Nixon). When all is said and done, the principal attraction of The King and I is Yul Brynner, in the role that made him a star and with which he will forever be identified. ~ Hal Erickson, Rovi

Rodgers and Hammerstein's 1943 Broadway musical was considered revolutionary for a multitude of reasons, not least of which were the play's intricate integration of song and storyline, and the simplicity and austerity of its production design. The 1955 film version of Oklahoma! retains the songs (except for Lonely Room and It's a Scandal!, which are usually cut from most stage presentations anyway) and the story, but the simplicity is sacrificed to the spectacle of Technicolor, Todd-AO, and Stereophonic Sound. The story can be boiled down to a single sentence: a girl must decide between the two suitors who want to take her to a social. In her movie debut, 19-year-old Shirley Jones plays Laurie, an Oklahoma farm gal who is courted by boisterous cowboy Curley (Gordon MacRae) and by menacing, obsessive farm hand Jud Frye (Rod Steiger). Fearing that Jud will do something terrible to Curley, Laurie accepts Jud's invitation to the box social. But it's Curley who rescues Laurie from Jud's unwanted advances, and in so doing wins her hand. On the eve of their wedding, Laurie and Curley are menaced by the drunken Jud. During a fight with Curley, Jud falls on his own knife and is killed (this sudden-death motif was curiously commonplace in the Rodgers and Hammerstein ouevre). The local deputy insists that Curley be arrested and stand trial, but he is outvoted by Curley's friends, and the newlyweds are permitted to ride off on their honeymoon. Counterpointing the serious elements of the story is a comic subplot involving innocently promiscuous Ado Annie (Gloria Grahame), her erstwhile sweetheart Will Parker (Gene Nelson) and lascivious travelling salesman Ali Hakim (Eddie Albert). None of the Broadway cast of Oklahoma! was engaged for the film version, though Charlotte Greenwood is finally able to essay the role of Auntie Eller that had been written for her but she'd been unable to play back in 1943. The evergreen songs include Oh, What a Beautiful Mornin', Surrey with the Fringe on Top, People Will Say We're In Love, I Cain't Say No, and the rousing title song. Two versions of Oklahoma! currently exist: the Todd-AO version, filmed on 65-millimeter stock, and the simultaneously shot CinemaScope version, shipped out to the theaters not equipped for the wider-screen Todd-AO process. Both versions have been issued in "letterbox" form on laser disc, and the subtle differences in performance style and camera angles in each and every scene are quite fascinating. ~ Hal Erickson, Rovi

1954's Rose Marie is the third film version of the 1924 Otto Harbach-Oscar Hammerstein-Rudolph Frinl operetta of the same name. Though not a completely faithful adaptation, this version is closer to the original than the (admittedly enjoyable) Nelson Eddy-Jeanette MacDonald version of 1936. Ann Blyth stars as Rose Marie Lemaitre, a hoydenish French-Canadian lass who is "tamed" by cheerful mountie Mike Malone (Howard Keel). At first, Mike is only interested in using Rose Marie to capture her sweetheart, renegade trapper Duval (Fernando Lamas), but eventually he falls in love with her, and she with him. Counterpointing the romantic main plot are the comic antics of Bert Lahr, who elucidates his sorry lot in life with the song "I'm the Mountie Who Never Gets His Man." The original Rudy Friml score is well in evidence, along with several new Friml compositions and a few extra tunes penned by Georgie Stoll and Herbert Baker. There's also a remarkable "Indian sacrifice" production number spotlighting a young Rita Moreno. Original Cinemascope prints of Rose Marie included a nine-minute prologue, wherein conductor Alfred Wallenstein led the MGM orchestra in a rendition of "Poet and Peasant Overture" (this was evidently inspired by the similar symphonic prologue which opened 20th Century Fox's How to Marry a Millionaire). ~ Hal Erickson, Rovi

A genuine novelty, MGM's Main Street to Broadway offers the modern viewer a rare behind-the-scenes glimpse of the 1953 theatrical scene. The main plot concerns aspiring playwright Tony Monaco (Tom Burton), who pins his future on the possibility that Tallulah Bankhead will star in his first Broadway production. Along the way, Tony imagines that Tallulah has fallen in love with him, but faithful girlfriend Mary Craig (Mary Murphy) hangs around to pick up the pieces. Except for an amusing sequence in which Bankhead imagines herself as the sweet ingenue in a domestic comedy, the storyline can be dispensed with. The principal attraction of Main Street to Broadway is its glittering array of Manhattanite guest stars, including Ethel and Lionel Barrymore, Gertrude Berg, Shirley Booth, Helen Hayes, Leo Durocher, Fay Emerson, Joshua Logan, Mary Martin, Lilli Palmer and John Van Druten. In the film's best scene, Richard Rodgers and Oscar Hammerstein Jr. come up with an "instant song"--the now-forgotten "There's Music in You"--then perform it for the amusement of their friends, with Rodgers on the piano and Hammerstein rendering the vocals! ~ Hal Erickson, Rovi

Mickey Rooney returned to his "home" studio MGM, after a three-year absence, in the location-filmed melodrama The Strip. Rooney is cast as Stanley Maxton, an aspiring drummer who has the misfortune to fall within the orbit of bookie Sunny Johnson (James Craig). Out of the goodness of his heart, Stanley introduces aspiring actress June Tafford (Sally Forrest) to Johnson, hoping that the latter's Hollywood connections will help the girl find success. Stanley also quits the rackets to play drums at a nightclub owned by his pal Fluff (William Demarest). Things take a sorry turn when Johnson decides to make a play for June; Stanley interferes and gets beaten up by the bookie's goons. June's response to this outrage results in tragedy for everyone. The Strip is a surprisingly downbeat effort for producer Joe Pasternak, a man usually associated with happy, wholesome Technicolor musicals. The film is highlighted by jazz performances from Louis Armstrong, Jack Teagarden, Earl "Fatha" Hines and Barney Bigard. ~ Hal Erickson, Rovi

Twentieth Century-Fox couldn't make a film version of Richard Rodgers and Oscar Hammerstein's Oklahoma in 1945--that particular Broadway musical would remain a "hot ticket" until the end of the decade--so the studio did the next best thing by hiring Rodgers & Hammerstein to pen the score for the Technicolorful State Fair. Fox had previously made a non-singing movie of Philip Stong's novel in 1933, with Janet Gaynor and Will Rogers in the leads. The musical remake downplayed the older characters in favor of the younger members of the cast. Set during the annual Iowa State Fair, the story concentrates on the Frakes family: father Charles Winninger, mother Fay Bainter, and grown-up children Jeanne Crain and Dick Haymes. Each has his or her own reason for attending the fair: Winninger intends to win the "prize hog" ribbon, Bainter hopes to defeat her longtime snooty rival in the food contest (she wins when the judges get schnockered on the alcohol in her entry), Crain falls in love with fast-talking journalist Dana Andrews, and Haymes woos footloose and fancy-free vocalist Vivian Blaine. Musical highlights include the Oscar-winning "It Might as Well be Spring," "It's a Grand Night for Singing," and the title number. To avoid confusion with the 1962 remake, the 1945 State Fair was for many years retitled It Happened One Summer for TV showings. ~ Hal Erickson, Rovi