Richard Rodgers 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

Can an independent, contemporary woman find happiness with a guy who sells pickles? Isabelle Grossman (Amy Irving) is an attractive, intelligent Jewish woman in her early 30s. She has a good job and a nice apartment on the Upper West Side, and she values her independence; she often visits her grandmother Bubbie (Reiz Bozyk), who lives on the Lower East Side and wants Isabelle to meet a nice Jewish man and settle down. Bubbie goes so far as to obtain the services of Hannah Mandelbaum (Sylvia Miles), a matchmaker who finds the "perfect" man for Isabelle: a pickle salesman named Sam Posner (Peter Riegert). Isabelle thinks Sam is a nice enough guy, but she has a hard time imagining herself spending her life with the pickle man, and she isn't sure if she wants to pursue the relationship. However, Sam is taken with Isabelle and goes out of his way to change her mind. Crossing Delancy was directed by Joan Micklin Silver, whose breakthrough film Hester Street also examined Jewish culture on the Lower East Side, albeit from the vantage point of the 1890s. ~ Mark Deming, Rovi

Unhappy with her job and her loser boyfriend, Melanie Griffith takes a secretarial post at a major Wall Street firm. Her boss is Sigourney Weaver, an outwardly affable yuppie whose grinning visage hides a wicked and larcenous propensity for exploiting the ideas of her employees. While Weaver is incapacitated, Griffith is compelled by circumstances to pose as her boss. Her inborn business acumen and common sense enable Griffith to rise to the top of New York's financial circles, and along the way she wins the love of executive (Harrison Ford). Things threaten to take a sorry turn when Weaver returns, but it is she who suffers from the consequences of her own past duplicity. Working Girl was Melanie Griffith's breakthrough film, proving than she was more than just the off-and-on "significant other" of Don Johnson. The film was later adapted into a brief TV series, starring a pre-Speed Sandra Bullock. ~ Hal Erickson, Rovi

The most interesting aspect of The Swinger is the name of the character played by Ann-Margret: the former Ann Margaret Olsson essays the role of Kelly Olsson. A naive small-town girl, Kelly aspires to become a writer in the Big City. When her stories are rejected because they aren't exciting and provocative enough, she decides to do some hands-on research by posing as the titular "swinger." She is so successful at this subterfuge that Hefner-like publisher Anthony Franciosa makes it his mission in life to reform the "fallen" Kelly. Didn't they do this one in the 1930s as Theodora Goes Wild, with Irene Dunne and Melvyn Douglas? ~ Hal Erickson, Rovi

In this collection of clips from The Judy Garland Show, which ran for 26 episodes on CBS television in 1963 and 1964, the legendary singer and actress performs a number of songs, several of them collaborations with up-and-comer Barbra Streisand, grand dame Ethel Merman, and Garland's own daughter, the then-teenaged Liza Minnelli. Garland's solos include several of her signature numbers, from "I'm Nobody's Baby," which she performed as a fresh-faced MGM star in 1940's Andy Hardy Meets Debutante, to "The Man That Got Away," written especially for 1954's comeback vehicle A Star Is Born. Garland and Streisand alternate friendly banter about hating each other's talent with solo renditions and two extended medleys. The most famous of these pairings is their show-stopping combination of the standards "Get Happy" and "Happy Days Are Here Again"; Garland had performed the former in 1950's Summer Stock, while Streisand recorded the latter the same year the program aired. In another segment, Merman appears in the middle of the audience and joins Streisand and Garland for a leather-lunged rendition of "There's No Business Like Show Business." The Merman and Streisand footage was taped on October 4, 1963, for episode nine of Garland's eponymous program. A sequence featuring three duets and lots of clowning with Minnelli was taped a few months earlier, on July 16, for episode three. Several years after her program was cancelled, Garland was set to play Helen Lawson, a character based on Merman, for the film version of Jacqueline Susann's Valley of the Dolls; she was replaced, however, by Susan Hayward. Streisand would go on to star in her own remake of A Star Is Born, while Minnelli would mine her mother's legacy in her own repertoire. ~ Brian J. Dillard, 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

Though Slaughter on Tenth Avenue's background music relies heavily on the Richard Rodgers composition of the same name, the film itself bears no relation to the ten-minute ballet for which Rodgers wrote the piece. Instead, this Albert Zugsmith-produced crime meller attempts to expose waterfront union racketeering. In trying to solves a murder on the docks, deputy DA Richard Egan runs up against the stevedores' code of silence. It also dawns on Egan that his own boss (Sam Levene) shows little interest in pursuing justice in this instance. The DA is finally able to mount a case, but at the crucial courtroom moment he may have to pull out due to lack of evidence--a lack engineered by crooked boss Walter Matthau, who has several local politicians in his pocket. A last-minute dockside battle enables Egan to bring the racketeers to justice. Slaughter on Tenth Avenue was based on New York district attorney William J. Keating's memoirs The Man Who Rocked the Boat. ~ Hal Erickson, Rovi

Carousel was adapted from the 1945 Rodgers and Hammerstein Broadway musical of the same name--which, in turn, was based on Liliom, a play by Ferenc Molnar. Gordon MacRae stars as carnival barker Billy Bigelow, who much against his will falls in love with Maine factory girl Julie Jordan (Shirley Jones). Billy proves an improvident and unreliable husband, but Julie stands by him. Upon discovering that Julie is pregnant, the unemployed Billy sees an opportunity for some quick money by joining his unsavory pal Jigger (Cameron Mitchell). The scheme goes awry, and Billy dies. Standing before the Pearly Gates, Billy is given a chance to redeem himself by the kindly Starkeeper (Gene Lockhart). He is allowed to return to Earth to try to brighten the life of his unhappy 15-year-old daughter Louise (Susan Luckey). Billy offers Louise a star that he has stolen from the sky; when Louise backs off in fear, Billy slaps her. He feels like a failure until he and his Heavenly Friend (William LeManessa) attend Louise's school graduation ceremony. There the invisible Billy watches as the principal (Gene Lockhart again) inspires Louise (and, by extension, Julie) by assuring her that so long as she has hope in her heart, she'll never walk alone. Frank Sinatra, the film's original Billy Bigelow, dropped out of the production due to laryngitis. ~ 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

Billy Wilder directs the lighthearted romantic comedy Sabrina, based on the play by Samuel A. Taylor. Sabrina Fairchild (Audrey Hepburn) is the simple, naïve daughter of a chauffeur, Thomas Fairchild (John Williams). They live on an estate with the wealthy Oliver Larrabee (Walter Hampden) and his two sons: workaholic older brother Linus (Humphrey Bogart) and fun-loving younger brother David (William Holden). Sabrina adores the charming David, but he thinks of her as just a kid. Her father sends her away to Paris for chef school, where she meets Baron St. Fontanel (Marcel Dalio), and she returns a worldly, sophisticated woman. David immediately falls for her, but he is already engaged to marry heiress Elizabeth Tyson (Martha Hyer). Sabrina wants to break up the wedding in order to finally catch the man of her dreams, while Linus fights to keep the marriage on in the interest of family business and Mr. Tyson's (Francis X. Bushman) fortune. In order to keep Sabrina away from David, Linus pretends to court her himself. In doing so, they eventually realize their true feelings for each another. ~ Andrea LeVasseur, 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