SEVEN BRIDES FOR SEVEN BROTHERS

Jane Powell rules the roost: 7 brothers instead of dwarves

SEVEN BRIDES FOR SEVEN BROTHERS (1954). Director: Stanley Donen.

In the Oregon territory of 1850 rugged farmer Adam (Howard Keel) comes to town and is instantly smitten with a busy waitress named Milly (Jane Powell), and vice versa. The two get hitched and Milly discovers that she now has six brothers-in-law that she has to attend to. The crude brothers, who are taught manners by Milly, go a-courtin', but when things don't proceed as fast as they want, they resort to kidnapping potential brides upon the advice of Adam. Milly is outraged and orders the men into the barn while Adam goes off to a cabin to wait out the winter, unaware that Milly is pregnant ... Seven Brides has been denounced as misogynous in some quarters, but while some of the characters may be misogynous, I don't really think the film is. Sure, it's handy that the brothers all turn out to be gentlemen who never molest the ladies, and even handier that all of the women fall in love with the boys (it might have added some dramatic conflict if one or two of the gals had preferred their old boyfriends or just found none of the brothers appealing), but I don't believe any of this is meant to be taken seriously. In any case, the main thing about the vastly entertaining Seven Brides is not the plot but its sheer enthusiasm, its embrace of life, its excellent performances, and the wonderful singing and dancing throughout. Powell and Keel are perfection and they're nearly matched by the other players, including Ian Wolfe [Dressed to Kill] as Reverend Elcott; and Russ Tamblyn, Jeff Richards [Born Reckless] and the other brothers as well. (Ruta Lee -- billed as Ruta Kilmonis -- and Julie Newmar -- billed as Julie Newmeyer -- are two of the wives.) Seven Brides is also distinguished by the fact that it has one of the best scores for a movie musical that is not based on a Broadway show (although decades later Seven Brides was turned into a musical for the London stage). Johnny Mercer and Gene de Paul provided genuinely memorable tunes such as"Lonesome Polecat" "Sobbin' Women;" "Bless Your Beautiful Hide;" "When You're in Love;" and especially the beautiful "Wonderful Day" and infectious "Spring, Spring, Spring."  Wonderfully photographed in CinemaScope and Technicolor by George Folsey. The choreography is by Michael Kidd, who was also an actor [It's Always Fair Weather].

Verdict: Whatever its peculiarities, this is a top-flight musical. ***1/2. 

IT'S ALWAYS FAIR WEATHER

Michael Kidd, Dan Dailey and Gene Kelly

IT'S ALWAYS FAIR WEATHER (1955). Directors: Stanley Donen; Gene Kelly.

Three men who were buddies in the army have many drinks at the end of the war and vow to meet in ten years' time at their favorite bar in Manhattan. Now, you might wonder, if they were such good friends, they would certainly have stayed in touch for the past decade, but apparently they haven't, so when they each keep the appointment they discover that they have little in common and don't even like each other very much (surely they could have talked about wartime experiences, at least?). Angie (Michael Kidd), who planned on becoming a great chef, is married, has several kids, and runs a hamburger joint in Schenectady. Doug (Dan Dailey of There's No Business Like Show Business), who'd wanted to become a famous artist, does work on TV shows that sell detergent, and is on the verge of divorce. Ted (Gene Kelly), who figured on a legal career, is now an unmarried manager for a boxer who is planning to take a dive. The ladies in the story include Jackie, (the gorgeous, leggy Cyd Charisse), who works on one of Ted's TV shows; and Madeline (Delores Gray), the star of said show. The gals hope to get the former soldiers on the program as a surprise, unaware that they now actively dislike each other. And some hoods who fixed the fight are out to get even with Ted.

Filmed in startling CinemaScope and color and photographed by Robert Bronner, It's Always Fair Weather presents a striking sound stage Manhattan that is prominently featured in two sequences: when the boys dance under the elevated subway, each wearing a garbage can lid on one foot; and when Kelly does an absolutely smashing dance on roller skates, and even winds up tap dancing while still wearing them ("I Like Myself"). Cyd Charisse [The Unfinished Dance] is featured in a production number in which she dances with flat-faced pugilists in a gym, and Delores Gray gets a chance to shine when she sings and dances to "Thanks, But No Thanks" with a dozen chorus boys. The songs were composed by Andre Previn [The Kissing Bandit] -- the lyrics were provided by Comden and Green -- and are pleasant enough, with "Friends Forever" emerging the prettiest number. The performances by the entire cast are excellent. Michael Kidd appeared in a few films, such as Smile, but was primarily a well-regarded choreographer [Seven Brides for Seven Brothers.]

Verdict: A small degree of pathos counteracts the silliness and Kelly's dancing is simply sensational. ***.