Carousel (A- or 3.5/4 stars)
'Carousel', directed with verve by Henry King, & adapted from the 1945 Rodgers & Hammerstein Broadway musical, stars strapping crooner Gordon MacRae as carnival barker Billy Bigelow. The movie actually begins, however, with Billy as a spirit in Heaven who begs the 'starkeeper' (Gene Lockhart) for a desperate trip back to Earth so as to help his teen daughter (whom he's never met) understand his death and also to prepare her for the trials & tribulations she will face in high school. Seen in flashback, Billy, a brash, dishonest, ne'er-do-well living in a Maine fishing village, falls madly in love with pretty mill worker, Julie Jordan (Shirley Jones). They quickly marry {only in the movies, haha}, but Billy proves to be a hot-headed, abusive, unreliable husband ... yet Julie stands by him. Upon discovering that Julie is pregnant, the unemployed Billy suddenly 'seems' interested in being a good man, husband, and forthcoming father.
But he ALSO sees the pregnancy as an opportunity to acquire some quick $$ by joining his unsavory pal Jigger (Cameron Mitchell) in a robbery. The scheme goes awry, & Billy is accidentally killed (no spoiler, again, he's in Heaven at the start of the film). This is when the film jumps back to present time (Billy in Heaven), where Billy is finally allowed to return to Earth to try to brighten the troubled life of his unhappy 15 yr. old daughter, Louise (Susan Luckey). Billy offers her a star that he has stolen from the sky; when Louise backs off in fear, Billy slaps her hand (recalling how he treated Julie in marriage). He feels like an utter failure (and so he should!!) until he & his Heaven advisor (William LeManessa) attend Louise's school moving-up ceremony. There, the invisible Billy watches as the principal (Gene Lockhart, again) inspires Louise (and by association, Julie) by assuring her that as long as she has "hope in her heart ... she'll never walk alone".
'Carousel' is a strange beast. On the outside, it looks like your typical 1950s bright, cheery, loud & lively Rodgers & Hammerstein musical. And sure, there are bright, cheery, loud & lively moments. But under that veneer, it tells a darker story that audiences were not expecting or accustomed to in 1956; a story of a loathsome male lead, a weak female lead, marital abuse, acceptance of abuse, death & bullying. I mean ... wow, haha. Who would have thought that a story such as this could come from the R&H catalogue? But here it is. It doesn't make for your typically easy-watching, entertaining musical experience such as, for example, the filmmakers' prior hit from 1955, Oklahoma (also starring MacRae & Jones). Having said that, it makes this movie far more interesting than their other works.
But enough misery, haha. Lemme talk a moment about the WONDERFUL R&H songs in this musical. Right from the get-go, we're treated to the haunting, repetitive "Carousel Waltz" which sets a faux-cheery tone/mood over the proceedings; there's the cheeky "You're a Queer One, Julie Jordan"; the amiable "Mister Snow", sung by lovely Barbara Ruick; "If I Loved You" is a classic romantic tune that has lasted the ages; "This Was a Real Nice Clambake" is as corny as it is entertaining; Gordon MacRae conveys such passion as he bellows his "Soliloquy" about being a father-to-be (when the song was over, I found that I could finally breath; it was that stunning); and of course ... the power ballad "You'll Never Walk Alone", sung by Shirley Jones in her hour of need, is as stirring as they come. As for the song/dance sequences, "June is Bustin' Out All Over" {dancing on angled rooftops} had my jaw dropped with its energy & difficulty. I sat in awe of that, as well as "Louise's Ballet" near the end.
Gordon MacRae is magnetic as Billy. And it says something that despite the despicable nature of his character, we still hope he'll change for the better. Shirley Jones is lovely & heartfelt as the too-trusting Julie. She's a pathetic little heroine (taking Billy's abuse willingly), but again, it is her weakness that makes me appreciate the musical, more so. And all the supporting players are stellar. 'Carousel' received good reviews in '56 but did not thrive at the box office. The movie studio threw their Oscar campaigning at their other musical, The King & I (better reviewed, smash hit). The results: accolades galore for that film, zero noms for 'Carousel'. Having said that, I still greatly admire this richly-mounted, haunting musical as part extravaganza/part poignant fantasy/part before-its-time melodrama.
But he ALSO sees the pregnancy as an opportunity to acquire some quick $$ by joining his unsavory pal Jigger (Cameron Mitchell) in a robbery. The scheme goes awry, & Billy is accidentally killed (no spoiler, again, he's in Heaven at the start of the film). This is when the film jumps back to present time (Billy in Heaven), where Billy is finally allowed to return to Earth to try to brighten the troubled life of his unhappy 15 yr. old daughter, Louise (Susan Luckey). Billy offers her a star that he has stolen from the sky; when Louise backs off in fear, Billy slaps her hand (recalling how he treated Julie in marriage). He feels like an utter failure (and so he should!!) until he & his Heaven advisor (William LeManessa) attend Louise's school moving-up ceremony. There, the invisible Billy watches as the principal (Gene Lockhart, again) inspires Louise (and by association, Julie) by assuring her that as long as she has "hope in her heart ... she'll never walk alone".
'Carousel' is a strange beast. On the outside, it looks like your typical 1950s bright, cheery, loud & lively Rodgers & Hammerstein musical. And sure, there are bright, cheery, loud & lively moments. But under that veneer, it tells a darker story that audiences were not expecting or accustomed to in 1956; a story of a loathsome male lead, a weak female lead, marital abuse, acceptance of abuse, death & bullying. I mean ... wow, haha. Who would have thought that a story such as this could come from the R&H catalogue? But here it is. It doesn't make for your typically easy-watching, entertaining musical experience such as, for example, the filmmakers' prior hit from 1955, Oklahoma (also starring MacRae & Jones). Having said that, it makes this movie far more interesting than their other works.
But enough misery, haha. Lemme talk a moment about the WONDERFUL R&H songs in this musical. Right from the get-go, we're treated to the haunting, repetitive "Carousel Waltz" which sets a faux-cheery tone/mood over the proceedings; there's the cheeky "You're a Queer One, Julie Jordan"; the amiable "Mister Snow", sung by lovely Barbara Ruick; "If I Loved You" is a classic romantic tune that has lasted the ages; "This Was a Real Nice Clambake" is as corny as it is entertaining; Gordon MacRae conveys such passion as he bellows his "Soliloquy" about being a father-to-be (when the song was over, I found that I could finally breath; it was that stunning); and of course ... the power ballad "You'll Never Walk Alone", sung by Shirley Jones in her hour of need, is as stirring as they come. As for the song/dance sequences, "June is Bustin' Out All Over" {dancing on angled rooftops} had my jaw dropped with its energy & difficulty. I sat in awe of that, as well as "Louise's Ballet" near the end.
Gordon MacRae is magnetic as Billy. And it says something that despite the despicable nature of his character, we still hope he'll change for the better. Shirley Jones is lovely & heartfelt as the too-trusting Julie. She's a pathetic little heroine (taking Billy's abuse willingly), but again, it is her weakness that makes me appreciate the musical, more so. And all the supporting players are stellar. 'Carousel' received good reviews in '56 but did not thrive at the box office. The movie studio threw their Oscar campaigning at their other musical, The King & I (better reviewed, smash hit). The results: accolades galore for that film, zero noms for 'Carousel'. Having said that, I still greatly admire this richly-mounted, haunting musical as part extravaganza/part poignant fantasy/part before-its-time melodrama.