South Pacific

Some Last words, and I will silence myself forever on this subject.

First regarding Mary Martin. Rodgers and Hammerstein pretty much wrote the thing with Martin in mind for the Nellie character. (In fact, as she states in her autobiography, she had some input over the development of the show.) Mary Martin had a knack for playing young, innocent, and idealistic and with the illusions that one can create on stage (no close ups, more lights and makeup) it was possible to see her as being that way. It was also, especially after Peter Pan, the type of role that audiences expected to see her in. I mean, hey, she won a TONY Award for playing Peter.

On the other piece of this, the age thing, take a look at the book of the play (which the movie version is based on). There are references in the thing to "older men and younger woman" relationships, such as the classic line, "Mother thinks that older men are better for girls". OR the crack about Captain Bracket's age and virility, and his angry comeback on how a younger woman could possibly find him attractive.

There is also the lyrics to Emile's Soliloquy "This is what I've longed for someone YOUNG and smiling climbing up my hill...YOUNGER men than I am, officers and doctors, probably pursue her. She could have her pick." Why would he refer to her and his competition as younger if they weren't, at least in comparison to him?

While it's true that naivete and narrow mindedness are not just the province of the young, I would think that the words of the playwright and the lyricist would speak for themselves. And the words of Michener himself who says that Emile is a "man in his forties" and Ensign Forbush is a "young girl".

I think my favorite part was the severed heads on sticks...

There's been a lot of hoo-hah about Ms. Close's superannuated Nellie Forbush, but I think this is a relatively minor issue -- really a matter of cranky foiled expectations. Nothing demands that Nellie be 22; narrow-minded provincialism was and is not unknown in people over 40. And making Nellie and Emile a more evenly mature match adds a nice counterpoint to the youthful Cable/Liat romance.

I think the real problem lies in the decision to pour on the blood and guts.

Presented just a few years after the end of World War II, the original "South Pacific" was a far cry (most would say huge step forward) from 1920's frivolities like "No, No, Nanette" and even more immediate folksy precursors like "Oklahoma." The American theatre seemed primed for a new kind of musical realism, and "South Pacific" bravely served up real people confronting life-and-death issues, with nary a tap-dancing ingenue in sight. Nevertheless, it didn't completely abandon the old, sentimental/comical musical traditions (which, after all, had been brought to their greatest glory by Richard Rodgers and his pals), and there was -- and is -- a limit to how much gritty realism the aesthetic could sustain.

I haven't read the original Michener stories on which "South Pacific" was based, and they may very well have featured severed heads. But in the context of "Some Enchanted Evening," such imagery was anathema to Rodgers & Hammerstein, and it remains alarmingly discordant today.

This is what many cultured people should call "a true desecration of a classic." They ruined this musical from what it was supposed to be! Glenn Close is obviously far too old to be playing a twenty-something year old. She's a decent singer but her singing was terrible for this role. The filmmakers obviously needed to cast someone much younger who could sing. A young woman could carry this role convincingly, Glenn Close could not. Glenn Close was not at all convincing in this role because she was too old. Harry Connick Jr. was probably the best part of this whole desecration. He can carry a tune, but his singing is not the greatest.

Overall this movie was utter nonsense, and they trashed it up even! Why do filmmakers think that they can remake classics? These days filmmakers are stupid in thinking that they can modernize classics and turn them into trash in order to please the stupid people. If you are a purist for musicals, do not see this movie for your own good.

Without a doubt Glenn Close an exceptional actress with many brilliant performances throughout her career is horribly miscast as "Young" Ensign Nellie Forbush. This more than anything sent this made for TV production of this classic musical and James A. Michener story right into the bilges. She resembled nothing less than a female Naval Officer who is in her mid 50's and would be more interested in romantically pursuing the other nurses than the Emile de Becque character. If you want to watch this story then the 1958 version with Mitzi Gaynor and Ray Walston is the one to go with because this one gets the Deep Six.

While I had high hopes for this remake of South Pacific,I regret to say it fell far below My expectations.With a strong cast (including the much too old Glenn Close) I at least expected this film to be an improvement over the original Rosano Brazzi version.

The first problem was the cutting down of the supporting characters. Poor Jack Thompson,who was brilliantly cast as Capt. Brackett had all of his best moments left on the cutting room floor,Bloody Mary was unfairly deprived of "Happy Talk" and Robert Pastorelli's Billis did not get his wonderful scene in Brackett's office following the "diversionary tactics".

Secondly,the rearanging of the score blunted the emotional impact of some of Hammerstein's most heart wrenching moments. Having Cable sing "Carefully Taught" alone in his his Hospital room instead of to Emile blunts the songs impact. The same with Emile's "This Nearly Was Mine". For these songs to work they need another presence in the scene.

As for the acting. Glenn Close does her best but falls short of Mitzi Gaynor's on the money portrayal,Rade Serbedzija gives us a fine,sympathetic Emile and Equals,if not exceeds Brazzi's portrayal.Harry Connick is a great choice for Joe Cable and sings and acts his role well.Unfortunately the score was not recoreded lushly enough and some of the other vocals are a bit weak (Serbedzija's singing for example comes no where neat the immortal recording of Ezio Pinza.)The supporting cast does what it can whith their condensed roles but if would have been nice to have them fleshed out more. This film could have been a masterpiece if all the pieces were assembled properly,instead its a watchable but far from perfect screen adaptaion of a much better musical play.