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“Psycho (1960) starring Anthony Perkins” 

“Psycho (1960) starring Anthony Perkins” 

Psycho is a 1960 American psychological horror film directed and produced by Alfred Hitchcock, and written by Joseph Stefano, starring Anthony PerkinsJanet LeighJohn GavinVera Miles and Martin Balsam, and was based on the 1959 novel of the same name by Robert Bloch. The film centers on the encounter between a secretary, Marion Crane (Leigh), who ends up at a secluded motel after stealing money from her employer, and the motel’s disturbed owner-manager, Norman Bates (Perkins), and its aftermath.[4]

When originally made, Psycho was seen as a departure from Hitchcock’s previous film North by Northwest, having been filmed on a low budget, with a television crew and in black and white. The film initially received mixed reviews, but outstanding box office returns prompted reconsideration which led to overwhelming critical acclaim and four Academy Award nominations, including Best Supporting Actress for Leigh and Best Director for Hitchcock.

Psycho is now considered one of Hitchcock’s best films[5] and praised as a major work of cinematic art by international film critics and scholars. Often ranked among the greatest films of all time, it set a new level of acceptability for violence, deviant behavior and sexuality in American films,[6] and is widely considered to be the earliest example of the slasher filmgenre.

After Hitchcock’s death in 1980, Universal Studios began producing follow-ups: three sequels, a remake, a television film spin-off, and a prequel TV series. In 1992, the US Library of Congress deemed the film “culturally, historically, or aesthetically significant” and selected it for preservation in the National Film Registry.

During a lunchtime tryst in Phoenix, Arizona, a real estate secretary named Marion Crane discusses with her boyfriend, Sam Loomis, how they cannot afford to get married because of Sam’s debts. After lunch, Marion returns to work, where a client drops off a $40,000 cash payment on a property. Her boss asks her to deposit the money in the bank, and she asks if she can take the rest of the afternoon off. Returning home, she begins to pack, deciding to steal the money and give it to Sam in Fairvale, California. She is seen by her boss on her way out of town, which makes her nervous. 

During the trip, she pulls over on the side of the road and falls asleep, only to be awakened by a state patrol officer. Suspicious about her nervous behavior, he notes her license plate number and follows her at a close distance. Hoping to shake his pursuit, Marion stops at an automobile dealership and trades in her Ford Mainline, with its Arizona license plates, for a Ford Custom 300 that has California tags.

Driving on, Marion stops for the night at the Bates Motel. The proprietor, Norman Bates, invites her to a light dinner after she checks in. She accepts, but then hears an argument between Norman and his mother about bringing a woman into her house. They eat in the motel parlor, where he tells her about his life with his mother, who is mentally ill and forbids him to have a life outside of her. Her sense of compassion and responsibility awakened by Norman’s story, Marion decides to go back to Phoenix in the morning to return the stolen money, and prepares for bed. As she is showering, a shadowy figure comes in and stabs her to death with a chef’s knife. Norman discovers the murder and assumes his mother is responsible. He meticulously cleans up the crime scene, putting Marion’s corpse and her possessions—including the embezzled money—into the trunk of her car and sinking it in the swamps near the motel.

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A week later, Marion’s sister Lila arrives in Fairvale and confronts Sam about the whereabouts of her sister. Private investigator Milton Arbogast approaches them and confirms that Marion is wanted for stealing the $40,000. He checks the motels, and Norman’s evasive and inconsistent answers arouse his suspicions. After hearing that Marion had met Norman’s mother, he asks to speak with her, but Norman refuses. Arbogast calls Lila and Sam to update them. He goes to the Bates’ home in search of Norman’s mother; as he reaches the top of the stairs, he is attacked and murdered. When Lila and Sam do not hear from Arbogast, Sam visits the motel. He finds only Mrs. Bates, who ignores his knocking. Lila and Sam go to the local sheriff, who informs them that Mrs. Bates killed herself ten years ago, and concludes that Arbogast lied to confuse them and made off with the $40,000. Still convinced that some ill has befallen Arbogast, Lila and Sam make their way to the motel. Norman takes his unwilling mother from her room and hides her in the fruit cellar.

At the motel, Lila and Sam meet Norman. Sam distracts him by striking up a conversation while Lila sneaks up to the house. When Sam tells Norman they’ve come to question his mother, he knocks Sam out and rushes to the house. Lila sees Norman approaching and hides by going down steps that lead to the fruit cellar. There she finds Mrs. Bates sitting in a chair. Lila turns her around and discovers that she is in fact a mummified corpse. Lila screams as Norman runs into the cellar, holding a chef’s knife and wearing his mother’s clothes and a wig. Before Norman can attack Lila, Sam, having regained consciousness, subdues him.

At the local courthouse, a psychiatrist explains that Norman murdered Mrs. Bates and her lover ten years prior out of jealousy. Unable to bear the guilt, he exhumed her corpse and began to treat it as if she were still alive. In order to preserve that illusion, he recreated his mother in his own mind as an alternate personality, often dressing in her clothes and talking to himself in her voice. This “Mother” personality is jealous and possessive: whenever Norman feels attracted to a woman, “Mother” kills her. As “Mother”, Norman had killed two young girls prior to Marion, as well as Arbogast. The psychiatrist says the “Mother” personality has taken permanent hold of Norman’s mind. While Norman sits in a holding cell, “Mother” protests that the murders were Norman’s doing and that she “wouldn’t even harm a fly.” Meanwhile, Marion’s car is pulled out of the swamp.

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Posted by on August 14, 2017 in classic movies, suspense

 

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“The Snows of Kilimanjaro – Trailer” 

“The Snows of Kilimanjaro – Trailer” 

Featured scene: Gregory Peck and Ava Gardner meet


The Snows of Kilimanjaro is a 1952 American Technicolor film based on the filmversion of the short story was directed by Henry King, written by Casey Robinson, and starred Gregory Peck as Harry, Susan Haywardas Helen, and Ava Gardner as Cynthia Green (a character invented for the film). The film’s ending does not mirror the book’s ending.[3]

PLOT

The film begins with the opening words of Hemingway’s story: “Kilimanjaro is a snow-covered mountain 19,710 feet high, and is said to be the highest mountain in Africa. Its western summit is called the Masai ‘Ngje Ngi,’ the House of God. Close to the western summit there is the dried and frozen carcass of a leopard. No one has explained what the leopard was seeking at that altitude.”[3]

The story centers on the memories of disillusioned writer Harry Street (Gregory Peck) who is on safari in Africa. He has a severely infected wound from a thorn prick, and lies outside his tent awaiting a slow death, though in the film it is pointed out he may have acquired the infection from leaping into a muddy river to rescue one of the safari‘s porters from a hippo after he falls in the river. His female companion Helen (Susan Hayward) nurses Harry and hunts game for the larder.

The loss of mobility brings self-reflection. In an often delirious state he remembers his past relationship with Cynthia (Ava Gardner) who he met in Paris as members of the “Lost Generation“. Upon the sale of Harry’s first novel, rather than rent a nicer home, Harry wishes to go on safari to Africa. There he has his happiest moments; Harry bags a rhino whilst Cynthia becomes pregnant. Upon their return to Paris, Cynthia’s love for Harry and her desire not to impede the excitement-addicted Harry’s travels as a successful journalist and author lead her to bring about a miscarriage so their child won’t slow down Harry’s career. Suffering depression and sinking into alcoholism. she eventually leaves Harry for a flamenco dancer when she believes Harry is off for a job as a war correspondent.

Harry later becomes engaged to the wealthy and socially connected Countess Elizabeth (Hildegard Knef) who he meets on the Cote d’Azur; however he still remains loyal to the memory of Cynthia. On the eve of their wedding a drunken Elizabeth confronts Harry with a letter to Harry sent from Cynthia now in Madrid. Elizabeth destroys the letter in front of Harry who stalks off to go to Spain. Unable to find Cynthia at the Madrid address on the envelope, he enlists to fight in the Spanish Civil War. During a battle he meets Cynthia who is now an ambulance driver. Cynthia is mortally wounded and Harry is shot and wounded when he deserts the battle to try and bring the dying Cynthia to a doctor.

Peck recalls his memories from what he thinks is his deathbed in Africa

After the death of his beloved mentor Uncle Bill (Leo G. Carroll), Harry receives as a bequest a letter from his uncle that gives him the riddle of the leopard. Harry’s bartender suggests that the leopard ended up there as he was on a false scent and became lost, but Harry takes Helen on a safari to Kenya to learn the answer of the riddle. He is injured and develops an infection. As Harry nears death, the protective Helen fights off a witch doctor

 and by reading an emergency first aid manual, opens Harry’s wound to release the infection. At the dawn a medical party arrives by airplane. The vultures and hyena who have been awaiting Harry’s death leave and never return. Harry realises his love for Helen.

 

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Dr. Kildare T.V. Series (1961-1966)

Dr. Kildare T.V. Series (1961-1966)

Dr. James Kildare is a fictional American medical doctor character, originally created in the 1930s by the author Frederick Schiller Faust under the pen name Max Brand. Shortly after the character’s first appearance in a magazine story, Paramount Picturesused the story and character as the basis for the 1937 film Internes Can’t Take MoneyMetro-Goldwyn-Mayer (MGM) subsequently acquired the rights and featured Kildare as the primary character in a series of Americantheatrical films in the late 1930s and early 1940s, several of which were co-written by Faust (as Max Brand), who also continued to write magazine stories and novels about the character until the early 1940s.[1][2] The Kildare character was later featured in an early 1950s radio series,[3] a 1960s television series,[4] a comic book[5] and comic strip[6] based on the 1960s TV show, and a short-lived second 1970s television series.


Television

In 1953, Lew Ayres was approached to play “Dr. Kildare” in a television series, which would feature Dr. Kildare having finally taken over the practice of a retired Dr. Gillespie. After two pilots were filmed, Ayres refused to work further on the project unless the television studio refused to allow cigarette companies to sponsor the program. Ayres later explained, “My feeling was that a medical show, particularly one that might appeal to children, should not be used to sell cigarettes.” The studio would not agree to reject lucrative advertising, so the project was abandoned.[49]

Raymond Massey as “Dr. Gillespie” and Richard Chamberlain as “Dr. Kildare”, in the 1961 Dr. Kildare television series.

A second attempt at a television series was made in the early 1960s with Dr. Kildare, a NBC medical drama television series starring Richard Chamberlain in the title role, produced by MGM Television and inspired by the original Dr. Kildare stories and films. Lew Ayres appeared as “Dr. Gillespie” in a 1960 unsold and unaired pilot (with Joseph Cronin as Kildare), but Raymond Masseywas cast as Gillespie in the version that finally went to air.[50][51] Premiering on September 28, 1961, the series was a top-10 hit with audiences and ran until April 5, 1966, for a total of 191 episodes in five seasons.[52][53] The first two seasons told the story of Dr. James Kildare (Chamberlain), working in a fictional large metropolitan hospital while trying to learn his profession, deal with his patients’ problems and earn the respect of the senior Dr. Leonard Gillespie (Massey). In the third season, Dr. Kildare was promoted to resident and the series began to focus more on the stories of the patients and their families.[54] The success of the show (along with ABC’s contemporaneous medical drama Ben Casey) inspired the launch of numerous other television medical dramas in the ensuing years.

In 1972 MGM Television created a short-lived syndicated drama series called Young Dr. Kildare, starring Mark Jenkinsas Dr. James Kildare and Gary Merrill as Dr. Leonard Gillespie. The series was not a success, and only 24 episodes were produced.

Wikipedia.org


https://youtu.be/RpS-5821I0I

 
 

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“Pocketful Of Miracles Trailer 1961” 

“Pocketful Of Miracles Trailer 1961” 

Pocketful of Miracles is a 1961 American comedy film starring Bette Davis and Glenn Ford, and directed by Frank Capra. The screenplay by Hal Kanter and Harry Tugend is based on the screenplay Lady for a Day by Robert Riskin, which was adapted from the Damon Runyon short story “Madame La Gimp”.

The film proved to be the final project for both Capra and veteran actor Thomas Mitchell but also featured the film debut of Ann-Margret.

Supporting player Peter Falk was nominated for an Academy Award but George Chakiris won that year for West Side Story. Capra said that Falk’s performance was a bright spot in this “miserable film.”

The 1989 film Miracles starring Jackie Chan and Anita Mui, and the 2008 film Singh Is Kinng starring Akshay Kumarand Katrina Kaif are based on Pocketful of Miracles.

Dave the Dude (Glenn Ford) is a successful, very superstitious New York City gangster who buys apples from street peddler Apple Annie (Bette Davis) to bring him good luck. On the eve of a very important meeting, he finds Annie terribly upset.

Annie, it turns out, has a daughter named Louise (Ann-Margret), who was sent to a school in Europe as a child, but is now a grown woman. Louise believes her mother to be wealthy socialite Mrs. E. Worthington Manville, and she is bringing her aristocratic fiancé Carlos and his father, Count Alfonso Romero (Arthur O’Connell), to meet her. Annie has been pretending that she resides in a luxurious hotel (writing her letters on stolen hotel stationery) and has Louise’s letters mailed there, then intercepted by a friend and handed over to her.

Dave’s good-hearted girlfriend Queenie Martin (Hope Lange) persuades him to help Annie continue her charade. Queenie takes on the task of transforming the derelict into a dowager. Dave arranges for cultured pool hustler “Judge” Henry G. Blake (Thomas Mitchell) to pose as Annie’s husband. He installs her in an out-of-town friend’s suite in the hotel, complete with Hudgins (Edward Everett Horton), his friend’s butler.

When Dave keeps postponing a meeting with an extremely powerful gangster to help Annie, his right-hand man Joy Boy (Peter Falk) becomes increasingly exasperated. Dave manages to engineer a lavish reception with New York’s mayor and governor as guests. Louise and her impressed future husband and father-in-law return to Europe, none the wiser about her mother’s real identity.

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Flower Drum Song, a 1961 Musical Stage play and film adaption

Music Richard Rodgers
Lyrics Oscar Hammerstein II
Book
Oscar Hammerstein II
Joseph Fields
David Henry Hwang (2002 Revised Version)
Basis Novel by C. Y. Lee
Productions
1958 Broadway
1960 West End
2002 Broadway revival
Flower Drum Song was the eighth musical by the team of Richard Rodgers and Oscar Hammerstein II. It was based on the 1957 novel, The Flower Drum Song, by Chinese-American author C. Y. Lee. The piece opened in 1958 on Broadway and was afterwards presented in the West End and on tour. It was subsequently made into a 1961 musical film.

After their extraordinary early successes, beginning with Oklahoma! in 1943, Rodgers and Hammerstein had written two musicals in the 1950s that did not do well and sought a new hit to revive their fortunes. Lee’s novel focuses on a father, Wang Chi-yang, a wealthy refugee from China, who clings to traditional values in San Francisco’s Chinatown. Rodgers and Hammerstein shifted the focus of the musical to his son, Wang Ta, who is torn between his Chinese roots and assimilation into American culture. The team hired Gene Kelly to make his debut as a stage director with the musical and scoured the country for a suitable Asian – or at least, plausibly Asian-looking – cast. The musical, much more light-hearted than Lee’s novel, was profitable on Broadway and was followed by a national tour.

After the release of the 1961 film version, the musical was rarely produced, as it presented casting issues and fears that Asian-Americans would take offense at how they are portrayed. When it was put on the stage, lines and songs that might be offensive were often cut. The piece did not return to Broadway until 2002, when a version with a plot by playwright David Henry Hwang (but retaining most of the original songs) was presented after a successful Los Angeles run. Hwang’s story retains the Chinatown setting and the inter-generational and immigrant themes, and emphasizes the romantic relationships. It received mostly poor reviews in New York and closed after six months but had a short tour and has since been produced regionally.

Henry Koster
Produced by Ross Hunter
Screenplay by Joseph Fields
Based on Flower Drum Song
by Oscar Hammerstein II
Joseph Fields
Starring Nancy Kwan
James Shigeta
Miyoshi Umeki
Jack Soo
Benson Fong
Juanita Hall
Music by Richard Rodgers
Cinematography Russell Metty
Edited by Milton Carruth
Distributed by Universal Pictures
Release dates
November 9, 1961
Running time
132 minutes
Country United States
Language English
Cantonese
Budget $4 million[1]
Box office $5 million (US/ Canada rentals) [2]
Flower Drum Song is a 1961 film adaptation of the 1958 Broadway musical Flower Drum Song, written by the composer Richard Rodgers and the lyricist/librettist Oscar Hammerstein II. The film and stage play were based on the 1957 novel of the same name by the Chinese American author C. Y. Lee.

In 2008, Flower Drum Song was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.

Plot

A young woman named Mei Li arrives from China as an illegal immigrant with her father in San Francisco, California to enter into an arranged marriage with the owner of a night club, Sammy Fong (inspired by the actual Forbidden City nightclub). Her intended is already involved with his leading showgirl, Linda Low, and does his best to dissuade Mei Li from marrying him, sending her to live in the house of Master Wang, where he presents her as prospect for Master Wang’s son, Wang Ta. Dissolving the marriage contract is harder than either of them imagine. Master Wang is persuaded by his sister-in-law, Madame Liang, to allow Mei Li to fall in love naturally with Master Wang’s son, Wang Ta. But Wang Ta is dazzled by the charms of Linda, who ‘enjoys being a girl’, and succeeds in landing a date with her, during which she convinces him to give her his fraternity pin (it symbolizes that they’re “going steady”). Linda wishes to use Wang Ta to get a real commitment from Sammy Fong, who gets wind of her plan when Linda attends a party in honor of Wang Ta’s and Madame Liang’s graduation from university and citizenship classes, respectively. At the party, Linda has another club employee pretend to be her brother, and grant his permission for Linda to marry Wang Ta. Mei Li, hearing this, becomes discouraged, while Ta and his father argue over his marriage plans. Ta argues that he is old enough to make his own decisions, but the father says that he will be the one to let Ta know when he is old enough.

Sammy, in an effort to keep Linda from marrying Wang Ta, arranges to have Wang Ta (and his family) see her nightclub act, where he is shocked at her performance. He leaves, distraught, accompanied by his friend since childhood, the seamstress Helen Chao, who also grew up in America and deeply loves Wang Ta. Ta becomes drunk in his misery over Linda, and Helen ends up letting him stay for the night in her apartment. She sings “Love Look Away”, about her unrequited love. In the morning, Mei Li comes to deliver a burned coat for Helen to mend, and becomes distressed when she discovers Wang Ta’s clothing in Helen’s kitchen. When Wang Ta wakes up (seconds after Mei Li leaves), he still does not notice Helen’s affections, even as she pleads for him to stay, and he leaves quickly. He goes to speak with Mei Li, now realizing that she is a better match for him than Linda Low, only to have Mei Li reject him, saying that she once loved him, but not anymore. She and her father leave Master Wang’s house and pursue the marriage contract between Mei Li and Sammy Fong. This is unfortunate in that Sammy has already proposed to Linda, but now will be unable to marry her (the contract is binding). Before the wedding, Wang Ta goes to see Mei Li, and they both realize that they are deeply in love with one another. They agree to try to come up with a way to get Mei Li out of her marriage contract.

The day of the wedding, right before she is to sip from a goblet (which would seal her marriage to Sammy), Mei Li declares that, because she entered the United States illegally, the contract is null and void. Wang Ta can thus marry Mei Li, and Sammy decides to marry Linda right there as well, resulting in a double wedding. Helen ends up empty handed (in fact, she does not appear again after Wang Ta leaves her apartment). In the novel, Ta’s rejection actually leads her to commit suicide.

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Fury (1955-1960) tv series clip

Fury (1955-1960) tv series clip

Fury (retitled Brave Stallion in syndicated reruns) is an American western television series that aired on NBC from 1955 to 1960. It stars Peter Graves as Jim Newton, who operates the Broken Wheel Ranch in CaliforniaBobby Diamond as Jim’s adopted son, Joey Clark Newton, and William Fawcettas ranch hand Pete Wilkey. Roger Mobley co-starred in the two final seasons as Homer “Packy” Lambert, a friend of Joey’s.[1]

  The frequent introduction to the show depicts the beloved stallion running inside the corral and approaching the camera as the announcer reads: “FURY!..The story of a horse..and a boy who loves him.” Fury is the first American series produced originally by Television Programs of America and later by the British-based company ITC Entertainment.

Synopsis

The story begins with two young boys fighting on the street. As the winner of the exchange, Joey Clark, walks away, the loser attempts to throw something at him, but the object goes through a nearby window. The store owner quickly pins the blame on Joey, who has been labeled a troublemaker from past incidents. Rancher Jim Newton witnesses the incident and follows along as Joey is taken before the judge to clear the boy’s name. After learning that Joey is an orphan, Newton takes him home to his Broken Wheel Ranch and begins adoption procedures.

A typical plot involved a guest star who falls into mischief, was rebellious or disorderly, and got into trouble but is subsequently rescued by Fury. In most episodes, Fury allowed only Joey to ride him, but occasionally others were allowed the honor of mounting Fury if they had done a good deed for the horse. One of the original conceits of the show was that Fury remained a ‘wild’ (untamed) horse, who wouldn’t allow anyone but Joey to ride him or even come near him. In several episodes people would see the calm interaction between the horse “and the boy who loved him,” and assume that the horse must be broken — but when they tried to put a saddle on him, Fury would rear up and attack them!

Numerous episodes focus on youth organizations, including the Boy ScoutsBig BrothersJunior Achievement4-H ClubLittle League, and even the Girl Scouts. A 1957 episode is dedicated to Fire Prevention Week.[2]

Ann Robinson played Joey Newton’s dedicated teacher, Helen Watkins, in nine episodes of the first season.[3] In addition to Roger Mobley as Packy Lambert, another friend of Joey’s is portrayed in the series by child actor Jimmy Baird (born 1945), who was cast as Rodney “Pee Wee” Jenkins.[4]James Seay portrayed a sheriff in six episodes. Maudie Prickett was cast twice, once in the title role of “Aunt Harriet” (1958).

Among the other guest stars were Shelley Fabares as Midge Mallon in “The Tomboy” (1957), Tony Young in “Timber Walker” (1959), Lee Van Cleef as Race Collins in “House Guests” (1959), and Walter Maslow in “The Relay Station” (1959).

Jim Bannon appeared twice on Fury, once as a prison warden in the episode “Fish Story” (1958). Andy Clyde was cast in “Fury Runs to Win” (1956) and “Black Gold” (1959). Russ Conway was cast in “Joey Goes Hunting” (1955) and “A Present for Packy” (1960). Nan Lesliewas cast twice on Fury, as Stella Lambert in “The Model Plane” (1958) and as Packy’s mother in “The Pulling Contest” (1959). Paul Picerni of Untouchables fame,portrayed Tupelo in “Packy, the Lion Tamer” (1960). He also appeared in “An Old Indian Trick” (1959). John M. Pickard, star of the syndicated Boots and Saddles western series, appeared in the episodes “Timber” (1956) and “Trail Drive” (1959). Will Wright, known for his curmudgeonly roles, was cast in “Ghost Town” (1955) and “The Meanest Man” (1958).

Much of the outdoor footage was shot at the Iverson Movie Ranch in ChatsworthCalifornia, where the “Fury Set” was built specifically for the series. This set included a small house, a shed, corrals, and other features, but it was dominated by a large barn. The Fury Set was used in the films Fury at Showdown(1957) and The 30 Foot Bride of Candy Rock (1959) and the television series, Bonanza and Cimarron Strip, before it burned to the ground in the massive Newhall/Malibu fire of 1970.

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SOUTH PACIFIC (Musical)

SOUTH PACIFIC (Musical)

Music:  Richard Rodgers
Lyrics: Oscar Hammerstein II
Book Oscar Hammerstein II
Joshua Logan
Basis Tales of the South Pacific
by James A. Michener
Productions 1949 Broadway
1950 U.S. tour
1951 West End
1988 West End revival
2001 West End revival
2007 U.K. tour
2008 Broadway revival
2009 U.S. tour
Awards Pulitzer Prize for Drama
Tony Award for Best Musical
Tony Award for Best Original Score
Tony Award for Best Author
Tony Award for Best Revival of a Musical

South Pacific is a musical composed by Richard Rodgers, with lyrics by Oscar Hammerstein II and book by Hammerstein and Joshua Logan. The work premiered in 1949 on Broadway and was an immediate hit, running for 1,925 performances. 

The plot of the musical is based on James A. Michener’s Pulitzer Prize-winning 1947 book Tales of the South Pacific and combines elements of several of those stories. Rodgers and Hammerstein believed they could write a musical based on Michener’s work that would be financially successful and, at the same time, would send a strong progressive message on racism.
The plot centers on an American nurse stationed on a South Pacific island during World War II, who falls in love with a middle-aged expatriate French plantation owner but struggles to accept his mixed-race children. A secondary romance, between a U.S. lieutenant and a young Tonkinese woman, explores his fears of the social consequences should he marry his Asian sweetheart. The issue of racial prejudice is candidly explored throughout the musical, most controversially in the lieutenant’s song, “You’ve Got to Be Carefully Taught”. Supporting characters, including a comic petty officer and the Tonkinese girl’s mother, help to tie the stories together. Because he lacked military knowledge, Hammerstein had difficulty writing that part of the script; the director of the original production, Logan, assisted him and received credit as co-writer of the book.

The original Broadway production enjoyed immense critical and box-office success, became the second-longest running Broadway musical to that point (behind Rodgers and Hammerstein’s earlier Oklahoma! (1943)), and has remained popular ever since. After they signed Ezio Pinza and Mary Martin as the leads, Rodgers and Hammerstein wrote several of the songs with the particular talents of their stars in mind. The piece won the Pulitzer Prize for Drama in 1950. Especially in the Southern U.S., its racial theme provoked controversy, for which its authors were unapologetic. Several of its songs, including “Bali Ha’i”, “I’m Gonna Wash That Man Right Outa My Hair”, “Some Enchanted Evening”, “There Is Nothing Like a Dame”, “Happy Talk”, “Younger Than Springtime”, and “I’m in Love with a Wonderful Guy”, have become popular standards.

The production won ten Tony Awards, including Best Musical, Best Score, and Best Libretto, and it is the only musical production to win Tony Awards in all four acting categories. Its original cast album was the bestselling record of the 1940s, and other recordings of the show have also been popular. The show has enjoyed many successful revivals and tours, spawning a 1958 film and television adaptations. The 2008 Broadway revival, a critical success, ran for 996 performances and won seven Tonys, including Best Musical Revival.

Wikipedia.org

“SOUTH PACIFIC – Preview”

South Pacific clips from movie origin:

 
 

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