Title: Seven Brides for Seven Brothers
Genre: Comedy, Musical
Director: Stanley Donen
Stephen Vincent Benet
Music: Gene de Paul
Cinematography: George J. Folsey
This is Metro-Goldwyn-Mayer’s classic musical-comedy in its apex times, nominated for five Oscars and won BEST MUSIC SCORE in a Musical Picture in 1955 (for Adolph Deutsch and Saul Chaplin).
In a retrospective point of view, the film is a perfectly-pitchedly feel-good one which could be accepted by every demographic rank without any baffling difficulties, yet at the same time the internally innocuous contrivance has inevitably curbed its artistic value.
To my surprise, the choreography is not at all outdated, who would not be amazed by a prolonged dance combat scene (a little bit superfluous though) between the brothers and other young bachelors from the village?
Then what’s the pest here? Meanwhile I was enjoying the well-designed ballet/gymnastics performances, my mind could not be undisturbed by the underlying hackneyed reoccurrence of some unreasonable moral drills (it’s not the film’s fault, as time is a brazen bitch, after 60 years, the world changes not only its face but also moral values). The feign happiness doesn’t suit our epoch anymore, that’s why certain films (mainly comedies and musicals) cannot have an everlasting longevity like their other vintage peers.
Two leads, Jane Powell and Howard Keel, were in their prime predicaments though, especially Ms. Powell, sadly whose ephemeral film career would soon reach its end, in a way she single-handedly rescued the film from being insipid as the rest of the characters are frankly prone to humdrum and witlessness (literally I mean the other six brides and all the seven brothers).