Customer Reviews

Meredith Willson's The Music Man (TV Film)

5 star:		(38)
4 star:		(10)
3 star:		(16)
2 star:		(6)
1 star:		(19)

 

 

Comparisons between the 1962 and 2003 versions of the Music Man are inevitable. And such comparisons are going to center on the different approaches that Robert Preston and Matthew Broderick used to create the character of Professor Harold Hill. While many critics have dismissed Matthew Broderick's characterization, I believe that these critics have overlooked a significant interpretation of the Music Man. I like both versions of The Music Man, because they complement each other.

Robert Preston interpreted Harold Hill as a fast talking con man who doubled as a sort of Pied Piper. He would lead and the town people would follow right along. It is fun to watch, but also a little confusing. Here are all these stubborn, stiff-necked Iowa folk being gullibly conned left and right. One would think that the citizens of River City wouldn't have agreed to the creation of a Boys Band unless there was something else going on.

On the other hand, Broderick's Harold Hill is someone who can somehow appeal to a person's innermost wants and dreams. He isn't fast talking; instead he is able to get them to invoke their own dreams and wants, and he is able to do this because he is trying to realize his own frustrated dreams. In contrast to Preston, Broderick underplays Harold Hill and it works.

No where is this interpretation more evident than in the "Marian the Librarian" sequence. Preston's Hill creates havoc in the library by behaving like a Pied Piper and everyone else is swept up in the process. Even Shirley Jones' Marian is temporally swept away.

Broderick's Hill mesmerizes Kristin Chenoweth's Marian so that she invokes her dream in an unusual interlude in this number. It works because Broderick's Hill isn't trying to con her into something; he is trying to awaken her hopes and dreams.

The "Trouble in River City" sequence also highlights this different interpretation of Harold Hill. Robert Preston invokes the atmosphere of a Religious Revival, whereas Broderick jumps from place to place (the barber shop, the ladies hat shop, the street, etc) planting the idea into everyone's head.

Once you understand this approach, then other things in the 2003 version of the Music Man make a lot of sense. Unlike the 1962 version where Marian changes her mind because Hill has made Winthrop happy with an instrument; the 2003 version Marian changes her mind because she understands that by realizing Winthop's dreams her brother will come out of his shell. Moreover, in this context, Marian's monologue of why she is glad Hill came to town, even though he is a swindler, makes more sense.

Having said all this, the 1962 version is more polished. The editing is crisp. The supporting cast is difficult to beat: Buddy Hackett, Hermonone Gingold, Paul Ford, Ron Howard, and even Mary Wicks!

But there are still some things about the 2003 version that I think are superior to the 1962 version. The 1962 version edited the "My White Knight" song, whereas Kristin Chenoweth gives us the full version. The dance sequences in the 1962 version are very tight and invoke a sort of Busby Berkeley production. I prefer the 2003 dance sequences because you actually get to see more of the feet, body, and arm movement that were sacrificed in the 1962 production. One last point, you can understand the lyrics in the 2003 version a lot better.

LATTER ADDITION: Recently I came across a short film of the original Broadway Production with Robert Preston. I was surprised to see that Robert Preston's original interpretation of Harold Hill actually had more in common with Matthew Broderick's interpretation in this version.

Professor Harold Hill has come to River City, Iowa, to get them to start a boys' marching band. He claims he can teach the students to play; all the parents need to do is buy the instruments and uniforms. Only the mayor and Marian, the local librarian and piano teacher, seem at all suspicious of this fast talking smooth salesman. Can they find the proof they need to stop him from swindling the rest of the town? Will they want to?

I'm almost ashamed to say that this was my introduction to this classic American musical only because it took me this long to see it. I fell in love with it as soon as I saw it, however. Since I had nothing to compare it to, I thought it was wonderful. I have since seen the original film, and I can see differences. Matthew Broderick plans a toned down version of Harold Hill, but I find his charm more appealing as a selling point to the town's people. Kristin Chenoweth shines as Marion. That woman can sing and brings real warmth to the roll. The rest of the cast is wonderful as well, especially Victor Garber as the mayor and Molly Shannon as his wife. Considering Victor Garber's past musical experience, I was surprised at how small his part here really was, but he makes every appearance memorable. This version takes better advantage of the film format for some truly inventive, fun dance numbers, especially in "Seventy-six Trombones" and "Marian the Librarian."

Those hoping for some nice bonus features on the DVD like I was will be disappointed. There is only a short (7 or 8 minute) documentary on the making of the film that barely scratches the surface and a special recording of Kristin Chenoweth singing "Till there was You." The movie itself is presented in full frame, which makes sense considering it was made for TV. Picture quality and sound are top notch throughout the DVD.

So, which version is better? That's really a hard call. Those raised with Robert Preston will probably find flaws with this version and reasons to like the original. I think I lean a little more toward this one, mainly for the dance numbers and favorites in the cast. Both are excellent, however, and capture the charm of this musical well.

Though it was a highly promoted production, not everyone was all that thrilled with a made for television version of THE MUISC MAN. Some viewed this production as blasphemy of a great American musical. Robert Preston and Shirley Jones did a good enough job in the original, so why tamper with a classic? Without a doubt, the original film version is a classic and is the better production. This is not to say, however, that the made for television production starring Matthew Broderick as Professor Harold Hill and Kristen Chenoweth as River City's faithful librarian Marion does not have its good points. Broderick does a wonderful job presenting his interpretation of Harold Hill. He has the same mischivios charm and charisma that made FERRIS BUELLER'S DAY OFF such a success and I suppose we can easily imagine the fictional Ferris Bueller growing up and becoming a Harold Hill. Broderick uses his many talents to make the role come to life and does more than an adequate job. The musical numbers are lively and the dance scenes are superb. Molly Shannon adds to the cast. I will have to admit that the barbershop quartet in the made for T.V. Version will never rival the Buffalo Bills, and no one can match Buddy Hackett's version of "Shipoopie".

If the purpose is to present an enjoyable version of an all time classic, this it does rather well.
Is this version as good as the stage version or movie? No, but I'm not sure that anyone involved in the production ever expected that it would. They simply wanted to entertain and this version is entertaining.

Not being a huge Matthew Broderick fan, I stayed away from this when it came out. I just couldn't see him as Professor Harold Hill. Broderick did a find job in The Producers though; and that, as well as an overwhelming desire to see the lovely, multi-talented Kristen Chenoweth as Marion led me to finally purchase a used copy of this. Chenoweth did not disappoint in the least. She has the voice of an angel (and is beautiful and charming as well); and is one of the few women - maybe the only one - that I could see in a role originated by Barbara Cook. Victor Garber was also wonderful as the mayor; but he's always wonderful. The supporting cast pretty much ranged from good to adequate. I wasn't in love with the camera work, but it didn't bother me as much as it did others; and I did liked the sets quite a lot . Now to Broderick. In a word: terrible. Too young, not enough swagger, nowhere near the personality and charisma necessary for this role. If I watch this again, it will be solely to see and hear Kristen Chenoweth's Marion.

Chenoweth has a huge voice and she does her part, and reviving "My White Knight" from the stage play was a nice addition, but Matthew Broderick as Professor Harold Hill is the worst piece of casting in the history of cinema. The producer and director should go to Meredith Wilson's grave and aplogize. Simply an awful movie.

I was one of the first 200 people to view this remake of Meredith Wilson's masterpiece. I was in Atlanta at the annual Junior Theater Festival and learned that ABC was allowing us a sneak peek at its' latest attempt at staging a Broadway musical. I was delighted, for Matthew Broderick is my favorite actor along with Nathan Lane. I must say that this production, though not as superb as the original with the definitive Harold Hill, Robert Preston, this production, from the executive producers of "Chicago", is great fun.

For those not familar with "The Music Man", it is a Broadway favorite, with the book and lyrics written by Meredith Wilson, who also composed the songs! Talk about a triple threat! It has become a favorite to Broadway lovers around the world, with productions showing up all over. (I cannot count the number of production I have seen!) The story revolves around Harold Hill, a con man who has come to River City in order to sell band uniforms and instuments to the towns families, telling them that they desperately need a boy's band in order to keep the boys out of trouble. The story is engaging and humorous, as Marian the librarian causes some trouble for Hill, and Hill falls for her! uh, Oh!

Matthew Broderick was not terrible as Harold Hill, but he was not exactly incredible either. (And believe me, it is hard for me to say ANYTHING bad about Matthew Brodrick, but I'm trying to do the review from an objective standpoint). Very wisely, Broderick does not try to imitate Robert Preston's outstanding performance, as many try to do. He trys to make the character his own, and does a fine job. Just nowhere near Preston's standards. It almost seems like a Grown-up Ferris Bueller has come to River City. But all-in-all, a good performance.

However, Kristen Chenowenth is marvelous as Marian. She won a Best Actress Tony in 1999 for her performance in the Broadway production of "You're a Good Man, Charlie Brown". She shines as Marian in every way. A tremendous performance.

This production of "The Music Man", though not as good as the original 1962 movie, seems less "stagey". The choreography seems to move more freely to different settings in musical numbers, a subsequent problem with the original movie. It always bugs me when movie adaptations to Broadway musicals seem to "stagegy", not a problem with this adaptation.

All-in-all, I think that it is hard to choose between this or the original. I beleive both are great, and if you can, buy both in order to see. However, I believe musical-theater junkies alike will savor Robert Preston in his definitive role. However, children and musical-haters will be more drawn to this remake, an enchanting revist to an old favorite.

*****If you bought and enjoyed this movie, make sure to check out the classic musicals "Fiddler on the Roof", "West Side Story" and the other ABC remake "Cinderella"- Bernadette Peters is a marvel in it.

When I first watched Matthew Broderick's interpretation of the character of Harold Hill, I didn't like it but, realizing that I was locked into Robert Preston's portrayal, I thought I should give Broderick's approach a little more time before making a final judgement. Well, I did and Broderick's interpretation grew on me until now, I enjoy it as much as Preston's. I realize Robert Preston almost created the role but, in the arts, we should never get so stuck on one approach that we're not open to fresh interpretations.
Of course, Kristin Chenoweth'a performance of Marian is elegantly superb.
What a voice, and acting talent to match. One of the things that impresses me so much about Chenoweth is that she can, in spite of her training as an opera singer, adapt to any style of singing, be it pop, gospel, theater, classical, and sound authentic doing it. Too often we hear opera singers performing a Broadway song and still sounding like an opera singer.
Bravo for a wonderful show.

Ugh. Low energy, unflattering tight shots which provide details of Ms. Chenowith's face which I'm comfortable not knowing about, including a huge bubble of saliva at the end of My White Night. The choreography is pedestrian ("walk-ography") and there is no momentum. The original movie with Robert Preston and Shirley Jones is definitive; I would advise sticking to it. This version only points up the magnificence of Robert Preston in the original.

"I came not to pan Broderick but to praise Preston"

I was looking foward to this version of The Music Man after enjoying Mathew Broderick's performance in The Producers. Unfortunately, Broderick completely lacked the charisma, voice, range, and rougish charm that Preston brought to the original Music Man.

Take for instance the library scene and score; Broderick was unable to bring the energy necessary that Meredith
Wilson's score required. His voice was weak, he appeared clumsy during the choreography, and as such, unable to create the energy necessary to affect the lyrics and music required to develop the relationship between Marion the Librarian and Professor Hill. This scene was necessary to show the viewer of the growing infactuation of Marion Paroo to Harold Hill, and Hill's attempt to further his seduction and control of Marion to insure his successful con.

Another scene not as poignant but as revealing is the one in which Hill and Marcellus are in the bar/barn and the Professor sings "Sadder But Wiser Girl For Me". Broderick just simply is/was unable to bring the rougish humor, wit, and style that Preston did so well.

As much as I admire Kristin Chenoweth, she does not possess the vocal abilty of Shirley Jones nor does Cameron Monaghan bring the performance of Winthrop Paroo as well as Ron Howard. Cameron just can't lisp properly.

After watching this version, I brought out my DVD of the original hoping to again step into the shoes of Professor Harold Hill, seducing Marian Paroo, and con the hapless citizens of River City, Iowa. I did... and found as much enjoyment watching it for the 60th time as I did the first time.
In support of Broderick's effort, he did enunciate the lyrics more clearly and sung his songs one octave higher. He gave a good effort and brought a lot of energy, but the burdon of besting Preston is almost an impossible task.

The origanl is a musical masterpiece and may well be the best musical ever produced. If you have only seen the TV version with Broderick, I urge to to purchase or rent the original. It will bring a great deal of enjoyment to you, your family and any one with whom you wish to share two and a half hours of wonderful music and dancing.

The Music Man with Robert Preston is a classic and a great one and Matthew Broderick had big shoes to fill. Perhaps he did not fill them adequately. The zest is there, he seems to be enthusiastic about the whole thing, and there are really some very fun moments, but he just does not seem to embody the part of Harold Hill very well.

That does not stop this from being a great remake and this is for one reason: Kristin Chenoweth. She is not Shirley Jones. She is better. There's no denying that the girl is talented. Her voice is amazing and beautiful, but it's more than that. The emotion, the heart and soul she pours into these songs is amazing. Her rendition of "Good Night, My Someone" may very well reduce you to tears. She plays the part of Marian almost effortlessly - you'll find yourself saying Shirley who?

Other hilights include a wonderful performance by Debra Monk who almost never disappoints and Victor Garber, who will grow on you.

I think of it just as highly as the Robert Preston version.