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For many movie lovers, the thought of classic musicals brings to mind images of Julie Andrews swirling around the hillside in The Sound of Music—or Judy Garland skipping her way down the Yellow Brick Road in The Wizard of Oz. We think of memorable stories and beloved characters. But in Morton DaCosta’s 1962 musical, The Music Man, the story isn’t quite as memorable—and the characters aren’t quite as lovable.
The traveling musical instrument salesman who calls himself Professor Harold Hill (Robert Preston) has given traveling salesmen a bad name. He travels from one town to another, selling instruments and band uniforms and sheet music, promising to turn lazy boys into disciplined bands—though, in reality, he doesn’t know a thing about music.
When he arrives in River City, Iowa, even the town’s coldest, most stubborn residents quickly fall for the con man’s irresistible charm. But librarian and piano teacher Marian Paroo (Shirley Jones) isn’t buying his act. No matter how much Professor Hill turns on the charm through his flattery and fast-talking (and more than a few lecherous advances), she’s still convinced that he’s got something up his sleeve—and she’s determined to find the truth.
This Oscar winner may be a classic, but The Music Man is a long and maddening musical—mostly because Hill is such a totally unlikable character. It’s clear from the opening number that he’s a no-good shyster—and it’s frustrating to sit back and watch (for more than two hours!) as one person after another falls for his con. It’s even more frustrating when Marian—who’s supposed to be the one smart, reasonable person in town—starts falling for it, too.
But Hill isn’t the film’s only annoying character. Every line out of the mayor’s dim-witted teen daughter’s (Susan Luckey) mouth sounds a little too much like nails on a chalkboard—while the rest of the townspeople are just generally dense. In fact, anyone who calls Iowa home is likely to take offense at the portrayal of the town’s residents—starting with a song that introduces them as stubborn and cheap with a chip always on their shoulder (though, to be fair, they can be neighborly to a friend in need).
The film is also filled with odd (and uncomfortable) casting choices. At a rough-looking 44, Robert Preston looks like a creepy old man when he’s making the moves on a young-looking 28-year-old Shirley Jones. And the fact that an adorable eight-year-old Ron Howard plays Marian’s only sibling is sure to have you scratching your head.
The high point of the film, though, is its creative musical numbers. From traditional song-and-dance numbers to clever half-sung, half-spoken numbers inspired by the rhythm of a moving train, they’re often surprising—and always memorable. This is where the film excels—and its Best Music Oscar was definitely deserved.
While the musical numbers of The Music Man are definitely worth checking out, though, you might want to fast-forward your way through parts of the story—because the unlikable characters and strange casting choices can sometimes make it a frustrating experience.
DVD Review:
The Music Man may not be my favorite classic musical, but if you pick up the Best of Warner Bros. 20 Film Collection: Musicals, you’ll get so much more. The collection contains some unforgettable musicals—from 1927’s groundbreaking The Jazz Singer to 1988’s Hairspray, with others, like Singin’ in the Rain, The Wizard of Oz, Viva Las Vegas, and Willy Wonka and the Chocolate Factory, in between.
Really, the only way to improve on this set would be to release it on Blu-ray instead of just DVD. But if you love classic musicals, it’s one collection that you won’t want to miss.
