South Pacific

“Knuckleheads and cockeyed optimists. Even though it's gargantuan in length, this is actually a "small" screen adaptation of the Rodgers and Hammerstein Broadway play. Met with indifference by the critics of the time, it has however come to be loved by many a musical fan. I'm not one of them though... There's no denying that the songs are superb, mostly top draw, but there are so many irritating issues within. The much discussed colour filters that were used by director Joshua Logan and cinematographer Leon Shamroy, are overkill, trying to supplant whimsy when really a static set can't carry the treatment. Pic is easily 45 minutes too long, thus when the war sequences come so late in the play they feel at odds with what has transpired in the previous 2 hours of film. Mitzi Gaynor and Rossano Brazzi as our loved up lovers are polar opposites on character terms, but also in acting skills. She is radiant for the key musical numbers, but her character away from the musical numbers starts to grate the longer the pic goes on. He, well he's as stiff as one of Logan's camera set-ups is. Even some of the dancing choreography comes off as something that was originally thrown away during production discussions. The tunes carry you through to the end, for they demand to be given our attention, but really this is one musical that I really could never watch again. 5/10”

“Amidst the backdrop of the Second World War, Joshua Logan takes us, courtesy of Rodgers and Hammerstein, on a romance set on a beautiful tropical island. Mitzi Gaynor is one of the few women here who is surrounded by squad of hormonal sailors who declare "There's Nothing Like a Dame" early on, so she has no shortage of would-be suitors. Also on this island is the Frenchman "Emile" (Rossano Brazzi) whom the visitors want to use to help map out the adjacent islands held by the Japanese. What now ensues follows the will they/won't they nature of their developing relationship interspersed with some wartime plotting and peppered with musical standards like "I'm Gonna Wash That Man Right Outa My Hair"; "Some Enchanted Evening" and "Younger than Springtime" the film trundles along to it's rather obvious conclusion. There can be no doubt that the songs are memorable, but there is not a jot of chemistry between Brazzi and the increasingly Doris Day-esque Gaynor and the ensemble chorus numbers come across as overly choreographed and not in the least natural. For much of the film, it appears as if it's shot through a telescope with slightly blurred edges. Initially reminiscent of dream sequences, this technique soon loses it's potency and ends up contributing little to this generally rather lacklustre and thinly plotted comic love story. There's also no getting away from the glaringly obvious dubbing as Giorgio Tozzi provided the real operatic bass tones on behalf of our leading man. The music carries this a great deal, but the rest of it is little better than colourful wartime B-movie that I found did disappoint.”