BRIGADOON: A 1954 REVIEW

Here is the original review of the movie musical Brigadoon, which was released 70 years ago. This review appeared in the New York Times on September 17, 1954...

By Bosley Crowther


AS we recall, the drama critics had a bit of a difficult time placing their pen-points precisely on the secret of the charm of "Brigadoon" when that whimsical play with music opened on Broadway some seven years ago. Was it the dancing, the music, the acting, the story, the decor—or, indeed, a graceful blending of all these elements—that made it a bright and spinning joy? As we recall, the secret was never entirely resolved.And now we're afraid the film critics—at least, this one—will find it equally hard to say why the film made from that triumph is so curiously flat and out-of-joint, rambling all over creation and seldom generating warmth or charm.It cannot be blamed on the story, for the story told in the film, which M-G-M delivered to the Music Hall yesterday, is exactly the same wistful fancy that was spun out upon the stage as written by Alan Jay Lerner, who also prepared the script. 

It is the story of two American hunters who go astray in the Scottish hills and there come upon a spectral village that is lost to the world and to time. Naturally, one of the fellows falls in love with a bonnie ghost, which leads to disturbing complications. It's a fairy-tale story, but it's okay.And it certainly cannot be for want of elaborate and handsome decor that this huge, polychrome motion picture lacks the joy of the show upon the stage. For Arthur Freed has produced it with what appears not a thought of the expense of Scottish costumes, thatched cottages, heather blossoms, scenic backdrops and furze-covered hills. A whole highland village and half a county are spread across the CinemaScope screen. To be sure, it does look artificial, but it is scenery. That, too, is okay.

The music? Well, let's acknowledge that a few of the better songs that made the stage show sweet and lovely are strangely omitted from the film. "Come to Me, Bend to Me" is missing. So is "My Mother's Wedding Day." And, for some unaccountable reason, they have dropped "There But For You Go I."However, "Waitin' for My Dearie" and "I'll Go Home With Bonnie Jean" are still given choral circulation, with a big boost from stereophonic sound, "The Heather on the Hill" still has its fragrance. And there's "Almost Like Being in Love." These, plus some other choral numbers, keep the musical franchise in line.But the dancing and the performance—well, we're afraid that it is in here that the life and the smoothness of the original have been perceptibly lost—which is odd, because the personable Gene Kelly and Cyd Charisse have the lead dancing roles. Even so, their several individual numbers are done too slickly, too mechanistically. What should be wistful and lyric smack strongly of trickery and style. And the several ensemble dances—with the exception of the wild and fierce "The Chase," wherein the Scots pursue a fugitive from their village—seem as calculated as Rockette parades.It might be noted that Mr. Kelly has taken credit for the choreography. On the stage, it was by Agnes De Mille.And those performances! Mr. Kelly's is as thin and metallic as a nail; Miss Charisse's is solemn and posey. A dismal young Scots lassie she! Van Johnson as the friend of Mr. Kelly pouts in a most unfunny way, and Barry Jones, Hugh Laing and Jimmy Thompson make peculiarly stagey Scottish ghosts. Vincente Minnelli's direction lacks his usual vitality and flow."Brigadoon" on the screen, we must say, is pretty weak synthetic Scotch.On the stage at the Music Hall are Gill Johnson and Mike Madill, comedians; Marlene Dell and Don Farnsworth, ballet soloists; Anthony Makas, pianist, and the Glee Club, Corps de Ballet and Rockettes...

SOURCE