Synopsis
It's Here!
In the Oklahoma territory at the turn of the twentieth century, two young cowboys vie with a violent ranch hand and a traveling peddler for the hearts of the women they love.
In the Oklahoma territory at the turn of the twentieth century, two young cowboys vie with a violent ranch hand and a traveling peddler for the hearts of the women they love.
Οκλαχόμα, Oklahoma, Оклахома!, 俄克拉荷马, אוקלהומה!, 오클라호마, オクラホマ!
The main plot: A woman is stuck in a love triangle with two men whom are seemingly on a path to killing each other over her
The side plot: local slut cant make up her mind
men are officially only allowed to wear flannel shirts if they can spontaneously bust out into songs about corn
The dream sequence is one of the most beautiful, surreal nightmares on film. The tornado, the hallways, the dancing, the movement, the lighting, the music, the sound design, it's a vision of western plains thunderviolence with emotional drama, painted onto the walls of the horizon. It's a masterpiece in and of itself, positioned amidst bright, deep shots of Arizona pretending to be Oklahoma. The whole film is a painting of wide ranges and fields, dirt roads and railroads, costumes and old houses.
Westerns are so heavily coded in the Hollywood mythos as masculine films; this film manages to weave those cowboy trappings into magnificent dance sequences and colorful happiness. Tap dancing and strutting mix together as characterization. The contrast between…
the part in the "kansas city" number where gene nelson throws the lasso over the camera lens? that's what i call cinema!
i really like the part where curly tries to convince that other guy to hang himself by singing about how beautiful his funeral would be
The rest of the story that surrounds this film's extraordinarily emblematic dream sequence is exactly what I would expect it to be from a musical in the mid 1950s (although a tad hornier if I'm being honest...), but it's that dream sequence - and, of course, that larger than life final song - that makes it a classic in the Musical Canon.
As Sally Jane Black describes that sequence within her eloquent review, "The tornado, the hallways, the dancing, the movement, the lighting, the music, the sound design, it's a vision of western plains thunderviolence with emotional drama, painted onto the walls of the horizon." It's a completely different canvas the film is working on than the rest of the…
Songs are the fundamental strength of any musical, and Fred Zinnemann's directed adaptation of Oklahoma!, based on the first musical ever written by Rodgers and Hammerstein, comes marshalled with some powerful and compelling lyrics and melodies.
Set during the Industrial Revolution, it places characterisation and storyline on a shelve position notably lower than the buoyancy it aspires to elicit through a plethora of dancing cowboys along with a commercial traveller, who all seek in obtaining the sentimental graces of several regional women.
It succeeds in delivering a solid dose of good old-fashioned entertainment which is all presented under cloud flecked blue skies shot in glorious Cinemascope by the cinematography of Robert Surtees and Floyd Crosby. The lighthearted charm of numbers…
“Country’s a-changin’. I got to change with it.” - Curly McLain
Fred Zinnemann’s Oklahoma! is a musical film. This is Shirley Jones’ feature film debut. The film is based on the 1943 musical of the same name by Richard Rodgers and Oscar Hammerstein II, which in turn was based on the 1931 play Green Grow the Lilacs by Lynn Riggs. The film is set in the Oklahoma territory shortly after the turn of the 20th century and tells the story of farm girl Laurey Williams and her courtship by two rival suitors, cowboy Curly McLain and the sinister and frightening Jud Fry. The film stars Gordon McRae, Gloria Grahame, Gene Nelson, Charlotte Greenwood, Eddie Albert, James Whitmore, Rod Steiger, and Shirley…
He looks like he's asleep, it's a shame that he won't keep, but it's summer and we're running out of ice.
literally horrifying lol