the audience applauded

Simply A Masterpiece

Good movie but grossly overrated

Admirable film.

Robert Preston, who originated the role of Harold Hill, put his stamp on it for all time. On the one hand, we're lucky enough to have his great performance preserved on film. On the other, he basically ruined the role for everybody else who has taken a crack at it in the past sixty years.Matthew Broderick was a very unusual choice for the part of Harold Hill, and yes, I understand why some have used the term "miscast." Nevertheless his performance grew on me and I agree that for a con man, his approach is a lot more logical. A successful con man doesn't draw attention to himself. The opening number "Rock Island" sets the tone for how he's going to play the part, as he enjoys a private grin hearing his deeds described. Again in his first scene with Marcellus, his "conductor" gesture is downplayed and you can see him glance aside cautiously at the other folks in the hotel lobby, as opposed to Preston's flamboyance.His Harold really connects with young Winthrop Paroo and I loved their little dance duet in "Shipoopi" - shortly followed by Winthrop's disillusion when he learns his friend and father figure is a crook. The scene where Harold tells him the truth (and I think this is what really clinches his decision to stay and face justice) grabs me every single time.David Aaron Baker as Marcellus, Harold's sidekick, is just outstanding - miles better than Buddy Hackett, and I liked Hackett in the role.Kirsten Chenoweth is first class. She sings beautifully and does a good job telegraphing Marian's loneliness and isolation in this small town. I just wish she hadn't grinned so much during the dance scenes, but her baffled reaction when Harold tells her he's expecting a telegraph from Hector Berlioz (who died in 1869!) is hilarious. She and Broderick have genuine chemistry and the scene where he tells her he loves her, then gives himself up, shows Marian's inner strength.Give this version of "The Music Man" a chance and I think you will be pleasantly surprised.

I have a long history with "The Music Man". I played Mayor Shinn in a children's community theatre production when I was 11, and I grew up with both this version and the original 1962 movie with Robert Preston and Shirley Jones. I've recently revisited both of these movies. The original holds up very well, with all-around stellar performances and a wonderful nostalgic atmosphere. It is in both of these departments where this remake fails. While a lot of people constantly criticize Matthew Broderick for being bland and stiff, I find him to be extremely funny and fun to watch, with this performance being an exception. I don't think it's all his fault, though. It's just a case of very bad casting. He's too nerdy and bookish to play the suave, fast-talking con man. Broderick also has the same problem as a lot of the rest of the cast. They play it too contemporary. Everyone talked as if they were in the early 2000s, rather than the early 1900s. Victor Garber as the supercilious mayor needs to be MUCH more over-the-top, but rather plays it as something out of CSI. Molly Shannon as his wife also underplays the comedy way too much, which is something she has never seemed to have a problem with. She just doesn't have the terminal sense of disdain in her voice that Hermione Gingold had in the 1962 version. Some of the ensemble acting and singing is just BAD. The opening train scene, usually a highlight, is downright cringe-worthy in this version. The highlight of this movie, without a doubt, is Kristin Chenoweth. Though I think she has gone down hill as a performer recently, she is at the top of her game in this otherwise-terrible movie. She seems to be the only one there who understands the time period and the style of comedy this musical requires, and she sings the hell out of that beautiful music!! The only one who comes close to her is Debra Monk as her mother. She just tends to go a little too stereotypical- Irish mother, but her scenes with Chenoweth are the acting highlights of the movie. Overall, I would recommend this to any Kristin Chenoweth fan who wants to see her nail one the great Soprano roles in musical theater. But for anyone who wants to introduce themselves to this great American musical, watch the original.

I don't really want to harp on this production too much, because this musical in any form is a favorite of mine. However, though I found this outing to be fair, it also seemed rather run-of-the-mill or paint-by-numbers, & suffered greatly from a lack of charisma in its performances.I'm really trying to not let the influence of the original film color my interpretation here, but there's something missing in the presentation of the two lead characters, as written, that causes a breakdown of the chemistry between them that makes this scenario less believable.Don't get me wrong. Both Kristin Chenoweth & Matthew Broderick are good performers, & have both displayed that in others presentations, but here they really only manage to be cute together. I didn't get the romance, that's supposed to be happening between them, nor any of the other emotional content that's in this story. Chenoweth is really good, and it sucks to bring it to this level, but she has a look about her that makes this character a hard sell for her, & though she makes a better go of it than anyone else in the film, it falls a little flat, especially at the endTo be frank, Broderick was a miscast. He gets completely drowned out vocally by Chenoweth, in "Til There Was You" & he just does not have the charm, confidence, & plain masculinity to carry the part of a character whose mere presence turns a simple town on its emotional ear. Nor does he have the depth to present the genuine change of heart that happens to Harold Hill at the end. He seemed kind of spongy or milktoast, & the result was that the production was like an air filled donut where jelly should be.Hugh Jackman could do it in his sleep, but they ain't getting him for a TV movie. Sadly, I didn't see any performances that really made me feel this story come to life, which I suppose makes the production seem a bit lackluster, literally... lacking in luster

If the Music Man has fanilows, I am one. I loved the 1962 movie, never having been to Broadway until 1979. In the mid-70's my two brothers and future sister-in-law were in a summer dramatic presentation at our high school(where Richard Gere and I started out) and I know the script nearly verbatim.Matthew Broderick is a handsome, talented young man, but he and his co-conspirators have a lot to learn about delivery. So many lines were blown, being recited far too fast, without proper cadence or emphasis.I found it troubling that the producers tried to put modern political correctness on a scene from the early 1900's. I would bet the farm that, in that day, in a very small town in Iowa, there were no middle- class black people. If there were any non-farming blacks, they would be a guy playing piano in a bordello or saloon or possibly a groom at the livery stable or smithy.When it was over, I called baby brother and exclaimed, "I'm aghast - simply aghast!" to which he replied, "you mean agog - simply agog." I knew he would be watching it, as well. We agreed on all points. Sorry to pan it; I hate vicious critics.