jacobs-greenwood Directed by Charles Walters with a screenplay by Helen Deutsch, who had earlier collaborated on Lili (1953), this Richard Morris play was made into a slightly above average Musical comedy starring Debbie Reynolds, who earned her only Oscar nomination (Best Actress) for playing the title role.It's a biographical account of a backwoods tomboy (who survived a flood as an infant!) whose woodsman husband, played by Harve Presnell, strikes it rich only to find, per her crude ways, she isn't accepted in Denver's snobbish old money high society. So, she and her husband venture to Europe where she becomes educated in food and fashion while becoming the toast of Paris, charming many with her uniquely boisterous Americanism.The Browns then return to Denver with several of the titled Royalty they'd met in tow. They host an hilarious, outlandish high society party of their own which, instead of prompting their acceptance, turns into a brawl! Molly later becomes famous for her spirit and feistiness when she survives the sinking of the Titanic!The film's Color Art Direction-Set Decoration, Cinematography, and Costume Design, as well as its Sound and Music Score, also received Oscar nominations. Unfortunately for producer Lawrence Weingarten, all of these categories were won by the Best Picture that year, My Fair Lady (1964).Ed Begley plays Molly's father, Audrey Christie the stuck-up neighbor; Jack Kruschen, Hermione Baddeley, and Hayden Rorke, among others, also appear. Most of the rest of the story revolves around the "on again, off again" relationship between Molly and her husband. Reynolds and Presnell sing all of the songs, the most memorable of which is Reynolds's "Belly Up to the Bar Boys" number, or the frequently reprised "I'll Never Say No".

tauswinton This is clearly a film that divides people straight down the line - love/hate.For me two things stand out. The superb orchestrations which probably had something to do with Roger Eden's producing credit. And the two brilliantly staged big musical numbers "Belly up to the bar boys" and "He's my friend". Unlike some of the reviewers here, I think Peter Gennaro was one of the greatest film choreographers and his work here is fantastic. Look how the two dances absolutely suit the characters and situations and how sheer exuberant energy combines with precise footwork so it looks as if the dancers are making it up. And can anyone tell me if a couple of the dancing girls in the bar-room number are actually men in drag? Very witty and clever.

bkoganbing Debbie Reynolds stars in this boisterous adaption of the Broadway musical, The Unsinkable Molly Brown, based on the life of legendary Denver society woman and heroine of the Titanic disaster. It's a film role perfectly suited to Debbie Reynolds both musically and dramatically.The Meredith Willson musical ran for 532 performances on Broadway and starred Tammy Grimes there. In the Hollywood tradition though, a movie name was thought to be needed. 1964 was a bad year for Broadway actresses who originated roles and did not get the film role. Julie Andrews also knew exactly how Tammy Grimes felt.The one big difference is that no one had to dub Debbie Reynolds. Her singing and dancing is all a part of one remarkable role where the character ages and matures and there's a big difference in those two life functions. I'm of the firm belief that MGM cast her in this part because of her musical numbers in How the West Was Won which they also produced. Debbie may also still have been under contract to them from the old days.Harve Presnell came over from Broadway to play her husband John J. Brown of Leadville, Colorado and who makes them both rich beyond their wildest dreams. But Molly's dreams are larger than John's and it causes their parting. Presnell has a terrific baritone voice and he unfortunately came along at the tail end of movie musicals. His next film was Paint Your Wagon and he got to sing They Call the Wind Maria which requires a real singer to do, not something Lee Marvin or Clint Eastwood could fake. Presnell's developed into a fine character actor though.Years ago I happened to meet Ed Begley's widow at an event. She mentioned to me that her husband for all the great dramatic parts he played including winning an Oscar for Sweet Bird of Youth was at heart a song and dance man. He loved to get up and perform at parties and such. I said to her that the role of Debbie Reynolds's father in The Unsinkable Molly Brown must have been one he loved and she said it was his favorite. Begley certainly looks like he's having a great old time in the part.Meredith Willson's score, while not as good as The Music Man still has some fine numbers. Debbie's infectious singing of I Ain't Down Yet is the high point. For Presnell his anthem to Colorado My Home if it isn't, it should be that state's official song. The only criticism I have of the film is that as good as Molly Brown is here there was so much more to the woman that The Unsinkable Molly Brown doesn't even get into. She was a suffragette, a leader in reform of juvenile offender laws, a noted philanthropist, she wasn't just a party girl who got a chance for heroism on the Titanic. I wish that had been dealt with in the film and the Broadway musical.For a rollicking good musical experience though, you cannot beat The Unsinkable Molly Brown. No putting this woman or this film down, ever.

blah blah Debbie Reynold's performance as Molly Brown can be summed up in two words: physically painful. My family and I were watching this movie, and there were some moments we all cringed in unison it was so hard to bar. Reynolds, especially at the beginning, has the habit of screeching her songs and using awkward movements as her dancing steps. She also seems to enjoy screaming out randomly; I guess she thinks this is how people raised in the mountains act. I have fun remembering every scene and laughing at how awful it is (e.g. John's crying scene: "is he supposed to be crying or is he contorting his face?"). While Molly grows more refined, John becomes more unbearable, and also more and more resembles a fish. This movie is over the top, and not in a good way. I don't understand how Meredith, the songwriter from The Music Man, could have made the songs in The Unsinkable Molly Brown and have thought, "I really like that!"