Carousel (1956) User Reviews

Trying to get the audience to empathize with a total heel--that's a tough assignment.

[planktonrules · 6/10 · 24 November 2012]

"Carousel" is the musical version of the old film "Liliom"--a story that was filmed many times since 1919. While I've not seen either silent version, I have seen the Frank Borzage version (1930) and the French language version by Fritz Lang (1934). I wasn't impressed by either of these films--mostly because the leading character was pretty despicable. He's a very selfish character who horribly mistreats his poor wife--and I wonder how they can make this a romance with such a horrible guy, as it severely undermines the story. So, "Carousel" begins with a major handicap, as hating the leading character makes it hard to fall in love with the film.

The film begins in New England. A very impressionable young lady (Shirley Jones) sees a handsome rogue (Gordon MacRae) at the carnival and the two inexplicably fall in love and decide to marry. I say inexplicably because he is a real womanizer and NOT the type to ever settle down. As for the marriage, it is a disaster--mostly because he is a ne'er-do'-well who is afraid to work or commit himself to his lovely wife. At times, such as when he learns he's about to become a father, he commits to changing but invariably he ends up returning to his old ways. Now I was a bit uncomfortable about this, as he apparently slapped his bride around--but they made LOTS of excuses for it, such as saying 'he's under a lot of pressure' or 'I only hit her once'! So much for a film that will empower the women in the audience! I just couldn't get past the fact he was a jerk who died while trying to rob someone!

This story is apparently all part of some flashback. You see, MacRae's character is dead and he's telling this to the head honcho up in Heaven because he wants permission to return for one and only one brief period. Now considering most of the flashback consists of him acting like a clod, you wonder how this is all going to convince the powers that be to grant his request!

As for the music, it's decent but the film clearly lacks the crowd-pleasing tunes of many of Rogers and Hammerstein's other works. "South Pacific", "Oklahoma" and the rest had more memorable songs--and didn't have to work so hard to compensate for an unlikable lead. Here, it's an uphill battle. Pretty, well made...but still a film that I had a hard time liking. Overall, it looks good but fails. Watchable but among the least in the Rogers and Hammerstein canon.

Great Music, But Not a Great Film

[JamesHitchcock · 7/10 · 11 August 2010]

"Carousel" is an adaptation of the 1945 Rodgers and Hammerstein musical which, in turn, was based on a play by the Hungarian author Ferenc Molnár. It transfers the action from Hungary to a small town on the coast of Maine. The actual carousel of the title only plays a relatively small role in the film, although at the beginning Billy Bigelow, one of the two main characters, is working as a barker at the local funfair. The other main character is Billy's girlfriend, and later wife, Julie Jordan, a mill worker.

The story of Billy and Julie is told within the framework of a supernatural fantasy reminiscent of "Heaven Can Wait" or "It's a Wonderful Life". The film opens with a scene showing Billy in Heaven. Or is it Purgatory? At any rate, it is somewhere quite different from traditional Christian visions of the afterlife, a place of neither heavenly bliss nor hellish torment, a place where Billy's main occupation is polishing stars and where he has to report to the "starkeeper", a being who seems less like a god or an angel than a supernatural version of a factory foreman. It is to this being that Billy tells the story of his life and of how he died. It transpires that Julie was pregnant with their first child and that Billy, being unemployed at the time and worried about not having enough money to provide for the child, allowed himself to be talked into joining a no-good friend in a robbery. Unfortunately, the robbery was bungled and Billy was killed when he accidentally fell on his knife while attempting to escape. The final scenes are set fifteen years later when Billy is allowed to return to earth to help his daughter Louise, who he fears is also going off the rails.

Musically the film is a very good one. It contains some of Rodgers and Hammerstein's most beautiful music; the two numbers which really stood out for me were the opening "Carousel Waltz" and that wonderful song "If I Loved You". I might also include "You'll Never Walk Alone", although this song has been rather devalued, at least in Britain, by its constant use as a football anthem, especially by supporters of Liverpool FC. "June Is Busting Out All Over" is also notable, less for the music than for the energetic ensemble dance sequence which accompanies it, comparable to the similar sequence in "Seven Brides for Seven Brothers".

Dramatically, however, "Carousel" is not so good. Part of the fault lies with the casting. The two leads Gordon MacRae and Shirley Jones (who also starred together in another R&H musical, "Oklahoma") both have fine voices, but on the basis of this film neither was a particularly accomplished actor, at least as far as the spoken word is concerned. Although MacRae was able to convey emotions and feelings well though music, as in his "Soliloquy", in his spoken scenes he comes across as too wooden. Shirley Jones makes Julie seem a rather weak character who does little to dispel the impression that she is a doormat unable to stand up to her bullying husband. The original idea was to cast Frank Sinatra as Billy and Judy Garland as Julie, but Sinatra withdrew after a disagreement with the producers and Garland's appearance never materialised. Both Sinatra and Garland could act as well as sing, and I can't help wondering how the film might have turned out with them in the leading roles.

The film, however, also suffers from a more fundamental dramatic flaw. Billy is not so much a hero as an anti-hero; arrogant, idle, shiftless and easily manipulated, especially by his dishonest friend Jigger Craigin. After he loses his job at the funfair he is unemployed, but not because there is no work to be had. He quite literally turns up his nose at an offer of a job on a fishing boat because he thinks that fishermen smell, and prefers to live off Julie's earnings. About his only redeeming feature is his love for Julie, but even this is suspect (we learn that he has beaten her).

This is far from being the only musical with a serious storyline. Rodgers and Hammerstein had also written "South Pacific" about racial prejudice, and Hammerstein had produced "Show Boat" on the same subject with Jerome Kern. Bernstein and Sondheim had covered juvenile delinquency in "West Side Story". All of those films, however, were centred upon sympathetic characters with whom audiences could identify; identifying with Billy seems much more problematic. It was a brave decision on Oscar Hammerstein's part to write a musical centred on an anti-hero. I cannot say how well that decision succeeds in the theatre, as I have never seen a stage production of the show, nor how well it might have succeeded in the cinema with a different actor in the leading role. All I can say is that it does not work well in this particular film.

"Carousel" was praised by many critics, but did not do well at the box office, even though musicals were very popular during this period. It was the only film of an R&H musical, other than the 1962 remake of "State Fair" which was not nominated for a single Academy award. It may be that its tragic theme may have alienated those cinema goers who looked to musicals to provide escapist entertainment, but perhaps the true explanation is that despite some great music this is not a great film. 7/10

Another awesome film by Rodgers and Hammerstein!

[Zoes · 8/10 · 30 July 1999]

Being the theater freak that I am, I love to watch movies, especially the musicals! "Carousel" is definitely one of my favorites, with Shirley Jones and Gordon McRae pairing up again in another love story. The story line is terrific, although I have to admit that the ending totally bugged me! I really thought that Billy Biggelow should have let Julie see him when he came back down to Earth. Although you could tell that Julie felt his presence then, I still think it would have been a stronger, happier ending if they had seen each other. Many of you probably disagree, but I really thought they should have seen each other one last time.

The music in "Carousel" is great! From the cheerful number, "June is Bustin' Out All Over," to the movie's finale, "You'll Never Walk Alone," all of the songs featured in this movie are well performed. Shirley Jones' rendition of "What's the Use of Wonderin'" was just as well done as her performance of "Many A New Day," in "Oklahoma!" (1955) Her character, Julie Jordan, was portrayed very well by the young Shirley Jones.

Gordon McRae also portrayed his character well, the carousel-barker Billy Biggelow, whose life came to an end after falling upon his knife while attempting to rob someone with his sidekick, Jigger. He was sweet and sensitive in the appropriate parts, and rough and boisterous in others. Although he didn't admit it until his death, you could tell throughout the entire film that he really did love Julie Jordan. Their duet "If I Loved You," was similar to "People Will Say We're in Love," from "Oklahoma!", but it also had its own personality.

As for supporting actors, the actors who portrayed Cousin Nettie, Carrie Pipperidge, and Enoch Snow, did an excellent job becoming the character and bringing their roles to life. Without the help of these smaller roles, the movie wouldn't have been as well done.

This film is great for laughs, smiles, and tears, and a definite winner if you love musicals. You definitely want to see this movie soon...trust me, you'll love it too!

Classic R&H Musical With Superb MacRae and Jones...

[Doylenf · 24 June 2001]

Rodgers & Hammerstein's brilliant stage musical comes to the screen with most of the music intact--and what songs they are. Each one is a gem and fully integrated into the tragic storyline. Gordon MacRae stars as Billy Bigelow, the amusement park barker who tries to change his life when he marries Julie Jordan (Shirley Jones)-- with tragic results. MacRae's robust baritone is showcased in his big number, 'Soliloquy', performed at seaside with the ocean backdrop. Only occasionally is the use of stagebound sets a jarring note--but overall, the look and feel of the movie is one of genuinely moving musical drama.

Delightful performances from Barbara Ruick and Robert Rounseville as Mr. and Mrs. Snow. Their 'When The Children Are Asleep' is a charming highlight. Claramae Turner does an outstanding job on 'You'll Never Walk Alone'. Cameron Mitchell is a slyly villainous Jigger. Filming of the 'June Is Bustin' Out All Over' number in Boothsbay Harbor, Maine is a production highlight and choreographer's dream.

Gordon MacRae and Shirley Jones are in excellent voice for 'If I Loved You'. What more could you want? An exceptional movie musical that ranks with the best of Rodgers & Hammerstein's works.

Not Dark Enough

[evanston_dad · 6/10 · 14 August 2006]

The dark, brooding Rodgers & Hammerstein stage musical gets the big-budget screen treatment in this 1956 release, and the results are only moderately successful. The actors have great voices -- and certainly the score to "Carousel" is the lushest and densest R&H produced -- but they're simply not good enough actors to explore the depths of the musical's book. Gordon MacRae and Shirley Jones were fine as perky country folk in "Oklahoma!" from a year earlier, but MacRae is not a dangerous enough presence to pull off the rough character of Billy Bigelow.

Still, as mentioned, the score sounds wonderful and remains mostly intact for the film. And Agnes DeMille provides some characteristically stunning screen choreography, especially in the trademark R&H ballet sequence.

Grade: B

"He's Your Fellow And You Love Him, That's All There Is To Say"

[bkoganbing · 9/10 · 6 May 2007]

I saw Carousel for the very first time in its first release when it played a double bill with Oklahoma. You can't do much better than that for an introduction to the American Musical Theater.

It would get a perfect 10 had it been done with the original two leads that were set for the show, Frank Sinatra and Judy Garland. Judy backed out before production started and Sinatra shortly after that, so Gordon MacRae and Shirley Jones got to do a second Rodgers&Hammerstein classic.

Carousel is based on the Ferenc Molnar play Liliom and the original setting is in Molnar's native Hungary. On Broadway it was done by Eva Le Gallienne and Joseph Schildkraut and later in revival by Ingrid Bergman and Burgess Meredith. One man who did it in summer stock was Tyrone Power who if a straight dramatic version of Liliom had ever been done, would have been perfect.

Whether he's Liliom in Hungary or Billy Bigelow in 19th century New England, the part is one for a hero/heel that Tyrone Power patented on the screen. Probably Gordon MacRae benefited in no small way in having Power's favorite director Henry King in charge of Carousel.

Richard Rodgers was also used to writing for a hero/heel having done Pal Joey with his former partner Lorenz Hart. Billy is that kind of guy, a carousel barker and boy toy to owner Audrey Christie when he spots Julie Jordan and her friend Carrie Pipperidge, a couple of mill workers. It's love at first sight and marriage shortly after, but Billy's not a guy to change his layabout ways and it ends in tragedy.

One reason that Sinatra was also so right for the part was that he had made a successful hit record of Billy's Soliliquy back in 1945 when Carousel debuted on Broadway. It was a groundbreaking piece of musical theater that Dick Rodgers and Oscar Hammerstein were responsible for in the Soliliquy. Billy's just been told by Julie he's about to become a father. In an almost 10 minute number he bares his soul to the audience and sings/thinks aloud the moves he's going to make. The song is almost operatic in quality, it takes a real singing actor to put it over like Sinatra, like MacRae is here, like John Raitt in the original cast on stage.

Though it's not Julie's song, Judy Garland had a successful record with You'll Never Walk Alone. I'm sure she would have sung it in the film had she seen it through. It's probably the big hit song from the score, still an inspiring number today.

Rounding out the cast is Cameron Mitchell as Billy's no good pal Jigger, Robert Rounseville and Barbara Ruick as Mr. Snow and Carrie, the second leads and from the Metropolitan Opera Claramae Turner as Julie's cousin Nettie who does sing You'll Never Walk Alone.

Two more who are perfectly cast are John Dehner as the officious mill owner that employs the girls and the heavenly star-keeper, Gene Lockhart in one of his last roles.

Even more than in Oklahoma, Agnes DeMille's ballet numbers are used to advance the plot. From the exuberant June Is Busting Out All Over to the dance that Billy and Julie's daughter does, all are done with taste and style.

Carousel is both tragic and yet uplifting and inspiring. It's a musical for all the ages to come.

Merry go round

[jotix100 · 7/10 · 20 June 2005]

"Carousel", the musical, was presented on Broadway with great success. The transition to the screen, alas, doesn't fare that well. Having seen this film version a while ago, we decided to take a second look, but this time, in all honesty, it didn't have the same effect. Partly, it must be Henry King's take on the musical. Perhaps it this Rodgers and Hammerstein hasn't aged that well.

The problem, perhaps, seems to be in the music. We have heard variations of these Rodgers and Hammerstein's songs in other musicals. Take for instance, "You'll Never Walk Alone", doesn't it sound suspiciously like "Climb Every Mountain" from "The Sound of Music"? In both cases, they are heard from much older and wiser women, Cousin Nettie, in this one, or Mother Superior in the other. Also there are shades of "Some Enchanting Evening", from "South Pacific", while Louise is seen playing around at the beach while Billy is looking from heaven. Of course, we realize "Carousel" came before.

One wonders what change of events took Billy Bigelow to heaven? After all, he wasn't a model of righteousness, let alone his way of giving Julie a slap or two at times. If all indicates that he was admitted through the Pearly Gates of heaven, then, there's a chance for most of us, or so, it seems to be the case.

Gordon McRae was more of a singer than an actor, and it sadly shows in this film. The lovely Shirley Jones, at the prime of her youth, fares much better because she could not only sing, but she was a notable actress of this genre and comedy. For some reason, the chemistry that might have existed between them in "Oklahoma", is not shown here. Cameron Mitchell, Gene Lockhart, Claramae Turner, Susan Luckey, among others do good supporting jobs in the film.

The choreography of Agnes de Mille is only seen in all its splendor in "June is busting out all over" and in the Carousel ballet, somehow abridged, and featuring Jacques D'Amboise with Louis Luckey in one of the best moments of the musical.

Good music, but awful, awful story

[yakimuckus · 3/10 · 9 October 2015]

I'm having a hard time understanding all the positive reviews on this movie. Was the musical supposed to be a tragedy and I just didn't get it? Was I supposed to sympathize with the characters in any way whatsoever? Did it have anything more than drivel to say about love or redemption? I can't think of any positive answers to those questions.

Begin with a girl who falls in love with a total bum because he puffs out his chest a lot, a loser who makes no secret of his utter lack of respect for women. Throughout the song, "If I Loved You" (which was a nice song, btw, if removed from its context) I couldn't get her stupidity out of my head. Next a marriage where the guy treats her with utter disdain and abuse, and somehow she still loves him, even though he has yet to show a single redeeming quality in the movie.

When he finds out she is pregnant he actually pauses for reflection on his life. During "Soliloquy" I thought perhaps this would be the beginning of a redemption story. Alas, he turns to crime and gets himself killed. When in heaven (or whatever it is) he puffs out his chest again and declares that he won't apologize for anything at all. This is one of the most awful characters I have ever seen.

So finally he is given a chance to go back and make things right for his now-grown daughter (and needs to be brow-beaten into taking that chance, btw), how does he do it? First he ends up slapping her, which apparently brings fond memories for her mother. "It is possible, dear," she says, with wistful smiles on both their faces, "for someone to hit you, hit you hard, and it not hurt at all." What?? The ghostly bum then goes to his daughter's graduation and whispers into her ear to believe the graduation speech, then walks away self-satisfied. Oh job well-done, man!

One reviewer said that the characters had emotional maturity of five-year-olds, and this hit the nail on the head for me. There was nothing redeeming about them, except perhaps that the wife - like me watching this film - patiently suffers and the complete loser of a husband never cheats on her as far as we can see. Was this supposed to be a love story? I don't get it.

The music was good, though, and because of that I regretfully gave the movie as high as a 3-star rating.

Wonderful, with world's BEST love song!

[mallard-6 · 10/10 · 25 May 1999]

This is a great film, based on a great show. It is perfectly cast, and has the world's best love song (If I Loved You) in a smashingly romantic setting. I shudder to think what the film would have been like with several who were possible leads--Frank Sinatra and Gene Kelly--because Gordon MacRae is so right--physically and vocally--for the role, and Shirley Jones is marvelously young and innocent and beautiful.

The new (as of 5/99) DVD production is stunning, bringing wide screen, impeccable color, sharp definition, and glorious sound to the mix.

This Rodgers and Hammerstein show is a classic, and must not be missed!

An outdated, depressing film

[Red-125 · 6/10 · 7 December 2014]

Carousel (1956) is a movie based on Rodgers and Hammerstein's musical. Henry King was the director. The movie has two things going for it--some good songs and the two leads, Gordon MacRae as Billy Bigelow, and Shirley Jones as Julie Jordan.

Other than that, I found it depressing and very outdated. The director made the decision to forgo realism for the sake of attractiveness. That's OK--the sky is light blue, the sea is dark blue, and every boat is perfectly painted. Even the docks are clean and tidy, including the boxes piled up and ready to be part of the plot when required. Very colorful, albeit antiseptic. Still, you can accept that as the director's concept.

The problem is that it's not easy to accept a musical about domestic violence, when the female lead tells her daughter, more or less, that when someone you love hits you, you don't really feel it. Maybe they could get away with this in the 50's--I hope not--but this is 2014 and that's simply not OK.

My suggestion--buy the CD for the music, and don't bother watching the film.

7 stars out of 10? Really, IMDb?

[blackismylove · 3/10 · 18 March 2010]

So let me state for the record that I love a good musical. People breaking out into random song and dance to express their emotional problems never bothered me. That being said, Carousel was such a disappointing chore of a movie to watch that most of the entertainment value came out of me and my family's heckling. So why did I give it a 3 instead of nothing at all? Well it wasn't a complete waste. I can appreciate a well choreographed dance scene, and the vocal talent was pretty good, but the songs were terrible! Lets have a clambake and then sing in groups about seafood? The characters were so flat and stumbled into such forced and trite situations to drag along a plot that barely registered. About half an hour into the movie I mentioned out loud how I wish the film were more about a carousel and less about absolutely nothing. I know movies that have been adapted from stage shows have a sort of hokey and exaggerated quality to the acting, but there's a point of absolute ridiculousness where I draw the line. Where was that line for me? I held out until one of the characters told a girl she could defend herself from stalkers by giving them a big sensual hug. Being from a completely different generation who's attention span has evolved to being inpatient of anything that doesn't read like a commercial or music video, I can still take into consideration that Carousel was made at a point in movie history where directors took their time to relay the story. But Jesus tap dancing Christ,it took EVERY character SO long to say what was on their mind, you could have cut a good 45 minutes out of this movie and not have missed anything. what astounded me most was it's classic status and high IMDb score. I can kinda speculate that the only people really interested in looking up the information about this movie are the ones who loved it. So for every user that gave it 10 stars, there's probably 10 more users who couldn't be bothered to even finish watching this exhausting Rogers and Craperstine clunkerdump.

Carousel-The Ride of Your Life ***1/2

[edwagreen · 9/10 · 5 January 2006]

Rogers and Hammerstein's Carousel, a glorious, rousing, inspirational film.

What music, what stars, what chemistry.

A rich plot revolves around beautiful music where a young girl (Shirley Jones) meets and quickly marries Billie Bigalow, How will Billie make money for his bride, who is soon pregnant as well? What will he do?

In that gorgeous soliloquy, Billie talks about his plans for his son. He never really anticipates a daughter.

Sadly, Billie falls under the influence of the dishonest Cameron Mitchell, in another gem of a performance following Love Me or Leave Me, the year before. The two are killed during a failed holdup.

A widowed Jones is comforted in the memorable You'll Never Walk Alone. Jones was absolutely perfect for the role with her rich voice and apparent vulnerability as Julie Jordan. (Hard to believe that she would cop a best supporting actress Oscar five years late in a totally completely different role- a non-singing one as a tramp in "Elmer Gantry."

While in heaven, Billie can come down from there and try to square things, especially with his troubled daughter Louise. Louise has been riled throughout her young life due to her father's iniquities. She is tough, but as a young lady, also quite vulnerable. What makes the picture so good is that the music tells the story. The soliloquy, You'll Never Walk Alone and the clambake are just inklings of what is to come. Did Cameron Mitchell do his own singing for the film? Perhaps, June is Busting Out All over is rather over-done. School children can readily tell you the excitement as that wonderful month roles around.

Bring plenty of handkerchiefs, but leave the theater knowing full well that you have seen a masterpiece. ***1/2

Great musical, passable flick (and George Bailey still resonates more than Billy Bigelow)

[schell-7 · 6/10 · 3 June 2007]

Of the quintessential Rodgers-Hammerstein musicals, this one comes in just behind Oklahoma, South Pacific, and the King and I. From a jazz musician's viewpoint, it offers fewer enticing songs than anything by Rodgers & Hart and most of the collaborations with Hammerstein as well. Yet in the context of the times, a song such as "You'll Never Walk Alone" helped heal, provide consolation and hope to the ones who were left behind after the war. "If I Loved You" is certainly a gorgeous melody and sensitive lyric, but the highlight, at least for any expectant father, has got to be "Soliloquy." (Listen to Sinatra's unsurpassed, timeless reading of this one as well as "You'll Never Walk Alone" on "The Concert Sinatra".)

Sinatra's instincts were right in backing out of this movie, which is the most wooden, flat, artificial and leaden of all the filmed adaptations of the Rodgers and Hammerstein musicals (it makes "Sound of Music" look like "Citizen Kane"). It's simply not good movie-making-- partly because the filmmakers got carried away with the technology, thinking that bright colors and a wider Cinemascope image, requiring two final takes of each scene (the reason Sinatra split), would be "realism" enough for the public.

That's one reason this film, contrary to another reviewer's evaluation, can't compare with Capra's "It's a Wonderful Life." But he also misses the point about George Bailey. True, he's not the bum that Billy Bigelow is. But he's become so self-righteous about his "indispensability" to his community that he commits suicide all because of the loss of a mere thousand bucks. (In the movie version of "Carousel" Billy falls on his knife accidentally after the stick-up goes awry.) Billy comes back as an angel to provide comfort, hope, and encouragement, "earning his wings" by doing well by his daughter. But George Bailey has earned too many wings--in fact, his good deeds and his savior complex are his problem. The wingless angel Clarence is sent on a mission to Bedford Falls to restore to George Bailey his humanity, with all its flaws and failings. Compared to Carousel, it's a darker, more profound story about tragic pride (even archetypal, given its parallels with Sophocles' Oedipus Rex), and ultimately it's more cathartic and life affirming, since it conveys faith in a world not overrun by Mr. Potters: ordinary people do have the capacity to be unselfish and forgiving. This is not to cast aspersions on the deeply felt sentiments of the Rodgers and Hammerstein masterpiece. It's just unfortunate that Carousel was not filmed in the 1940s by a creative, inspired giant like Frank Capra.

Why ???

[amcaca · 3/10 · 28 May 2017]

I gave THE THree stars for the nostalgic old time music, beautiful landscapes both real and fake, and wonderfully executed dance sequences.

Shirley Jones plays a young naive smitten girl, who decides -who knows why- to miss curfew and willfully lose her job to stay out with this womanizing rough and tough just fired carousel operator. Who knows why, since I failed to see anything attractive about him. But that was just first of many more stupid choices.

Maybe not being able to relate to the movie, the acting seemed superficial as well.

Since it made no sense, then there were not many reasons to enjoy the movie.

excellent Rodgers and Hammerstein musical

[didi-5 · 15 November 2003]

This is the musical which gave Gordon MacRae his greatest solo song, namely the 7 minutes long "Soliloquy", in which Billy the circus barker speculates about his unborn child, first with bluster and pride if it is a boy, and then with insecurity and despair if it is a girl he can't buy things for. Billy, as we have seen in the opening sequence of the film, is telling his story to one of the angels in heaven, where he has gone after a violent and premature death. So we see his tale unfold, as he meets pretty little Julie Jordan (Shirley Jones, excellent), marries her, and through fate and bad luck, gets separated from her.

The subject matter is darker than Oklahoma (the film version of which also starred MacRae and Jones) but the sheer exuberance of songs such as "June is Bustin' Out All Over"; "A Real Nice Clambake"; "When The Children Are Asleep" and "If I Loved You", plus of course the best-known song from the show, "You'll Never Walk Alone" takes the story to another level and makes this film enjoyable to watch. Robert Rounsville makes a fine bombastic Mr Snow and has a fabulous voice; MacRae and Jones have their memorable duet to the lovely melody of Rodgers' score. There is also an excellent dance sequence, not as extensive as on stage, but still effective, where the daughter of Billy and Julie imagines an escape from her lonely and ostracised life.

Not like 'Sound of Music' (or) 'Oklahoma'

[physri-696-57024 · 6/10 · 28 February 2015]

In the process of exploring the great works of Rodgers & Hammerstein, I came across this musical, again, one of their earlier works remade into a Hollywood movie.

But it was a complete disappointment- Both the plot as well as the music. Although I didn't expect the plot to be very interesting since it was made such a long time ago, when slow movies had audience, I expected the music to compensate for the sloppy plot, but unfortunately, the music was also a letdown. Except a couple of songs, others didn't register well with me.

I will try to revisit the music sometime later, and find out if it is more appealing on multiple listens.

This ranks as my favorite Rodgers and Hammerstein

[mark.waltz · 10/10 · 3 April 2001]

For years, I searched for this film on TV, plus the old Magnetic video copy released during the late 1970's. However, other than the occasional pay channel, it was never on. Local channels would play all of the other Rodgers and Hammerstein films, but this one was not one of them for some reason. I had heard the score before. It was perhaps Rodgers and Hammerstein's most RECORDED score. There were two major Broadway cast albums, both starring John Raitt, as well as a variety of studio-recorded albums, and Broadway revivals in 1994 and 2017. It was even done for TV in the 1960's with Robert Goulet, a version I found through collectors.

The score is one of the most beautiful to listen to, and the lyrics are inspiring. The movie leads, Gordon MacRae and Shirley Jones, are perfectly cast, and their singing voices beautifully fill the roles. They are even better in this than they were in "Oklahoma!". As Julie's best friend, Carrie, Barbara Ruick is a perfect contrast to Jones' innocent Julie. She is unintentionally flirtatious, yet not "easy" like Gloria Grahame's Ado Annie in "Oklahoma!". Those two roles are very similar in the sense that they are both the second leads with a comic twist, but I found Ruick's Carrie more developed character wise. As her leading man, Robert Rouseville's Mr. Snow can seem a bit stuffy, but his character is a product of his times: quietly macho, not in the romantic sense, but that a girl like Carrie simply wanting a home and family would be perfect for him.

Cameron Mitchell's Jigger Crane, the "Jud Fry" of the story, comes on as a some-what light-hearted villain; it is his actions which will ultimately affect the destinies of our lovers Julie and Billy. As the pricklish Mrs. Mullins, owner of the carousel, delightful Audrey Christie was perfectly shrewish. Finally, as the sweet and wise Aunt Nettie, Claramae Turner was wonderful as the musical's voice of reason, a role often scene in Rodgers and Hammerstein musicals. Her rendition of "You'll Never Walk Alone" is unforgettable.

It is totally believable that Julie and Billy would fall for each other. They are both attractive young adults. Yes, he did beat her, and she stayed with him in spite of this. This was the 1870's, and women did stay with the men they loved in spite of things like this. One of the reasons things like this are important to be seen today is to show how far women have come. In the man-dominated New England of that time, women were secondary citizens, so it is realistic to portray Julie in this light. Sad yes, but a part of history.

The New England sets are breath-taking, particularly during the "June is Bustin' Out All Over" number, and in the climactic clambake. They are beautifully photographed, making the film mesmerizing to look at. Between the sumptuous singing of MacRae and Jones and the wonderful cinemascope technicolor, the film is simply outstanding. I find it hard to find any faults with this film, and could simply watch it over and over.

Perhaps too dated for modern audiences, but a gem of a score

[vincentlynch-moonoi · 7/10 · 20 April 2013]

First, I've got to get something off my chest. I was reading in the discussion section the thread entitled "This film is an atrocity". Some of the dumbest comments I've ever read on IMDb. We have some reviewers who can't differentiate between "I didn't like this film" and "This is a horrible film". There is a difference. I personally can't stand opera, but that doesn't mean that I don't recognize its beauty and the talent it takes to perform one. And in fact, that's one of the things some of our reviewers don't get...more than some musicals, this film is -- in a sense -- an opera.

Second, thank god that Frank Sinatra walked away from this film. First, it would have been type casting. But second, he was all wrong -- including physically wrong -- for the part of Billy Bigelow. Having said that, I see Sinatra's Reprise recording of "Soliloquy" to be the definitive recording of the song.

Now, more directly to the film. I can see why modern audiences might not enjoy this film. It has a slow pace in a few places. Some of the modern interpretive dance, which really is quite good, might not appeal to many. And, the film excuses hitting women.

On the other hand, when you think about it, the film tackles more substance than musicals often do. The plot is a little thin, but that's so you can fit in the music. And the music here is truly notable: "Soliloquy", "If I Loved You", and the stunning "You'll Never Walk Alone" (although I was a bit disappointed with the orchestral arrangement here, particularly in the first appearance of the song).

Shirley Jones's performance was -- once again -- virtually flawless. It's a travesty that her type of film virtually disappeared from movie screens, relegating much of her later career to weak films, few of which are notable.

Gordon MacRae is excellent here, and I say that as no fan of his.

Claramae Turner's part gets little screen time, but her nearly-operatic performance of "You'll Never Walk Alone" is timeless. Cameron Mitchell...well, I never quite saw what Hollywood saw in him...and still don't. Gene Lockhart is worth mentioning here. He was a character actor with a long and substantial career, and this movie was filmed just about a year before his death, although he performed in 2 films after this, including "The Man in the Gray Flannel Suit".

All in all, despite what some of our reviewers have written, this is a significant film, though it may not be entertaining to modern audiences. It will be remembered more for several of its musical pieces, rather than for its plot. I'm glad I finally watched it -- once -- but I probably will not view it again. That era has passed, and personally I don't feel this is the best of the Rodgers and Hammerstein musicals. However, still recommended from an historical point of view in film history.

Not Impressed At All!

[theFoss · 1/10 · 22 February 2008]

A Rodgers and Hammerstein musical with a thinner than average plot. Aside from the ravishing Shirley Jones, this film has little to recommend it.

Mostly forgettable songs in an alleged tale of love and redemption...

Billy Bigelow is a drifter, carnival barker, and ladies' man...Julie Jordan, pretty, prim, and demure, is the target of his flirtations as the movie begins. These two people make the most mismatched "romantic couple" this side of the fatal Henry Higgins/Eliza Dolittle pairing...and despite their differences they end up married to each other, if for no other reason than spite and stubbornness (the song "If I Loved You" basically catalogs the reasons that the pairing forebodes imminent disaster). So, of course, in the spirit of soft-headed 50's romanticism, these completely incompatible people end up married, EVEN THOUGH THEY HAVE REFUSED TO EVEN ACKNOWLEDGE LOVE FOR EACH OTHER!

The now bored, unemployed, and out of circulation Billy takes his frustrations at no longer being the "Cock of the Walk" out by slapping the wife around occasionally, and belittling her in front of her friends. (How frigging heartwarming!) When encouraged by her friends to dump this dead weight, Julie replies with a "stand by your man" kind of song! Will true Love save the day here? (Gee, I wish there was a sarcasm font!) Next, Billy discovers that Julie is pregnant with his child, so, does Billy settle down to find reasonable employment? Of Course Not! Billy Bigelow's poor character and poorer decision making lead him into an attempted crime that was so ineptly executed that it had NO chance at success and leads directly to his death.

In the name of "Love" and "Responsibility", he has condemned both his widow and his child to a life of misery and ridicule as the spouse and child of a felon who met with justice! At the gates of Heaven (yeah, right, this guy rates a glimpse of heaven!), Billy is informed that he must undo the damage he has done to gain admittance.

In the 15 years since his death, his daughter has become a hellion as a form of defense against the life long ostracism she has faced as a consequence of Billy's actions...She plans to run away from home to become a carny and a tramp (a chip off the ol' block!).

Billy, returned to earth, and pretending to be a friend of her father's, tries to reason with the girl, but, damaged and resentful, she refuses any gift from him...His response is to smack her! (truly touching!) His daughter reports the incident to her mother, adding that the slap felt like a kiss! (Who writes this stuff? I guess it makes Julie pine for the good old days when she had a husband around to beat her too!) Anyway...we move on to the Daughter's High School Graduation...where the shame he has brought upon his family is demonstrated by townspeople's shunning his daughter (honestly...there is not ONE redeeming character in this whole mess!) with a refusal to even applaud her graduation.

Finally, the graduation speech is delivered by one of the heavenly characters (God, or for the purposes of this play, the "Starkeeper") in disguise. The speech is a moral dissertation that the graduates truly are neither helped or hindered by their parents successes or failures...Billy's big redemptive moment? Whispering to the daughter to "believe" this moralistic claptrap! Oh...and he finally whispers to his widow that he ALWAYS loved her! (shoot me now!...How Damn Heartwarming!) The show is brought to a close with a reprise of the entire cast singing the inspirational "Climb Every..." no wait!...Same song different words!..."You'll Never Walk Alone." The now "redeemed" Billy heads off for heavenly eternity! (What a HAPPY ENDING!)

Dark...depressing...misguided...romantic drivel...I can barely contain my contempt for the libretto on which this film is based.

R & H...churned out some clunkers...and somehow put a happy face on them...King and I, for instance, celebrates a brutal despot...South Pacific...racism lives!...Flower Drum Song...Illegal immigration and Loveless Arranged Marriages! (although they softened the ending of the source novel by omitting a character's suicide)...Pipe Dream...Love and Brothels! ...Carousel easily rivals the worst of the worst, and any redeeming qualities of film-making, music, singing, or choreography are completely sabotaged by the dreadful story with which they are mounted.

My Fair Lady or Music Man may have their flaws, but in this writer's opinion, are more entertaining than ANY play in the R&H catalog! But, as I said earlier, at least, Shirley Jones is still lovely to look at, and has a beautiful singing voice!

Rodgers and Hammerstein Classic

[earlytalkie · 10/10 · 29 March 2013]

There are many people today (as well as many people back when this was first released) who don't care for the dark story in this, one of the least financially successful of the Rodgers and Hammerstein filmizations. However, the film is lovely and a grand filming of a classic. The "opening up" of the story with beautiful Maine locations makes it's beauty breathtaking at times, and no one can fault the handling of the grand musical score. Gordon MacRae and Shirley Jones do more than justice to the beautiful songs, and the choreography of such great numbers as "June is Bustin' Out All Over" is superb. This is a film that, despite it's darker elements does leave you with an uplifted feeling. A masterful job by Twentieth Century-Fox.

Spinning Out of Control.

[anaconda-40658 · 7/10 · 25 April 2016]

Carousel (1956): Dir: Henry King / Cast: Gordon MacRae, Shirley Jones, Cameron Mitchell, Barbara Ruick, Robert Rounseville: A carousel spins around in circles much like life's events and emotions. Gordon MacRae plays Billy Bigelow who is deceased in the film's opening but is given the opportunity to tell his story and return to earth for one day. He was a skilled carousel operator whose womanizing ways land him in trouble. Shirley Jones plays Julie Jordan who catches his eye and eventually becomes his wife. She becomes frustrated when he fails to change his ways with abusive behavior. Cameron Mitchell plays a sleazy criminal friend of Bigelow who makes an attempt to break up a relationship as well as con Bigelow into a crime. Barbara Ruick plays Julie's best friend who is getting married to Enoch Snow, played by Robert Rounseville. He is wealthy but unimpressed when his fiancé is being poached upon by Mitchell. Ruick is reduced to tears upon meeting Bigelow and his aggressive nature. Structure is rundown by too many pointless and meaningless musical numbers that never stand out. Another issue is the unpleasant disposition of the central character. We know how it ends and despite its corny delivery the production values work with director Henry King helming the wheel and preventing this musical charade from totally spinning out of control. Score: 7 / 10

Weak characters and badly dated philosophies.

[crothman · 3/10 · 1 August 2000]

Rogers and Hammerstein considered this their best musical, showing that artists often have no appreciation of their own work. Some of the messages are appallingly dated -- most importantly, the baldly stated message that if a man hits you it's because he really loves you. Julie Johnson is a weak character -- R&H's least interesting female lead -- and would most likely nowadays end up on Ricky Lake in a "Women with low self-esteem who love badly" episode.

Billy Bigelow is a good character, but portrayed as such a jerk that it's hard to be sympathetic. He screws up everything in his life and doesn't even have to courage to make it right in the end (other than singing a song at the end). Further, the song "Soliloquy" is by far R&H's worst -- banal and cliched and preachy and straining for rhymes. Even worse, its placement in the plot makes it clear that its message that a sign of a good father is a willingness to steal.

The score is no where near R&H's best. The Carousel Waltz is fine, as is "If I Love You." "June is Busting Out All Over" is a strange mix of the good (the first line) and the forgettable (quick -- sing the rest of the song). "You'll Never Walk Alone" is popular, certainly, but that sort of smarmy preachiness enveloped in a strained metaphor is extremely annoying. Its use in the film really doesn't make much sense. The rest of the songs are undistingushed.

R&H had done some classic musicals, but this ain't one of them.

Beautifully filmed version of Rodgers & Hammerstein musical

[cinemel · 10/10 · 3 March 1999]

Rodgers & Hammerstein's groundbreaking musical version of Molnar's "Liliom" has been given a fine rendering on film. Gordon Macrae is the carousel barker, Billy Bigelow, who falls in love with the lovely millworker, Julie Jordan, portrayed by the talented Shirley Jones. The road to happiness is paved with wife abuse, criminal acts, and tragedy, not the usual items found in musicals.

The score of "Carousel" is probably one the greatest ever composed for the musical theatre. "If I Loved You" is sung by the couple in a lovers' lane setting where their attitudes and emotions are conveyed by Rodgers' bittersweet melody and Hammerstein's wonderful lyrics. "June is Bustin' Out All Over" is danced and sung by the ensemble of youthful denizens of the Maine town where the story is set. The choreography is delightful, somewhat reminiscent of the athletic-balletic dancing in "7 Brides for 7 Brothers". Gordon Macrae's moving performance of "Soliloquy" along the rocky seashore with its crashing waves is nothing short of perfection. Frank Sinatra was originally to have the role, but to be frank, he looked a little silly in the costume worn by the character as seen in a still photograph shown in a documentary about Rodgers and Hammerstein.

The cinematography is spectacular using the Cinemascope 55 process. Of course, the film must be seen in its widescreen version available on laserdisc and soon to be released on DVD. I first saw "Carousel" at the Roxy Theatre when it opened in 1956. The huge screen seemed like a window looking out on the world of these star-crossed characters. The sound was stereophonic and still is in its video incarnations.

Supporting performances are also fine. Cameron Mitchell is Billy's bad influence. Barbara Ruick and Robert Rounsville have magnificent voices and sing the lovely "When the Children Are Asleep" against the panoramic scenery of a June sailboat ride to a clambake. At the clambake, the chorus lead by Claramae Turner sings the heart out of "A Real Nice Clambake". Turner also sings the anthem "You'll Never Walk Alone" at a tragic turning point in the film.

The best way to see "Carousel" is in a theatre, but see it. It is sometimes shown on American Movie Classics cable channel in its original widescreen version. Lean back and enjoy.

The most morally bankrupt musical ever!

[Spuzzlightyear · 6/10 · 18 November 2004]

Honestly, I have no idea if I'm just getting older, or if this movie caught me on the wrong day, but I had many problems with Carousel, which is surprising as a lot of movies just slide right past me. Don't get me wrong, I liked this movie, but most of the characters are just plain difficult to like. Let's start with Joel Mcrea, he plays Billy, a womanizing, lying thief and would be murderer who is always looking for the next scam. He soon picks up Shirley Jones, who despite having a comfy job and nice friends, is attracted to him for reasons that are not abundantly clear. They marry (I think) and since Billy has no job, they sort of float around, living with relatives. It turns out he also beats her, but don't worry, we find out later in the film, that she LIKES it. More despicable characters wander in and out of the film, such as Shirley Jones' best friend, who is attracted to a smelt fisherman, but is just looking for a good time as everyone else, and the owner of the carousel who used to hire Mcrea but gets all jealous at Shirley Jones and so fires Mcrea! The ending to this film I will not spoil, but let's just say no one learns their lesson, and the sons and daughters look to just to be repeating the cycle. Oh yes, the music? What was so odd about Carousel is how about 90% of the music was inappropriate for the movie. I mean, the 'Spring Is Busting Out All Over' just really puts the story on hold to have this number (albeit, it's a great number). And there's hardly any believability in the Solliquy number, as the character pauses to sing the song, and you feel that the movie is taking a turn.

But then people return to being scummy again.

The film tries to OK domestic violence

[r96sk · 4/10 · 11 June 2020]

Unless you adore musicals, you'll likely dislike 'Carousel' - like me.

I was incredulously bored all the way through, due to the incredibly thin premise being stretched out for 128 minutes. Aside from the famous "You'll Never Walk Alone", which they use twice, none of the many, many other performances are memorable or sing-a-long worthy.

It shows it's just a stage musical made into a film, focusing on the music ahead of the plot. I prefer my musicals having more substance to them. It should be story over songs, in my opinion.

There are a couple of things to praise, albeit minorly. Visually its outstanding, the colours used are lovely; as is most of the cinematography. The acting is absolutely fine, Gordon MacRae carries it but Shirley Jones is solid too.

Everything starts extremely intriguingly, with the afterlife setting. However, it barely scratches the surface with that due to the aforementioned issues. It also attempts a heartwarming conclusion which simply falls flat, given Billy does literally nothing to make himself likeable; he does the exact opposite in fact, as the film tries to OK domestic violence.

This storyline with better focus and writing, with additional depth to the second chance stuff, no musical constraints, shorter run time and you're on to a winner. Sadly, is this state, it is almost unwatchable - unless you are a lover of this genre.