Carousel Overview:

Carousel (1956) was a Musical - Drama Film directed by Henry King and produced by Henry Ephron.

SYNOPSIS

Time (and a spectacular new Broadway staging) has been kind to the memory of this widescreen, deluxe Rodgers and Hammerstein musical. MacRae brings a blustery energy to the role of Billy Bigelow, an ill-fated carny barker. The troubled soul finally settles down with a good woman (Jones), and then gets killed during a robbery. But the angels are merciful and Bigelow returns to Earth to make good with his wife and daughter. The Broadway musical was based on a Molnar play, Liliom. In 1930, Frank Borzage produced a screen version starring Charles Farrell. Fritz Lang filmed a French version in 1935 (his first film after fleeing Nazi Germany), which starred Charles Boyer.

(Source: available at Amazon AMC Classic Movie Companion).

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Carousel: BlogHub Articles:

Carousel (1956)

on May 21, 2014 From Journeys in Classic Film

Either Oklahoma! set the bar so high I’m unable to watch the other Rodgers and Hammerstein movies in their proper context, or there’s just several?subpar shows which were adapted to film. ?The King and I, for all the problems I had with it, held my interest in the areas of set design and... Read full article


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Quotes from Carousel:

Billy Bigelow: [to the Heavenly Friend] Well, now ain't that just dandy! Here you take the trouble to tell me there's trouble down there but you don't even know what kind of trouble it is!


Billy: I couldn't get work, and I couldn't bear to see her... to see her...
Starkeeper: You couldn't bear to see her cry? Why don't you come right out and say it? Why are you ashamed you loved Julie?
Billy: I ain't afraid of anything. Look, if I can't go back, just say so.
Starkeeper: I didn't say you couldn't go back.
Billy: No, but you didn't say I could, either. You're just trying to make me sweat.
Starkeeper: No. I'm just trying to figure out what good you could do if I let you go back. You know... your daughter's down there. She's unhappy, she needs help.
Billy: My daughter? My baby is a girl? My-my baby's a girl?
Starkeeper: She isn't a baby anymore. She's fifteen years old.
Billy: And she ain't happy, huh?
Starkeeper: No, she ain't, Billy. You know, she's a lot like you. I think maybe that's why you could help her.
Billy: Can I see her from here?
Starkeeper: Sure, you can, if you want to.
Billy: If she ain't happy, I don't want to look.
Starkeeper: Right now, she appears to be having a fine time. There she is, running along the beach there, got her shoes and stockings off.
Billy: Like I used to do, huh?
Starkeeper: Yeah. Do you want to take a look at her?
Billy: What do I have to do to see her?
Starkeeper: Just look, and wait, and the power to see her will come to you.


Billy: [singing] Longing to tell you, but afraid and shy / I let my golden chances pass me by. / Now, I've lost you / Soon I will go in the mist of day / And you never will know / How I loved you / How I loved you.


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Facts about Carousel:

While appearing in a nightclub act with his wife at Lake Tahoe, Gordon MacRae received an emergency phone call to replace Frank Sinatra as Billy Bigelow in the film version of Richard Rodgers's and Oscar Hammerstein II's stage hit Carousel, after Sinatra walked out on the filming when he discovered that every scene was to be filmed twice - once for regular CinemaScope and once for CinemaScope 55. Within three days MacRae, who was already familiar with the Broadway show and had wanted to play the role, reported to the set. Ironically, the producers then discovered a way to shoot in CinemaScope 55 and then convert it to regular CinemaScope without filming the movie twice.
Two songs from the show, "You're A Queer One, Julie Jordan," as performed by Barbara Ruick and Shirley Jones, and "Blow High, Blow Low," as performed by Cameron Mitchell and a male chorus, were recorded, but do not appear in the final film. They are both included on the film soundtrack album.
This film was originally meant to be filmed in both standard 35mm CinemaScope and CinemaScope 55 (55mm). Early in production it was discovered that both prints could be made from the one negative, and so it was filmed in 55mm CinemaScope only. Standard 35mm CinemaScope prints were made for release, and like The King and I, this film was never shown theatrically in the 55mm format.
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