The Music Man (2003)

Good story, Not enough for a whole film

One of the most extraordinary films you will see this year. Take that as you want.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

The film never slows down or bores, plunging from one harrowing sequence to the next.

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.

Wow! I hate when they remake a movie and try, try, try too hard to either make it there own, when a masterful one had been made prior (1962 Original Movie) OR try to up it to politically correct standards which in the original you will notice the lack of African-Americans and in this one they are all over the place, which wouldn't probably have been the case in this story's time line. Not as free Americans walking around with the white folk like they are depicted here (and I mean no disrespect, just a fact). Matthew cannot sing near as well as Robert Preston did or even folks who have made reprisal CD's of the original movie or Broadway Show and Matthew is no stranger to Broadway.I guess if you haven't seen the 1962 Original movie watch this one, or better yet, IMMEDIATELY send this one back to Netflix or whoever or wherever you got it from and rent the 1962 Original with Shirley Jones and Robert Preston, then after that one has soaked in a bit rent this one. Honestly I could not watch more then 5 minutes of this one before I was ready to lose it. I love the original 1962 version, always have, always will and pretty much unless they can make an even better production which this is not then I am not up for watching a remake. The lack of voices and instruments compared to the 1962 movie in all the musical numbers is also very apparent, like this movie is missing something? Like everything :) :) :) Oh well, as they say on Ghosthunters, on to the next!

This is an awful remake of the original. The colors of everything, houses, clothing, etc. are all muted and subdued. The musical performances are OK but not as good as the original. Matthew Broderick gives us a truly uninspired and emotionless Harold Hill. I guess he thought he was doing a remake of a Buster Keaton film. As wonderful as Kristin Chenoweth as Marian Paroo is, she cannot save this turkey. The original is 100 times better than this piece of junk. I would rather jump into a swimming pool filled with double edged razor blades than watch this a second time. If you saw the original and you saw this one, like me, I think you would be upset at what they did to this beautiful work of art.

Who are these people in the US who are making botched TV versions of excellent musicals that were cinema-perfect the first time? What the hell is teddy bear Matthew Broderick doing in the role of a robust charming con man when his performances are permanently Leo Bloom from THE PRODUCERS...?... and he was absolutely awful in the movie version of that musical too. Remakes of ANNIE and GYPSY and SOUTH PACIFIC that nobody asked for, groanworthy miscasting... I just find myself exasperated as an audience member that these 'TV greeting card' versions of tough and quite humanist musicals are rendered impotent because of the misconcieved reasons for remaking them. Broderick as The Music Man Prof Harold Hill is ridiculous. He pussyfoots his way, looking befuddled, like, well, Leo Bloom, again. There is some nice production values and some precision dancing from what looks like Disney theme park performers... but the main and basically only problem is overweight bug eyed shuffling Ferris Bueller in his teen school production as seen in this boring musical remake. . I await, with gritted teeth the Paris Hilton remake of Dirty Dancing.....