South Pacific (2001)

Very very predictable, including the post credit scene !!!

Touches You

A movie that not only functions as a solid scarefest but a razor-sharp satire.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Rodgers and Hammerstein's musical drama masterpiece was given a rather bloated and unsatisfying film treatment in 1958, a badly shot film with a poor sense of pace; a cast that can best be described as uneven, and some wacky and inexplicable choices such as dubbing Juanita Hall's Bloody Mary when she was perfectly capable of singing her own songs, having created the role on Broadway. The two male leads could not do their own singing either, and Hollywood's practice of dubbing vocals has always irritated me.So in 2001, director Richard Pierce set out to do a remake. For television, of all things. And all things considered, with just two rather egregious missteps, the proceedings were much better this time around and I found this remake far more satisfying than the 1958 film despite its flaws.They start with a real winner: Glenn Close as Nellie Forbush. It is clear they were thinking more of Mary Martin here than of Mitzi Gaynor; Nellie is not yet middle-aged, but she is not a young girl, either. And Close's voice is more than equal to the task; she even manages to infuse it with the same "gee whiz" quality that Mary Martin did so well.Her Emile is Rade Sherbedgia; his baritone is lighter than previous Emiles, so his renditions of songs like "Some Enchanted Evening" and "This Nearly Was Mine" are persuasive rather than bravura. But his voice is lovely, and his chemistry with Close far better than that between Mitzi Gaynor and Rossano Brazzi in the first film.Also on hand are Lori Tan Chin as Bloody Mary and the late Robert Pastorelli as the comic-relief Luther Billis. I found Chan's speaking voice a bit unnerving at first: she speaks in a sharp, high-pitched whine that I found hard to believe was her natural speaking voice. But her singing is another story.Here comes the first egregious mistake: Bloody Mary's sweet little number "Happy Talk" was cut because the producers felt it was too "politically incorrect (?!?!?!?)." Yeah I know; don't ask me either. But thank heaven, they did NOT cut her signature tune, "Bali Ha'i;" her singing voice is lovely and she truly makes the song her own.Billis, of course, is the one character who does not need a great singing voice; in fact it is better if he doesn't have one, and Pastorelli certainly has the necessary comic chops to make his Billis a proud successor to that of Ray Walston.Now I come to the bit of casting that, if the rest of the picture were not so wonderfully done, would have sunk the proceedings completely: Harry Connick, Jr as Lieutenant Joe Cable. He looks way too old for the part, for starters; Connick was thirty-four when he made this but looks ten years older. And his voice is totally wrong for the part. It is a swell voice for a lot of things, but not for a Broadway musical. Cable is supposed to be a tenor; Connick, a baritone, could not possibly reach the notes in the original score so his songs were all transposed down a third. "You've Got to Be Taught" does not suffer too much from the transition; it is sung with a soft intensity that any vocal range can accommodate. But Cable's signature tune, "Younger than Springtime," is a disaster. For starters, having a man who looks like he is tottering on the edge of middle age sing a song called "Younger than Springtime" creates an irony that was not intended by the authors, and the climactic final notes of the song simply fail to land when the highest note is an E as opposed to the high G of the original. And Connick being a crooner, even if he had been able to sing the higher register, is not and never has been a belter. Power was what was needed here, and the song simply fails to land. It would have been better had they simply cut it.But all in all, there is more right than wrong with this mostly remarkable production, and the fact that it was done for TV and done successfully is all the more remarkable. At the end of the day, the evening really belongs to Glenn Close and Rade Sherbedgia, and they acquit themselves so beautifully that even with the flaws I have mentioned this is a joy to watch.

Glenn Close is a fabulously versatile actress, so even though she is too old for this role, I think her wonderful acting overrides the problem about her age. She also sings very well, as does most everyone in the movie -- that's an answer to somebody who kvetched about the singing. Harry Connick, Jr. as Lt. Joe Cable? You'd be hard pressed to find much better. Ditto for Lori Tan Chinn, who does a wonderful job with all the acting and singing required of her as Bloody Mary.I can understand being upset with the singing of Rade Sherbedgia as Emile DeBecque, who lacks the operatic voice of Ezio Pinza, Giorgio Tozzi, or even Brian Stokes Mitchell. However, he has a credible musical theater voice, and he does such an amazing job with every minute of acting that his singing is excusable. I, for one, think it's very cool that almost nobody, if anybody, was dubbed. None of the major characters were, at any rate.Lastly, somebody made the comment that this is not a war movie? I have two responses to that. A) It says very clearly that it's an ADAPTATION of James Michener's South Pacific. For an adaptation, they stayed remarkably close to the script. B) The war may not be the main attraction of this movie, but don't you think the tension is much better because of how aware we are of the battle?Overall, I think they did a very commendable job with this movie. In fact, I just bought it. Don't like it? Don't watch it. There are plenty of people that do.

I loved this new fresh version of what has to be the best Rodgers and Hammerstein movie. The songs are beautifully delivered and being on a smaller screen (poverty wins at last!) means that wrinkles, pan-cake don't show. I missed "Happy Talk" (hence 8/10) but loved the remake unreservedly, as the colour changes in the original drove me crazy as did the original Luther Billis. I thought that this version had been remade perfectly for modern audiences who weren't old enough to have gone to the stage production or who weren't reared on Mitzi Gaynor and co. Today's audiences don't want to sit for 3+ hours, and I felt that this captured the spirit of it without labouring on. No problems here with Glenn Close, and I thought she would have been an older woman (we can't all be under 30)anyway, career nurse etc, making it all so reasonable.

Heresy. Unmitigated desecration of that which warrants more respect.Blessed Mary Martin, pray for us.Aside from quibbles arising from being local and recognising the locations this abomination has two central problems.1- Harry Connick Jnr. The man is about as charismatic as celery juice. Cable is not a role for his semi comatose croon. The way that he slaughters 'You Have to be Carefully Taught' is a good case for capital punishment. and2- That it is, as billed, very much a film of the Michener stories. R&H's SP picks up from the stories but the presence of the real war is all but totally removed. In the original libretto the only intrusion of the war into the world on stage is the sound of gunners overhead. My understanding is that this is a very conscious device to increase the drama of LaBeque's 'death' and reappearance, and to lend dramatic urgency to the evacuation. I suspect R&H meant that it should parallel American life during the war, there are disruptions but they are {unless you live in Pearl Harbor} in the outside world and largely filtered back as tales of exotic adventure.Glenn Close is a fine singer and actor but for Nellee she is simply too old. I can't find a case to age the character so dramatically other than adherence to the Michener stories or... Glenn's ego. Her age messes up the dramatic dynamics and various sexual tensions that serve to deliver the 'message'.Close's voice sounds unusually reedy here. Bad audio production or she's singing above her comfort zone.Some of Australia's finest musical theatre performers are confined to one line roles. A great pity, Simon Burke would have made a much better Cable. Angela Toohey did a superb turn as Sally Bowles recently.I don't think South Pacific will ever work on film- it's too finely balanced between beauty and horror for literal visual interpretation.Shelve this one with Bette Midler's assault on Gypsy- ideally in a lead box, locked and kept safely from children.