A major criticism of “Brigadoon” (1954) is it was shot on the M-G-M soundstages and not on location in Scotland. If there was ever a musical that should have been shot outdoors, some say, it is “Brigadoon.”
I never really bought that argument because the Scottish village and hillside created for the movie are so gorgeous to look at. While the idea of shooting on location in Scotland does sound appealing, the often unpredictable nature of Scottish weather could have seen costs soar. The fact that M-G-M used AnscoColor instead of Technicolor means they were definitely watching the bottom line.
Plus, because so many theaters were still unequipped to show movies in the new Cinemascope format, “Brigadoon” was shot twice, once in the standard wide-screen format and again in Cinemascope. Shooting in Scottish weather once would have been daunting enough, but shooting twice would have been tempting fate.
“Brigadoon” is a fantasy along the lines of “Lost Horizon” and a most beguiling one at that. Brigadoon is a magical Scottish village that appears only 100 years. It is discovered by accident by two American hunters who find themselves lost in the Scottish highlands.
Tommy Albright (Gene Kelly) is something of a lost soul, someone who knows his life is missing something, but he can’t put a finger on it. His best friend is Jeff Douglas (Van Johnson), who has a drinking problem and has no faith in anything he can’t see, taste, smell or touch.
They see the village through the morning mist and are perplexed at its quaint costumes and customs of the inhabitants. Tommy meets Fiona Campbell (Cyd Charisse) and begins to fall in love with her. Fiona’s sister Jean (Virginia Bosler, re-creating her role from the Broadway production) is getting married that day to Charles Dalrymple (Jimmy Thompson). It promises to be a merry day in Brigadoon except for the dark cloud known as Harry Beaton (Hugh Laing), who is in love with Jean and does not want to see her married to another man.
“Brigadoon” opened on Broadway on March 13, 1947 and was an immediate success. It was the first big hit for composer Frederick Loewe and lyricist and book writer Alan Jay Lerner.
Based on a German fairy tale called “Germelshausen”, about a German town which appears every 100 years, “Brigadoon” retained the idea but transferred it to Scotland.
The show ran 581 performances on Broadway and its London engagement played 685 times.( Other musicals playing on Broadway that season included: “Oklahoma!”; “Carousel”; “Call Me Mister”; Annie Get Your Gun”; “Beggar’s Holiday”; “Street Scene” and “Finian’s Rainbow.”)
It took famed producer Arthur Freed several years to bring “Brigadoon” to the screen. It was first announced in 1951, and was to have re-teamed Gene Kelly with his “Anchors Aweigh” (1945) co-star Kathryn Grayson. That fell through, though Kelly remained as part of the deal. With that in mind, it was decided to make the movie more dance-oriented. Kelly wanted Moira Shearer for the Fiona role, but her commitments to the Sadler Wells Ballet Company prevented that. Finally, M-G-M contract player Cyd Charisse was given the assignment.
For the role of Jeff, producer Arthur Freed wanted to re-team Kelly with Donald O’Connor from “Singin’ in the Rain” (1952), but O’Connor was no longer under contract to M-G-M, so Van Johnson was cast. A good choice, and Johnson had started his career as a dancer in the chorus.
Harry Beaton makes vague threats about leaving Brigadoon, even though it would spell disaster to the whole town. Tommy is puzzled by the village but finds himself falling in love more and more in love with Fiona, especially after singing and dancing to the haunting “The Heather on the Hill”. Eventually he learns the secret of the village from the village schoolmaster, Mr. Lundie (Barry Jones). Thanks to a covenant with God, Brigadoon materializes only every 100 years and none of its inhabitants can ever leave its boundaries. Mr. Lundie tells Tommy an outsider can remain in the village only if they love someone in Brigadoon, not the village itself.
By all accounts, “Brigadoon” was not a happy set. Vincente Minnelli was always on board to direct, and even though he initially wanted to film on location in Scotland, he quickly realized how much more control he would have in Hollywood. He and Gene Kelly had worked well together on “Ziegfeld Follies” (1946), “The Pirate” (1948) and “An American in Paris” (1951) and appreciated each other’s talents.
But Kelly was bitterly disappointed at not shooting on location and stayed morose throughout the shooting.
Kelly is quoted in “A Hundred or More Hidden Things: The Life and Films of Vincente Minnelli” by Mark Griffin (DeCapo Press, 2010) and admits he and Minnelli were never in synch on this production.
Griffin writes: “Minnelli envisioned the movie as ‘more of an operetta’ – the type of ‘theatrical artifice’ that was like an “An American in Paris” and more like “The Pirate”. Kelly however, saw “Brigadoon” as a Scottish Western, – Arthur Freed meets John Ford. When the entire production veered more in Minnelli’s direction, the star-choreographer was unhappy, and it showed. Minnelli later said he ‘had many talks with [Kelly], trying to impress on him the need to show exuberance in the part.’ But the star remained remote and grim-looking.”
Kelly and Minnelli also took to re-writing the script on the set, which infuriated screenwriter Alan Jay Lerner when he heard about it. He complained to Freed, who immediately sent a cease and desist order to Kelly and Minnelli. They complied.
The wedding between Charlie and Jean takes place at night, lit by torches and attended by the entire village in their most colorful finery. The entire village joins in the dancing, including Harry. He makes his way to Jean and violently kisses her. He is attacked by Charlie and they two have to be restrained. Harry breaks free and announces he is leaving Brigadoon and the miracle is over.
The men search the surrounding countryside for Harry to no avail. He almost makes good his escape until, hiding in a tree, he is accidentally shot by an inebriated Jeff, who has left the wedding ceremony to go grouse hunting.
Charlie Dalrymple was played by Jimmy Thompson, who had appeared as the singer/narrator in the “Beautiful Girl” number in “Singin’ in the Rain” (1952). Thompson could not handle the vocal demands of the role, so was dubbed by John Gustafson. He was not the only one to be dubbed, as Cyd Charisse was dubbed by Carol Richards.
Jeff convinces Tommy that Brigadoon isn’t for them, and they return to a very noisy New York City. Tommy is distant from his fiancée Jane (Elaine Stewart) and everything reminds him of Brigadoon. The two return to Scotland. Tommy is desperate to return to the village’s site, even though the village won’t appear for another 100 years and he knows he’ll never see Fiona again. The village does appear before them as does Mr. Lundie. He tells Tommy he must really love her, because he woke him up. Tommy runs to the village and meets Fiona coming out of her house. They walk slowly towards each other as the camera pulls back and the chorus swells.
I think “Brigadoon” is an absolutely gorgeous film to look at and listen to. With that score how could it not be ambrosia for the ears? But thanks to the remarkable behind the scenes musical talents at M-G-M, a beautiful score is made even more ravishing, and the art direction and set design are some of the most impressive for any M-G-M musical.
Musical director was the great Johnny Green with the arrangements made by the legendary Conrad Salinger. One of the reasons why M-G-M musicals are so good is because of Salinger’s contributions.
In the notes accompanying a Chandos CD celebrating songs and production numbers from MGM musicals, the late and eminent film music historian Christopher Palmer wrote of Salinger:
“Salinger’s was actually a complex musical personality, narcissistic and perfectionist (everything sounds fresh and spontaneous, but I have a feeling the wastepaper basket overflowed many times with rejected drafts). Ravel described his own orchestration as ‘complex, but not complicated’ and much the same could be said of Salinger’s. His scores are studded with detail, with incidental subtleties and small felicities of all kinds, but they are never cluttered, never made-up to the point whereby glamour becomes overkill. The perfume is exclusive – and expensive – but Salinger knows exactly how much to put on, and where. Pop songs are like people in that if they are to be dressed up a basic simplicity must always obtain. That Salinger understood that was part of his genius.
“…But the real Salinger was the de luxe quality of orchestral texture exemplified by “Dancing in the Dark”, “Singin’ in the Rain” and “The Heather on the Hill” – a quality born of his feeling for beauty of timbre, for mood, for atmosphere, for nuance, above all for line, for the give and take of melody and countermelody. His vocal accomplishments are object lessons in subtlety, sensitivity and understatement.”
Choral arranger for the film was Robert Tucker, and I think the choral work in this film is equal to the work choral arranger Ken Darby was doing at Twentieth Century Fox. In fact I’ll go out on a limb and say this is probably the finest choral work in any M-G-M musical.
The choral work is amazingly acute and precise in “The Chase”, the sequence where the men of the village hunt for Harry. The hushed opening chorus as the camera pans also the highland countryside as the village emerges from the mist sounds like something from a dream. Naturally, there’s a lot of good choral work in M-G-M musicals, but the chorus truly surpassed themselves here.
Vincente Minnelli’s sense of design and space is also well on display here. The film’s opening number, “Down on MacConnachy Square” is a riot of color and excitement as the village awakens to live another day. The group dancing in the “Go Home to Bonnie Jean” shows Minnelli’s understanding of the wide Cinemascope image and how to use it to maximum advantage. .
The wedding sequence is also a marvel of sight and sound as the different clans gather, with bagpipes playing and the villagers turned out in their best attire. Lit by torches it’s an evocative sequence that’s a marvel to behold. This is immediately followed by the aforementioned “The Chase” which looks like it was shot in almost one take, or at least one or two long, continuous takes. The planning and preparation must have been enormous, but Minnelli had a huge canvas to stage the sequence on and he makes every bit of it count.
How big was the “Brigadoon” stage? Hugh Fordin’s invaluable look at the Freed Unit, M-G-M’s Greatest Musicals: The Arthur Freed Unit” (First De Capo Press Edition, 1996) tells us:
“According to the script, the story would take place on two main sites: the hills of Scotland and the village of Brigadoon. These were to be constructed on three separate sound stages, until (Art Director Preston) Ames came up with the ingenious idea of combining everything on one stage, creating a vast panorama. He presented his idea to Minnelli. ‘I think you’re crazy,’ said Minnelli, ‘but do it! But remember, I want lots of heather!
“To execute this enormous undertaking, the construction department built hillsides and valleys, a village with many cottages and a bridge spanning a brook; there were livestock and all the trappings of the outdoors. One man was responsible for creating the visual illusion of the Scottish countryside: George Gibson, the same man who so masterfully executed the backdrops for the “American in Paris” ballet. His backing for the “Brigadoon” set was 600 feet wide and 60 feet high. Gibson’s painting was so realistic that even the birds were attracted by ‘their natural habitat’ and flew through the open stage doors straight into the backdrop.”
In transferring the show to the screen, some compromises had to be made and some songs dropped. The man-hungry Meg Brockie character lost her songs and was relegated to only two scenes with Van Johnson. As played by Dodie Heath, she’s a delight, but the Hays Office nixed the mildly risqué lyrics in her two songs, “The Love of My Life” and “My Mother’s Wedding Day.” It’s too bad because she’s such a delight. (Ironically, the role was played on Broadway by Pamela Britton, who played Frank Sinatra’s girlfriend in “Anchors Aweigh” (1945). There’s another Gene Kelly connection right there).
Other songs filmed but edited out of the final print were “Come to Me, Bend to Me” (sung by Charlie to Jean); “There But For You, Go I” (sung by Fiona to Tommy) and “The Sword Dance” (performed by Harry Beaton and dancers at the wedding ceremony).
The DVD of “Brigadoon” offers these deleted numbers as an extra, and I was particularly intrigued by the “There But For You, Go I” number. While the song was excised from the final print, the dance remains but is re-scored by a more expansive orchestral treatment of “The Heather on the Hill. The sequence occurs after the chase and death of Harry Beaton, and as gorgeous as the song is, it does slow the action.
Since Fiona and Tommy began to fall in love as they sang and danced to “The Heather on the Hill” earlier in the movie, I liked the reprise here as it seems to strengthen the character’s love into a deeper and more affecting relationship.
“Brigadoon” opened to fairly tepid reviews. Griffin quotes two. “The whimsical dream world it creates holds no compelling attractions,.” said Penelope Huston of the London Times. Newsweek said, “Hollywood can still put its worst foot forward in the classic manner.”
Audiences liked it though, and it grossed more than $3 million. It’s a film that seems to get better with age. It still has its detractors, but Minnelli’s direction, and the incomparable dancing of Kelly and Charisee and that classic Lerner and Loewe score, make this a film to be enjoyed over and over. And with the current economy and the seemingly never-ending streak of bad news, who wouldn’t want to find a place like Brigadoon in their own lives?
How Brigadoon made the elite 70:
Greg Ferrara’s #32 choice
Marilyn Ferdinand’s #37 choice
Dennis Polifroni’s #66 choice
Kevin, an admirably thorough examination of “Brigadoon.” I was especially impressed by the amount of research you did. The many details about the production of the film were fascinating, and most of them were new to me. I agree with you that the decision to make this a studio film, although dictated by practical considerations, was a fortunate one in the end, since for me the gorgeous sets and graceful camera moves orchestrated by Minnelli are the standout elements of the movie. Your description of the one giant set on a single sound stage was particularly interesting. I was surprised to hear about Kelly’s unhappiness with the production but couldn’t help wondering if this helped make his sadness when he has to leave Brigadoon all the more convincing. His dejected mood during this section struck me as quite real and noticeably more intense than during the rest of the movie. I once heard Cyd Charisse say on TCM that “The Heather on the Hill” was her favorite number from all of her films, and it is my favorite number in “Brigadoon.” The song and the dancing, not to mention the staging, are wonderful. One clear impression I’m getting from the countdown so far is that even musicals that don’t make the very top of the countdown still have people who feel a special connection to them and can write about them with enthusiasm and affection, showing us virtues in the film that we might not have fully appreciated.
A terrific piece by Kevin that ALMOST has me converted. Alas, while I like the production design, costuming and its always a joy to have Gene Kelly in the cast, I never cottoned to the story or the music. BRIGADOON is the one musical I can honestly say would have faired better had the visual design of the film had been darker to challenge the themes of the score. The story, a fantasy with an evil hovering over it, is ripe for a darker interpretation and, if it were remade today, would probably benefit more from the visual fourishes of a director like Tim Burton. As it is, this is a film I can only muster attention on in small doses. Its almost like I’m expecting something bigger and more exciting to happen that never comes. However, I will praise Kevin hear for the well written, ejoyable and highly informative essay he has presented. I’m just not a lover of this film…
I’m pretty much on the same page as Dennis. I’ve never seen this film in its entirety but have seen snippets of other productions. The show is not my favorite. This piece by Kevin, though, is a great read filled with interesting details — tempting me to keep the channel on if I ever run into the film on TV.
R. D. Finch-You pretty much hit it. Sam was pretty inspired in deciding to gather many writers from around the globe to chime in on many of the films that will be unveiled. From what Sam told me, the original intention was that HE would wtite EVERY essay for the count. But, with lightning striking on an inspired idea, he realized thatv this presentation would become even more special by putting the films voted into the count up for grabs to those that felt a kinship to or a major passion for. Because these films were tabulated from votes of 7 other people on a committee, Sam felt it would keep him from writing reviews for films he may not, himself, feel overy enthuiastic about and thus being less than attentive to them. I am writing a few myself, and all of them are films that I have an obsession and big kbowledge on. I feel Sam’s choice was both correct and absolutely brings an added dimension to this exciting venture. His main goal was not only to inform, but create joy in celebrating this genre of films.
Dennis,
I think was a great choice to make. I’m only writing on two films, but they are both some of my favorites, hence the enthusiasm is there. This should probably be something to consider for future Genre countdowns.
And, BTW, I think, fro m what we have seen so far, that the joy Sam was looking to stir up in this celebration is firing in in a big big way! The lengthy discussions on the GUYS AN DOLLS thread was amazing, covering not only the film, but evolving into a discussion of the defining moments in Pop Music was sensational and evolving. The things that I find most amazing about blogging (different opinions, evolution of critical discourse) are all around in aq coun like this. I can’t wait to get home each morning to see what’s coming next. I like to think of ventures likev this as added education. You take an essay like one Kevin wrote above and you find yourself looking at something you thought you knew in a different way. I’m almost ready to resee BRIGADOON and give it another chance. This is why I love a critical community like this.
Kevin,
Very fine essay and well researched like mentioned. I have not seen Brigadoon, but have seen many of the Minnelli films and many Gene Kelly films. I tend to think of Kelly as usually pretty jovial and his onscreen joy to be rather infectious. Interesting to know that he was not happy during this one. I’ll definitely need to check this out, as I also like Cyd Charisse and her work in The Band Wagon, Singin’ in the Rain, and There’s Always Fair Weather.
Splendid and very thought-provoking account, Kevin.
The idea of turning one’s back upon normal history is evergreen and essentially haunting—a perfect pretext for heartfelt song and dance, which, as you say, this film richly provides.
Despite mustering a terrible Scottish accent, Cyd Charisse proves, as always, to be a radioactive force, coming out of nowhere to take an audience of escapists by the throat.
Painstaking and extensive research has brought this oft-derided but always resilient musical film to life, giving food for thought to those who have always given it short shrift. It’s a glorious BRIGADOON For Beginners, and for those who have always seen qualities in the music, the s\ettings and in the irresistible story. I’ve never had difficulty in watching the film, and there are some real beauties in the Lerner & Loew score.
Great to have Kevin aboard!
I must add here how awestruck I am at the kind of work that’s gone into the sidebar presentation of the musical countdown by Dee Dee, who has taken the moniker of support and enrichment to an entirely new level.
In her subtle and ever-present way she has set the groundwork at this site for nearly three years now, and she has again offered up another dimension for those who want to further explore BRIGADOON. The film’s HD trailer, and some spiffy foreign posters really make this journey one worth taking.
And needless to say once again at zero hour well into the night she re-set the type in wordpress and conducted the proper mechanics to allow for the you tube clip to appear under Kevin’s review. It’s looks as good as it does all because of Dee Dee.
I guess what always bothered me about this musicals were the fake backdrops. The Lerner & Lower score, of course, elevates the film formidably, even while the implausibility of the story is a nagging reminder of how the form can sometimes ring false. But I understand this is an exception to the rule in one sense, and I love so many other musicals. Amazing reserach to put this piece together.
Thank you, everyone, for your kind words. I love “Brigadoon” though I can understand why some don’t respond to it. I have friends who love musicals but don’t care for it. They say its too whimsical for their taste, or as one friend put it, due to its Scottish setting, a little too twee for her taste.
In regards to the plot’s recap throughout, I did have those paragraphs in a different font to offset it from the rest, but it didn’t take.
Looking forward to reading the rest of the entries in the series, and I want to thank Sam for hosting this series, and for allowing me to be a part of it.
@ Hi! Sam Juliano…Thank-you, so very much for the kind words and compliment…as usual.
“A major criticism of “Brigadoon” (1954) is it was shot on the M-G-M sound-stages and not on location in Scotland. If there was ever a musical that should have been shot outdoors, some say, it is “Brigadoon.”
“I never really bought that argument because the Scottish village and hillside created for the movie are so gorgeous to look at. While the idea of shooting on location in Scotland does sound appealing, the often unpredictable nature of Scottish weather could have seen costs soar. The fact that M-G-M used AnscoColor instead of Technicolor means they were definitely watching the bottom line…”
Hmmm…Unfortunately, I’m unfamiliar with the word AnscoColour…Therefore, I have to assume that it is much more cost effective [cheaper] than using Technicolour. Yet, I agree wholeheartedly, with the reviewer comment/opinion about the Scottish village and surrounding hillside.
“I guess what always bothered me about this musicals were the fake backdrops.”
@ Hi! Frank Gallo…You, know that you’re not the only film viewer with that opinion about the film “Brigadoon” backdrop or set.
Frank, my mother “introduced” me to musicals her favorite being Minnelli’s “Meet Me In St.Louis” with that being said, I really appreciate the “fake backdrop” in Minnelli’s “Brigadoon” too.
Because it gives one the impression Of being [or observing from the viewer perspective]in a netherworld with the mist, enchanted forest, heathers in the hills, [Hallmark card/Thomas Kinkaid] cottages, and far away mountains.
[Giving one the impression Of a new-world appearance... [Not here...New York City, but there...a place that emerges every 100 years.]
…Now, if it was set or shot in Scotland I think that I would have thought what is so enchanting about Scotland…It’s beautiful, but the image Of Scotland [to me at least is very familiar. I think the backdrops that Minnelli created are very unique and very ethereal. ]
“They see the village through the morning mist and are perplexed at its quaint costumes and customs of the inhabitants.”
I agree with this comment wholeheartedly, For instance, In the trailer when actor Van Johnson’s character first encounter actress Cyd Charisse’s character he looks her up and down…observing her “strange” style Of dress…I like his simple mannerism it say a lot about not being from here, but there…lol
@ Hi! Claudia…I *smiled* when I caught a glimpse Of your avatar…reading about the movies…Hmmm
deedee
Every person interested in BRIGADOON in any sense should read Dee Dee’s marvelous discussion here. Wonderful stuff!
Hello! Kevin Deany…
I did place your plot storyline in italics, but I’m not sure If that is what you originally, intended for your review to look like????
[Note:
As I just mentioned to Sam Juliano in an email I never alter or touch writers here at WitD post without their permission.]
dd
HI Kevin, A wonderful essay on this film. I have not seen it in years, and I must admit the musical itself was never a favorite, which colored my thinking about the film. However, Cyd Charisse is just wonderful, and as a fan of hers I can appreciate her lovely contribution here. It’s unfortunate Gene Kelly was so unhappy; that comes through even if he’s trying to hide it. Still, I should revisit this movie in light of your excellent review. I may have a change of heart.
Brian: I must say I stand with you on this split assessment. And like you I feel motivated now to give the film another shot.
When I first saw this one, the thing that impressed me the most about it was Van Johnson. I hope that doesn’t suggest a disregard for musicals, but it seemed so novel to me that this musical had this constant element of dyspeptic negativity in it; call that counterpoint if you like. It’s still one of my favorite Johnson performances — but I’m surprised to learn that Donald O’Connor had been considered for the role — all wrong! — and not Oscar Levant.
Samuel: I liked Johnson a lot here too.
Thanks, Dee Dee. It looks great.
Kevin,
I’m late to the party (wasn’t able to be online much yesterday), but I wanted to congratulate on an excellent post – I really like the background info you’ve provided. I like “Brigadoon” well enough, but really miss the fun of Meg Brockie’s numbers from the stage version – I would love to seek out that DVD to see the deleted numbers.
Kevin, I’m another one who is late to the party – my congratulations too on this great piece, with all the detailed background information. It’s a long time since I’ve seen the whole of ‘Brigadoon’ (it’s one I was hoping to revisit in the run-up to the countdown but time ran away from me), but I now have the DVD on order from the library to see it again in the light of your review.
I’ve just belatedly watched this again – had seen it years ago but didn’t really remember it very well – and must agree with both Samuel and Sam that I really liked Van Johnson, whose cynicism is a welcome antidote to some of the over-sweetness at times. It’s a really strange scene near the end where the two men return to 1950s New York and are suddenly almost in the world of ‘Mad Men’, drinking heavily in a bar and bitching about office politics! I still don’t really see this as a great musical, and agree with Dennis that it could do with some more darkness in the mix, but it has some great moments, especially Gene Kelly singing ‘The Heather on the Hill’.