Brigadoon

I'm sure that when Gene Kelly and Van Johnson wandered into that quaint Scottish village called Brigadoon they must have thought they were entering a Scottish theme park. Certainly no modern conveniences around and everyone dressed in costume. But there's a reason for it, a most enchanting reason, the heart and secret of Brigadoon.

Brigadoon ran in the 1947-1948 season on Broadway for 581 performances in the initial production. It was Alan Jay Lerner's and Frederick Loewe's first really big Broadway success though it was their second collaboration. MGM bought the property for the Arthur Freed unit and it lay dormant for a few years while a lot of creative and financial differences got worked out.

Gene Kelly curiously enough had the reverse problem with this that his Broadway hit Pal Joey had. The original production of Pal Joey was his first big musical hit and he never went back to Broadway after. But when the film for Pal Joey finally got made it was with Frank Sinatra in the lead and the part was changed to a singer's as opposed to dancer's role.

Similarly the original Broadway Tommy Albright was a singer named David Brooks and Fiona was played by Marion Bell both pretty good singers. Kelly who could carry a tune had a whole lot of trouble with some of the songs, in fact he himself asked that his version of There But For You Go I be cut from the final film.

Changing over to dancing leads, Kelly got Cyd Charisse as his partner and as was usual, Cyd's singing was dubbed with Carole Richards's voice. They did do some mighty nice dancing though, especially The Heather on the Hill ballet and Kelly's lighthearted romp to Almost Like Being in Love which was the big hit from Brigadoon.

Kelly wanted to shoot the film on location in Scotland, but MGM eying budgetary problems and director Vincente Minnelli's desire to do it on their sound stage the film was shot indoors with Brigadoon recreated at Culver City.

One of my favorite numbers from Brigadoon is My Mother's Wedding Day which the character Meg Brockie sings. It was eliminated by the Breen office censors would you believe. They thought it inappropriate for drunken Scotsmen to be cavorting about on a solemn occasion like a wedding. As a result the character of Meg Brockie was cut down to nothing. A pity because Pamela Britton won rave reviews for her Broadway performance and Dody Heath is left with next to nothing in the role.

Still there's enough of Brigadoon for audiences to still enjoy and dream about an enchanted Scottish village we might all like to escape the travails of the world to.

It is said that both Gene Kelly and Vincent Minnelli were disappointed that MGM finances prevented then from filming "Brigadoon" abroad in more "natural settings." However, the beautiful studio sets to my mind work just fine for the whimsical fantasy being told. It is true that the basic idea of the story is a bit far-fetched, but then that's what fairy tales are all about. If one goes with the plot's broad premise, one can sit back and enjoy a charming Lerner-Loewe score, lovely studio settings and backdrops, pleasant choreography, and fine dancing, highlighted by Kelly's and Cyd Charisse's memorable "Heather on the Hill."

And that is exactly the story BRIGADOON tries to tell. Two urbanites from New York, Tommy (Gene Kelly) and Jeff (Van Johnson), are grouse-hunting in Scotland--yes, they've come all the way to Scotland to shoot grouse, if you can believe that to begin with!--when they happen upon the tiny magical little Scottish village of Brigadoon, a (very literal) throwback to the mid-18th century in customs, livelihood and people. The Campbells are holding a wedding for their daughter Jean, whose sister Fiona (Cyd Charisse) is the first person who doesn't treat the strangers like... well, strangers. It doesn't take long, just a walk through 'The Heather On The Hill', for Tommy and Fiona to fall deeply in love. The only problem is that Brigadoon, thanks (or not) to their eager chaplain Mr. Forsythe, surfaces once every hundred years--it's been two hundred since Mr. Forsythe made his 'contract with God', and only two days have passed for the villagefolk in that same year in 1754. The question becomes one of love, of whether one is able to give up everything for a miracle: just as Mr. Forsythe has to give up his beloved Brigadoon to bring it its miracle, Tommy and Fiona, because 'if you love someone deeply enough, anything is possible', get their miracle as well.

There is certainly charm aplenty in BRIGADOON: the morning fair 'Down On MacConnachy Square' is lively and bustling; the beautiful dance between Kelly and Charisse as they gather 'The Heather On The Hill' is tender and beautiful, with more balletic romance than any choreography of Kelly's to date; even the forward girl who tries to turn Jeff's head (only to disappear from the movie thereafter) is cute in her way and her fervent belief that she might actually have a romance like that of her parents. BRIGADOON most certainly sets out to charm--even the general dodginess of the Scottish accents does not really detract from the rest of the film.

However, there is an element of uneasiness in BRIGADOON, perhaps conscious, perhaps not, that somewhat undermines its message. It wants us to believe that it really is the humanity, the *kind* of humanity that one gets in Brigadoon and in New York that makes one place preferable to the other. This is quite unsubtly displayed in the merry dreaminess that surrounds Brigadoon, in contrast with the almost *too* loud chattering that goes on in the New York bar teeming with humanity. Yet one is never quite sure whether Brigadoon is really the utopia it appears to be: this is underscored by the fact that (despite Kelly's pleas for on-location filming in Scotland) the scenery is obviously constructed on a set. It's still eerily beautiful in a fake way, and this is the trouble with the village portrayed in the film. Everything *seems* perfect, idyllic--happy and charming and easy and light. But then you learn the real history of the village, and the aura surrounding it doesn't look so much as magic but as *black* magic. Mr. Forsythe sounds more like an authoritarian dictator obsessed with his Brigadoon than a benign sweet old chaplain, and when Harry Beaton (Hugh Laing) tries to make a break for it, the hunt for him and the subsequent covering up of his death has such sinister undertones that one really starts to feel uncomfortable about what the people have become in the two short days (for them) that they have known about their village's uniqueness.

Of course, the film itself actually states this uneasiness that the audience will feel, not merely suggests it. This is evident in how Tommy performs a gentle reprise of his courtship dance with Fiona and rushes off, full of glee and love, to tell Jeff that he is staying in Brigadoon... only to be persuaded by a few curt sentences from Jeff that he should really give up the love of his lifetime to return to reality, to return to New York. Jeff plays the cynical, hard-headed pragmatist in all of us, and is then immediately depicted as a drunkard who spends all his days lounging in a bar, broken by his own inability to have faith in a 'miracle'. It's fitting for this film full of contradictions that the person who saved Brigadoon was the one who refused to believe it, and that the people of Brigadoon were saved by the death of one of its number.

Perhaps this is far too much analysis than BRIGADOON can bear. If one doesn't poke beyond its shiny, lavish MGM surface (and there really is no need to), then it is merely a star vehicle for Kelly, not a particularly good one, but one that is moderately entertaining and does allow him to showcase his talents (though again, not too effectively). The best number is probably the most famous song in it, 'Almost Like Being In Love', sung by a heart-light and foot-merry Kelly as he dances through a Scottish farm. The runner-up would be the beautiful 'Heather On The Hill' couples ballet--Kelly's ballet training really comes to the fore in BRIGADOON, his other films having been more influenced by tap dancing.

All in all, a charming package with a sinister underside, if one can believe that this shadowy underside to BRIGADOON--both village and film--could exist. 7/10.

Other commentors have criticized this movie up and down for its casting, props, stage, singing and dancing. I don't profess to be an expert on any of those things. I enjoy movies and I enjoyed this one. It is the story line that gets me most. That an entire village appears for just one day every 100 years may be far fetched but is great fantasy. I'll have to admit that I've enjoyed this story more in live theater than the movie version, but the movie version is much easier to pop in the VCR for anytime viewing. I think its a great movie and might make a great remake if someone was willing to address the criticisms left here by other commentors.

The New Yorkers Tommy Albright (Gene Kelly) and Jeff Douglas (Van Johnson) travel in a hunting trip to the highlands of Scotland. Tommy and Jeff are best friends and Tommy is taking a break from his engagement with his fiancée Jane Ashton (Elaine Stewart).

Tommy and Jeff get lost on the hills and out of the blue, they see a small town that is out of the map. When they arrive in town, Tommy meets the local Fiona Campbell (Cyd Charisse) and they learn that the place is called Brigadoon. Further, it is the wedding day of her younger sister and they are invited to stay to the party. Meanwhile Tommy and Fiona fall in love with each other.

Later Tommy and the skeptical Jeff discover that a local preacher had prayed to God on the Eighteenth Century asking for a miracle to protect Brigadoon from witches that lived in Scotland. From that day on, when the locals go to sleep in the night, they wake up 100 years later. However, if a dweller leaves Brigadoon, the town and the citizens would all disappear forever. But an outsider could stay forever in Brigadoon provided he or she loves someone in the enchanted town.

"Brigadoon" is a fairy tale that combines "Lost Horizon" with "The Sleeping Beauty". The plot is silly and the songs are dated, but the romantic story and Cyd Charisse are delightful and the final message ("when you love someone, everything is possible, even a miracle") is very beautiful. My vote is seven.

Title (Brazil): "A Lenda dos Beijos Perdidos" ("The Legend of the Lost Kisses")