Sete Noivas para Sete Irmãos

This is most certainly a candidate for the best movie musical of all time. The story is simple enough to follow, but the musical sequences intertwine between the dramatic scenes with such fluidity that they help to further the story, rather then bog it down. The actors and dancers are all in top form, but special mention should go to Tommy Rall and Russ Tamblyn for their impressive acrobatic stunts which add an extra degree of vibrancy to the whole production. Howard Keel and Jane Powell work well together and make a realistic, and pleasant pair. Among the highlights to be seen are Keel's lively rendition of "Bless Yore Beautiful Hide", Powell's "Goin' Cotin'" sung with the men, and of course the famous barn raising dance sequence, which is truly a sight to behold; a visual feast for the eyes. Also worth noting, and often overlooked, is the "Lament" ("Lonesome Polecat") number which is done entirely in one take. It is charming, graceful, and extremely well executed.

It should also be noted that this silm was shot twice at the same time, once in CinemaScope and once "flat". The scope version is the one generally shown on TV and video. If you see this version, see it "letterboxed". However, the "flat" version is quite unique in its own right, with many of the scenes and dances reframed and in some instances, offering a better, more full view of the proceedings. Definitely a not-to-be-missed film, especially for fans of the musical genre.

After 50 years, this movie musical still warms the heart and the senses.

It has been alluded to, revived somehow, often imitated but never duplicated.

The songs, the scenery, the dances are the frosting on the cake.

Although by today's standards SB4SB is dated, it nevertheless remains an industry and studio standard.

A great way to chart the early appearances of Ruta Lee and Julie Newmar, who at the time were using their original respective surnames of Kilmonis and Newmeyer. Don't blink or you'll miss Sheila James, who later went on to appear in The Trouble With Father and, of course, Dobie Gillis. Last, but not least, there's Amber Tamblyn's father, Russ, in his famous hatchet dance (Don't try this at home).

Again, happy 50th anniversary to a cool classic.

It would be difficult, I suspect not to like, "Seven Brides For Seven Brothers". This film boasts an attractive frontier setting, famously excellent dance numbers choreographed by Michael Kidd, powerful Howard Keel as the head of the Pontifee clan and Jane Powell as the lovely girl who is swept off her feet by his charms. Of course when she finds out that he has six brothers, all scruffy backwoodsmen in need of manners and wives, trouble ensues. But all turns out well, with a little help from a lesson in Roman history, hard work, and the willingness of six other local girls to be (finally) swept off their feet. Howard Petrie, Ian Wolfe and such lovelies as Ruta Lee, Julie Newmar and Virginia Gibson contribute to the fun as the girls; the brothers include Russ Tamblyn, non-dancer Jeff Richards and some of the best dancers on the planet. The movie also presents some famous songs including, "Wonderful Day", "I'm a Lonesome Polecat", "June Bride" and, "When You're in Love" as well as "Goin' Courtin'", among others. Well-remembered scenes include the hilarious barn raising, the town dance, the sleigh pursuit and avalanche and the "Spring, Spring, Spring" vocal climax. Forget the acting, which is sometimes a bit potty; the director and the music add to a clearly-defined script a rare sense of frontier life, where taking risks for happiness and facing the precariousness of things where life is less than settled become necessary. Very few films have followed the lead of "Seven Brides" as a frontier or western musical; and none has been as well received nor appreciated. What a pity, its fans say, it was not given an outdoor setting instead of backlot scenery--and an "A" budget...It has a few flaws; but for five decades it has been one of the happiest musical films ever made; and that is quite an enduring achievement.

Revisiting this film, I was immediately pulled in by Howard Keel's opening song Bless Your Beautiful Hide. Audacious even in it's day, there's a tenderness in Mercer's lyrics that makes it somewhat forgivable-remember suspending your reality for a musical? Handsome Howard Keel's virility doesn't hurt. Instead of recoiling over the idea of "finding a wife" I just rolled with it as a silly plot idea. Once I had put myself in the same fantasy mode as when watching a Busby Berkeley musical, I started enjoying it.

I really paid attention to the musical numbers, most notably the Barn Dance & Lonesome Polecat. Amazing. Not too many dances in movies were designed to actually TELL a story, showing what the characters were feeling so eloquently. The Barn Dance scene is the best example I've ever seen of this. The dancing styles of townies vs mountaineers, the girl's being hoisted up in the air, the colors, the acrobatics all contribute to a very coherent "story" in dance.

Lonesome Polecat is also just extraordinary. It has a low base line of something like 3/4 but the lyrics are sung in some odd time signature like 5/9. (help me here music experts) The choreography too, is just excellent- the men really stand out as athletic, as is typical in many cultures such as Indian & Hawaiian dances.

I was again struck by how awful crazy the story line is, but how easily it's vindicated by Keel's character explaining how tough life is for mountain settlers. And Janie Powell was so perfect as the sweet young pretty girl who makes lemonade out of a bunch of sour lemons. The entire story is really about how she orchestrates a success out of her bad situation. I like that she's physically tiny but controls the fate of everyone in the story, not with weak conniving but with strong confident guidance.

At first you think this is a terribly sexist story, but it's truly a pioneering and feminist story.

Adam Pontipee (Howard Keel) lives with his six brothers in a cabin in a remote area of the woods. He goes to town one day and convinces a girl named Milly (Jane Powell) to marry him. They return to the cabin, where she suddenly realizes he has six brothers.

Milly tries to teach them some manners after her initial shock, but they are not entirely keen to change their ways. They are, however, anxious to get wives of their own.

After Adam reads about Roman capturing of Sabine women, he hatches a plan for his brothers - kidnap whoever they want to marry and bring them back to the cabin.

"Seven Bridges for Seven Brothers" is, today, somewhat of a classic; Stanley Donen adapts the screenplay by Albert Hackett, Frances Goodrich and Dorothy Kingsley; their combined efforts are superb.

I have grown up on this film and was surprised at the fact that, after having seen it very recently, it continues to hold up as well as it did when I was younger. I recommend it to everyone of all ages - it's funny, charming, sweet-natured and very enjoyable.