O Caminho do Arco-Íris

I remember seeing this film when it was first released. I absolutely hated it - too slow-moving, and the male romantic lead was a cipher. Even the songs were manipulated to the point that I could barely stand to listen to them. Tommy Steele was far too frenetic as Og, the leprechaun. Its saving graces were Fred Astaire, Petula Clark (although she seemed too old in the role of Sharon), and Keenan Wynn. I've avoided it like the plague ever since.

Tonight, thanks to Turner Classic Movies, I finally watched it again. And you know what? It's a lot better than I remembered. I don't know what has caused the turnabout in my opinion, except perhaps the lack of quality of most of the musical films that have come along since FINIAN'S RAINBOW in 1968. It still has a few longueurs, but generally it's very enjoyable. Even Tommy Steele isn't too bad. Don Francks is still dramatically stiff, but he's better than I remembered, and he sings well. And oh, those songs! It's a shame that "Necessity" was cut, but otherwise, what a string of melody - How are Things in Glocca Morra, Old Devil Moon, When I'm not Near the Girl I Love, and more.

Thank you, TCM, for giving me a second chance with this film!

Whimsical is not a word I get to use often, but that's exactly what Finian's Rainbow is. Based on the 1947 stage musical it's part fantasy and part political satire. The plot follows the quintessential Irishman Finian(Fred Astaire in his last full screen role) and his daughter Sharon (Petula Clark) as they basically flee to America with a pot of gold stolen from the leprechaun, Og (Tommy Steele). After an amazing opening credit sequence ("Look To The Rainbow"), they arrive in "Misitucky" which is supposed to be near Fort Knox, to bury the gold in the belief that it will multiply. The small hamlet of Rainbow Valley becomes their home, a kind of Tobacco Road with very poor but very happy hippie-like inhabitants. Here Sharon meets her love interest Woody (Don Francks) Add Keenan Wynn as the villain, Senator Hawkins, a racist Southern stereotype that during the course of the story turns black. Several minor plots weave in and out, creating a rich and unique film. Astaire used to sound stages and carefully planned dance numbers balked at dancing outside in a field and the director, Francis Ford Coppola (an odd choice, but what's done is done) tried his best to meet his demands. Ironically the field sequence, which comes early in the film is beautiful and very well done by the choreographer Hermes Pan, who was subsequently fired from the film. Petula Clark clearly steals the movie. The camera loves her in this and her natural beauty and performance are such a pleasure to watch. Astaire, who was criticized cruelly for his appearance (he was 69 at the time) is as usual charming and no one danced like he did. Francks holds his own and makes a nice compliment to Clark. Tommy Steele's performance rolics between delightful and way too over the top. Beautifully filmed, it does suffer from jarring "this is real, this is fake" scenery but if you just go with it, it's not that bad. The DVD presents Astaire's dance numbers complete and full body (something Astaire always insisted on but was overlooked in the original release) Finian's Rainbow is known now more for many of it's songs than itself as a whole, but it's still very much worth a look, especially if you love musicals.

First, FINIAN'S RAINBOW does not take place in Tennessee. The movie only mentions Rainbow Valley, but onstage the valley is in Missitucky, home to Fort Knox and the gold depository that was thankfully saved by James Bond in later (for the movie, earlier) years.

The movie's flaws lie not so much in the updating to 1968 as in the eyes of today's viewers. We have sadly grown used to movies that are paced much faster than this one. As a result, those too young to have grown up with older movies will consider FINIAN'S RAINBOW very slow and overlong.

Fundamentally, though, FINIAN'S RAINBOW suffers the same afflictions all stage musicals suffer when transcribed to the big screen: Loss of intimacy. Hollywood always makes stage musicals 'way too big. They think musicals have to take place all over the continent. Oddly, a single stage worked for the play, and still does. (Possibly the rare exception to this is THE MUSIC MAN which was "opened up" only enough, not too much.) All movies are of their times, especially movie musicals. Accept that and enjoy FINIAN'S RAINBOW's wonderful score and excellent performances by the entire cast.

I love musicals and have done for the longest time. Finian's Rainbow is not among the best of the film musicals, but it is hardly among the worst either. It does have a ridiculous story and some moments of awkward editing. That said, it is definitely worth watching and is for me Francis Ford-Coppola's most underrated film.

The editing aside, I like the production values a lot, as the sets and costumes are lovely and there is some good lighting. The score and songs are all wonderful, my least favourite The Begat is still very good, and Old Devil Moon, When the Idle Poor Became the Idle Rich and particularly Look to the Rainbow are timeless.

Coppola directs with assurance, the choreography is some of the best I've seen in a while and the script has a lot of funny, witty and heart warming parts. When it comes to favourite scenes, the Rain Dance Ballet, which is lovingly choreographed, and the scene where Al Freeman Jnr applies for the job of butler, which is hilarious, are the most memorable to me.

I can't fault the cast either, Fred Astaire can do no wrong in my eyes, Tommy Steele and Al Freeman Jnr steal every scene they're in and I don't think there is another film where Petula Clark is more perfectly cast. In conclusion, flawed but definitely worth the watch. 8/10 Bethany Cox

"Finian's Rainbow" (1968) is one of the few films I saw three times in the theater, and since repeat viewings are normally not my thing it must have made some connection or maybe I just enjoyed watching Barbara Hancock dance. Despite this I agree with most of the critical comments about portions of the film.

Unfortunately it was assembled as a 145 minute "roadshow" musical; these were overlong spectaculars which depended less on the charm of the performers (think 1930's) than on pre-sold event marketing (unnecessary, pretentious, overscale, and distracting production values; souvenir programs; etc.). Right around the time of its release these mega-productions were leading many of the studios to financial ruin. Warner Brothers took a hit from this one; box office was bad but fortunately Coppola worked cheap and had cranked this out on the back-lot with a relatively modest budget.

Trim about 30 minutes from the film and you would have a much better production. There is a lot of stuff here that is supposed to be fun and just doesn't make it. Fortunately there are some real gems sandwiched throughout the film.

Think bi-racial "Lil Abner" (1959) with a touch of "The Wizard of Oz" (1939). The Oz connection comes from lyricist E. Y. Harburg, the guy who gave us "If I Were the King of the Forest". There are enough such silly songs to make up for toughing out the musical clunker moments. Tommy Steele absolutely shines doing this material (insert Bert Lahr here) .

Nothing wrong with the performances of Fred Astaire or Petula Clark either. And its not just his dancing and her singing, they both achieve excellent characterizations. Astaire at 70 does not look much different facially than Astaire at 30. But this time instead of a physically unlikely love interest he plays a warm old man still chasing a dream, and it's a much better fit. Clark does an excellent Debbie Reynolds and more than holds her own through the production.

Unfortunately there is little good to say about the casting of Don Francks as Petula's love interest and Hancock's older brother. Most likely Coppola felt that the film needed a relatively hip looking guy in place of a Gordon MacRae type. But Francks comes off as more of an oily hotshot; the kind of guy who would proposition your 14 year-old sister.

The plot has Finian and his daughter coming to Kentucky to bury a crock of gold he has stolen from a leprechaun back in Ireland. Finian believes that he can produce some kind of synergy by getting the gold within close range of Ft. Knox. They end up in a racially mixed Dogpatch named Rainbow Valley, where blacks and whites work side-by-side as tobacco sharecroppers. There is considerable intrigue involving the local racist political hacks, a new strain of mentholated tobacco being developed by a George Washington Carver type (nicely played by Al Freeman Jr.), back taxes on the sharecropping collective, romance, and a leprechaun who is slowly becoming human.

Barbara Hancock, a young but quite accomplished ballet dancer, is fetching as "Susan the Silent" (who dances instead of talking). Coppola adds a lot of nice lyrical moments by showcasing her dancing. It is said that Astaire resented her being cast instead of an older dancer he recommended. They are not paired in any number, a failure conspicuous by its absence.

The widescreen DVD looks great and the Coppola commentary is surprisingly interesting.

Then again, what do I know? I'm only a child.