The story of Calamity Jane, her saloon, and her romance with Wild Bill Hickok.The story of Calamity Jane, her saloon, and her romance with Wild Bill Hickok.The story of Calamity Jane, her saloon, and her romance with Wild Bill Hickok.
- Won 1 Oscar
- 2 wins & 2 nominations total
Allyn Ann McLerie
- Katie Brown
- (as Allyn McLerie)
Victor Adamson
- Barfly
- (uncredited)
Fred Aldrich
- Chicagoan
- (uncredited)
Leon Alton
- Townsman
- (uncredited)
Monya Andre
- Woman at Fort Dance
- (uncredited)
Beulah Archuletta
- Indian Woman in Saloon Balcony
- (uncredited)
Emile Avery
- Barfly
- (uncredited)
Mary Bayless
- Woman at Fort Dance
- (uncredited)
George Bell
- Barfly
- (uncredited)
Ray Bennett
- Officer at Fort Dance
- (uncredited)
Arthur Berkeley
- Bartender
- (uncredited)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- GoofsAfter leaving the ball at the fort, we cut to a shot of Calamity's bare back as she is undressing. Once she gets the dress off she is shown wearing undergarments that clearly cover most of her back.
- Quotes
[the singer is a man in drag]
Wild Bill Hickok: She ain't very good lookin'
Calamity Jane: That ain't all she ain't.
- Alternate versionsThere is an Italian edition of this film on DVD, distributed by DNA Srl: "AMORE SOTTO COPERTA (1948) + CALAMITY JANE (Non sparare baciami, 1953)" (2 Films on a single DVD), re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.
- ConnectionsFeatured in The Doris Mary Anne Kappelhoff Special (1971)
- SoundtracksThe Deadwood Stage (Whip-Crack-Away)
Written by Sammy Fain
Lyrics by Paul Francis Webster
Sung and whistled by chorus behind credits, then sung by Doris Day and chorus
Featured review
The film is marvelous, but it's been dissected to death; consequently, I can't add any comment you haven't already heard. Lovely Technicolor cinematography of the outdoor frontier and rich period costuming enhances this top-notch cornucopia of story, score, and songs- including 'The Deadwood Stage,' 'I Can Do Without You,' 'Windy City,' 'The Subject of Harry,' and 'Secret Love.' Two special moments for me are Howard Keel singing 'Higher Than A Hawk' to the portrait of Allyn McLerie, and 'A Woman's Touch,' which shows McLerie and Doris Day become sisters in solidarity. They clean the house (in fact, renovate it) while discovering Calamity's femininity at the same time. They joke, they bond, and at the end of the scene our heroine is in a dress and quite the looker. There's no shocking sexist message here; it's a musical showing how a woman gets her man. I don't think in 1953 you could've asked for more. On the other hand, most of Day's scenes with Keel are a locked-horns battle of the sexes- absolutely no question. They compliment each other beautifully- from 'I Can Do Without You', right up to their nearly romantic duet of 'The Black Hills of Dakota.' Enjoy the film again, and look between the lines- some of it is quite timeless.
- movibuf1962
- Jul 16, 2006
- Permalink
Details
- Release date
- Country of origin
- Language
- Also known as
- Schwere Colts in zarter Hand
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Gross worldwide
- $3,177
- Runtime1 hour 41 minutes
- Aspect ratio
- 1.37 : 1
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