The Fantasticks

I think the defining moment of "The Fantasticks" is the presentation of the song, "It Depends on What You Pay." In this film, that title is the only line from the original song that makes it into the film. That's because an alternate title of the original song is "Rape," the word being defined in the musical as "abduction," not the darker meaning. That explanation, curiously, remains in the film, but the other lyrics, describing different kinds of "rapes" are excluded. The exclusion of those lyrics is not surprising--what seemed only risque in 1960 now seems not only politically incorrect but surprisingly callous and insensitive. The fact, however, that one song from a 1960 Off-Broadway musical cannot fit into a 1995 movie, doesn't necessary mean the rest of the musical can.

Much of what was classic in the past no longer fits into contemporary thought. Updating, however, cannot necessarily preserve what made it into a classic in the first place, and it is not just "It Depends on What You Pay" that's been updated.

Speaking of the original "Fantasticks" as a whole, the score is something I fell in love with 34 years ago. The simplicity of it--scored basically for harp and piano--was a revelation compared to overscored Broadway shows. It also accentuated the music's occasional harmonic surprises, which seem to look forward to Stephen Sondheim. More than this, the minimalist staging--no real sets or props--also was very foward-looking, and assisted in making more timeless what might now seem like a very timebound story. I think the fact the original play has run non-stop for 41 years verifies this.

All this is lacking in the film. Jonathan Tunick's updated orchestrations are good, but they blunt the impact of the score. In place of a bare bones stage, we now see location shooting and a huge carnival set. Other songs are abridged, and dialogue omitted. Maybe this had to be done to adapt the musical into something that didn't seem just a filmed stage event and adapt it for modern audiences, but it isn't really "The Fantasticks" anymore, and it shows on the screen. The film comes off hopelessly hokey and contrived. Worse, it comes off as the very thing I believe I remember Luisa asks God not to make her in the play's introduction to "Just Once": ordinary.

Perhaps this is a film that should never have been attempted. And perhaps someone will have the foresight to release the 1960's TV version on video soon.

The pluses for this are terrific art and production design which is beautifully displayed by the cinematography of Fred Murphy but pretty pictures only go so far. The piece's other strong suit is a fine score with many lovely songs however they are compromised by being given to the two leads who have thin reedy voices without distinction or subtlety and the tunes suffer because of it. The score was a favorite of the young Barbra Streisand and she recorded several of the numbers, listen to her versions of Much More, Soon It's Gonna Rain and particularly I Can See It and you'll understand what has been lost in the pallid interpretations offered here. Alas it is of no help that the same romantic leads share zero chemistry on screen with McIntyre practically disappearing from the screen, so bland is his presence. The best work is turned in by Brad Sullivan and Joel Grey but their parts are small and Grey is especially wasted. Catch the live show instead.

I was the focus puller on the film and quite frankly, if you go to most theaters today, you'll see A LOT worse. Let's take it out of the box and hear all of Harvey and Tom's great music and let's relish in the tremendous images of Fred Murphy, ASC.

So far, I have seen more than five stage productions of "the Fantasticks" including one at the Sullivan Street Playhouse back in 1962; and I am going to see another one at the Snapple Theater Center (Jerry Orbach Theater) in New York. Yes, folks, as of this date "The Fantasticks" is still playing. There was a short interim when the Sullivan Street Playhouse was torn down to make way for a high rise in 2002.

Most of the reviews of the movie are indicative of two views. If one hasn't seen "The Fantasticks" on stage or heard the original score in its entirety, the movie "ain't" that bad. However, after more than 50 years running, and after thousands of international and summer stock productions, the play has had a lot of critically biased audience when they view the film. It might have been better if the makers of the movie had just filmed a stage production. The results might have been the least expensive and longest running film ever produced.

Let's get the usual remarks out of the way:

1. I saw "The Fantasticks" on Sullivan Street. 2. I've played Hucklebee. 3. I love the show.

The movie was OK. Not special; but OK. This will seem egotistical, but it's not: John Corona & I were SO much better than Joel Grey and Brad Sullivan, and that's on a community theatre level. It's not that we were brilliant, but Brad Sullivan was so completely god-awful that Joel Grey (who at least is competent) was completely sandbagged. Why in the name of David Merrick would you cast someone in a major musical part who can't carry a tune in a bucket? I lamented that "Plant a Radish" was cut from the movie until I saw it as a DVD extra. "Oh. That's why they cut it. The singing sucks."

The young lovers were OK. Jonathon Morris acted wonderfully as El Gallo, danced well... and his singing was OK but breathy. None of the power associated with the role.

The best ones in the movie were Barnard Hughes as Henry & Teller as Mortimer... so of course their parts were heavily trimmed, prompting the heading on this review. Apparently when Francis Ford Coppola was editing the movie, he was shocked and aghast at Teller speaking. Teller is now silent in the film.

Some of the changes from play to film are clever, and there is some beautiful photography. But in a musical, without the voices you're sunk.