It only took seven years for Lerner and Lowe's "Brigadoon" to be made as a movie, eight for "My Fair Lady" and seven for "Camelot". But for the team's second big Broadway musical, "Paint Your Wagon", it took almost 20, and when the movie did finally get a release, it was at a time when movie musicals were beginning to tank at the box office. Unlike the first three movie musicals, "Paint Your Wagon" had not been a huge hit, running a season (which at the time was respectable and considered a semi-hit, if not a huge smash) and introducing several songs which have become standards in the world of showtune music. The movie altered the story a bit, taking on traditional themes of more recent westerns, and had some casting choices that while perfect for a western seemed questionable for a musical.
Certainly Lee Marvin and Clint Eastwood were known for westerns, and here, they share both co-starring billing and the same woman (Jean Seberg). What they also share is a lack of musical experience, and if you are going to put them together in a musical, it should be a genre in which they have experience. Their voices are perfect for the characters they play, with grizzled Marvin singing several songs in a very raspy manner and a very low-key Eastwood almost whispering his. Their voices pale in comparison however to Harve Presnell who gets the show's most famous song, "They Call the Wind Maria", as well as several others, so there have been many a jokester who ridiculed this film by saying either, "I never miss a Lee Marvin musical!" or "I never miss a Clint Eastwood musical!".
All that glitters is not gold, and in the case of the photography in this movie, it's filmed in a sort of faded color that almost seems like sepia tone. Somewhat overly long, it gets boring and tedious at times, but there are some wonderful musical moments that make up for the lack of singing talent. Clint's "I Talk to the Trees" is performed heartfelt and moving, while Lee's "Wandrin' Star" is also sweetly done. But you'll never hear "Hand Me Down That Can O' Beans" at a piano bar or "The First Thing You Know" where Lee's singing voice really gets grating, making Elaine Stritch's raspy voice seem soprano in comparison. Jean Seberg fails to impress as the heroine torn between the two men. This is one of those movie musicals which probably seemed like a good idea at the time but even with a powerhouse stage and musical director (Joshua Logan) behind the camera, it comes out as a missed opportunity and basically, "Too little, too late."
Certainly Lee Marvin and Clint Eastwood were known for westerns, and here, they share both co-starring billing and the same woman (Jean Seberg). What they also share is a lack of musical experience, and if you are going to put them together in a musical, it should be a genre in which they have experience. Their voices are perfect for the characters they play, with grizzled Marvin singing several songs in a very raspy manner and a very low-key Eastwood almost whispering his. Their voices pale in comparison however to Harve Presnell who gets the show's most famous song, "They Call the Wind Maria", as well as several others, so there have been many a jokester who ridiculed this film by saying either, "I never miss a Lee Marvin musical!" or "I never miss a Clint Eastwood musical!".
All that glitters is not gold, and in the case of the photography in this movie, it's filmed in a sort of faded color that almost seems like sepia tone. Somewhat overly long, it gets boring and tedious at times, but there are some wonderful musical moments that make up for the lack of singing talent. Clint's "I Talk to the Trees" is performed heartfelt and moving, while Lee's "Wandrin' Star" is also sweetly done. But you'll never hear "Hand Me Down That Can O' Beans" at a piano bar or "The First Thing You Know" where Lee's singing voice really gets grating, making Elaine Stritch's raspy voice seem soprano in comparison. Jean Seberg fails to impress as the heroine torn between the two men. This is one of those movie musicals which probably seemed like a good idea at the time but even with a powerhouse stage and musical director (Joshua Logan) behind the camera, it comes out as a missed opportunity and basically, "Too little, too late."