When it was released in 1957, The Pajama Game joined a long procession of song and dance Movies that grabbed us all who watched them with their energy, vitality and infectious romance. Doris Day bounces and radiates her way across the screen as only she can and has done many times previously in musicals, singing, dancing and looking great, teaming up this time with some of the cast from the Broadway Production, Eddie Foy Jnr., Carol Haney, Rita Shaw and John Raitt. As you would expect from this array of talent something special would arrive, and it didn't take long for us to taste it. In the opening minutes we are treated to one of Choreographer Bob Fosse's routines with Eddie Foy Jnr. and Rita Shaw singing and stepping to 'I'll never get jealous again ' and as the show moves on more memorable sequences appear like Carol Haney dancing to ' Steam Heat,' Doris Day singing ' Seven and a Half cents ' and everyone it seems giving a rousing rendition of ' Hernando's Hideaway.' The Pajama Game is alive with Fiftie's colour, vigour and good old fashioned song and dance, put together by ideas and talent that perhaps in those days we had the chance to take it all for granted. Sadly.....these days, with the absence of musicals we don't have that opportunity.
66 Reviews
A wonderful almost forgotten musical
Isaac585512 December 2005
The 1957 film version of the Broadway musical THE PAJAMA GAME is one of the best translations of a stage musical to the screen ever. The screen version is extremely loyal to its origins, utilizing almost all of the original Broadway cast (except for Janis Paige, who lost the role of Babe to 50's box office powerhouse Doris Day)and keeping most of the original score intact (only one song "Hers Is" was not used in the film and a song written especially for Doris for the film, ended up being cut). This delightfully original musical centers around the Sleep-Tite Pajama Factory where the head of the grievance committee (Doris) is trying to negotiate a 7 and a 1/2 cent raise for the factory workers by butting heads with the new factory supervisor (John Raitt, reprising his Broadway role)but eventually falling for him. Musicals were past their prime by the time this one made it to the screen, but it is still beautifully mounted and has some of the greatest songs in musical comedy ("Hey, There", "I'm not at all in love", "There Once was a Man"). Day and Raitt make an engaging screen couple (Day has rarely been so adult or sexy on screen) and the imaginative choreography by the legendary Bob Fosse is a big plus. Carol Haney's "Steam Heat" is classic Fosse and one of the highlights of this wonderful stage musical that inexplicably died at the box office upon release. A great musical that is a must for Day and Fosse fans.
Real, warm, and lovable
roslein-674-8745564 May 2014
Do you dislike musicals because you feel they are about nonsense and fantasy? Well, here is a musical about, okay, a man and a woman falling in love, but also capital and labour, exploitation of the workers, crooked financiers, and a heroine who is a strong woman whose work is important to her and who gets angry when her boyfriend doesn't take her seriously. Call that a fantasy? I don't dislike musicals, but I have always disliked Doris Day, who always seemed to me to be a phoney, a woman who was always pretending to be arch and super-feminine. Here, for once, she is the tough girl she really was, a blue-collar heroine who is robust and forthright, and she is terrific.
More important, of course, than the subject is the way it's handled, and the team of Adler and Ross (who also wrote Damn Yankees!) provide lots of charming, unpretentious, but also clever and peppy songs and two very slinky dance numbers, which last are a fine memorial to Carol Haney, the beautiful, talented, but sadly disturbed and short-lived dancer who originated the role on Broadway. Even the throwaway lines in the songs are enormously funny--for instance, when one song wants to make a point about a posh restaurant, the lyric is not "In a posh restaurant" but, referring to a generic fictitious posh restaurant, "At The Golden Finger Bowl..."
Those who love musicals, of course, will appreciate one that is so well crafted and directed. But nostalgia freaks in general are richly served here. Typewriters? Time clocks? And UNIONS? Organisations that protect the rights of the workers? Gee, daddy, what are those?
More important, of course, than the subject is the way it's handled, and the team of Adler and Ross (who also wrote Damn Yankees!) provide lots of charming, unpretentious, but also clever and peppy songs and two very slinky dance numbers, which last are a fine memorial to Carol Haney, the beautiful, talented, but sadly disturbed and short-lived dancer who originated the role on Broadway. Even the throwaway lines in the songs are enormously funny--for instance, when one song wants to make a point about a posh restaurant, the lyric is not "In a posh restaurant" but, referring to a generic fictitious posh restaurant, "At The Golden Finger Bowl..."
Those who love musicals, of course, will appreciate one that is so well crafted and directed. But nostalgia freaks in general are richly served here. Typewriters? Time clocks? And UNIONS? Organisations that protect the rights of the workers? Gee, daddy, what are those?
At the Golden Finger Bowl or Any Place You Go
drednm6 July 2004
Doris Day and John Raitt star in this breezy version of the 50s stage smash. Fun all the way with many songs that became 50s standards: "Hey There," "Hernando's Hideaway," "Steam Heat." Great supporting cast led by Carol Haney, Reta Shaw, Eddie Foy, Jr., Ralph Dunn, Thelma Pelish, and Barbara Nichols. Raitt is hunky and butch in the musical lead, and Day is at her tomboy best. "There Once Was a Man" is a super duet for the stars, allowing them to be funny while they belt out this classic, while Shaw and Foy shine in "I'll Never Be Jealous Again." The "Hey There" number with Raitt playing back the song on his dictaphone singing a duet to it is a true classic and was also a smash 50s hit single for both Doris Day for Rosemary Clooney.
But Carol Haney just about steals the show as Gladys in the "Steam Heat" and "Once a Year Day" numbers. She's also hilarious in the "Hernando's Hideaway" number and following comic scenes. Haney is a combo of Gwen Verdon, Carol Burnett & Alice Ghostley. Haney won a Tony Award for her Broadway performance. Great fun.
But Carol Haney just about steals the show as Gladys in the "Steam Heat" and "Once a Year Day" numbers. She's also hilarious in the "Hernando's Hideaway" number and following comic scenes. Haney is a combo of Gwen Verdon, Carol Burnett & Alice Ghostley. Haney won a Tony Award for her Broadway performance. Great fun.
Remember the time, the context
smith-68424 November 2005
I'm giving this movie 7 stars for Steam Heat with Carol Haney and the performances of almost everyone in the movie. The sexist angle that would now be called harassment in the workplace seriously dates the film but it is still entertaining. John Raitt comes on very strong but Doris Day more than holds her own. Carol Haney is the best thing in the film! Note Eddie Foy, Jr. in the role of Hinesy. Reta Shaw later gained fame as the housekeeper on The Ghost and Mrs. Muir television show. One of the most fun things about watching old movies is discovering the character actors we've become familiar with from television. Bob Fosse's choreography is splendid and Barbara Nichols is a riot.
All Right Until the Whistle Blows
vox-sane4 September 2007
Warning: Spoilers
Can Stanley Donan end a movie? Two classic movies he directed, "Charade' and "The Pajama Game" end so abruptly it's almost like he has them on a stopwatch and simply decides to cut them off with a cleaver.
Otherwise, "The Pajama Game" is a dandy diversion. The Broadway hit hosts a handful of great songs ("Hey There", "I'm Not at all in Love", "There was a Man", "Steam Heat" and "Hernando's Hideaway" have all become standards). The movie might be a little too stagy. About half way through it opens up about at a picnic with the less famous, but energetic number "Once a Year Day" where choreographer Bob Fosse has his dancers in a park performing all sorts of tricks on what appears to be uneven ground. Otherwise, the movie is a little too aware of the proscenium. The pajama factory is far larger than it could have been on stage, but it looks like a set.
The "Hernando's Hideaway" number has STAGE is stamped all over it, but it's the most effective number in the movie.
Many actors are recreating their Broadway characters. The big replacement is Doris Day, a proved movie performer who does well in a new role. The male lead, John Raitt, reprises his Broadway role. Male lead Raitt has a good voice and sings well in a duet with himself in "Hey There"; but he's so stiff he might have played the Commendatore in Mozart's Don Giovanni before he came to life. He desperately needs Day's inestimable charm to pull him through as well.
The second leads, Eddie Foy Jr. as Vernon Hines and Carol Haney as Gladys Hotchkiss, are both pros able to translate their practiced Broadway performances to the screen with new energy. Their parts are truncated from Broadway, and this is a good thing: with their energy they'd have swamped Day and Raitt and it would have become the Gladys and Hinesy show. Although, from what I understand, the excisions mean that Hines comes off as unreasonably (maniacally, even) jealous of Gladys, if these two were allowed any more to do in this picture Day and Raitt might as well have stayed home and phoned in their lines.
The plot based on Richard Bissel's slight novel 7 ½ cents, about a labor dispute at a pajama factory, is of no interest. The workers themselves don't even seem to care about the story until it raises its head again as a convenience. The story is simply a clothesline to string up a collection of great songs.
There's nothing here for anyone with a low threshold for musicals. This is no treatise on arbitration. It's a fun romp through romances in a pajama factory with lots of singin' and dancin' and knife throwin'.
Otherwise, "The Pajama Game" is a dandy diversion. The Broadway hit hosts a handful of great songs ("Hey There", "I'm Not at all in Love", "There was a Man", "Steam Heat" and "Hernando's Hideaway" have all become standards). The movie might be a little too stagy. About half way through it opens up about at a picnic with the less famous, but energetic number "Once a Year Day" where choreographer Bob Fosse has his dancers in a park performing all sorts of tricks on what appears to be uneven ground. Otherwise, the movie is a little too aware of the proscenium. The pajama factory is far larger than it could have been on stage, but it looks like a set.
The "Hernando's Hideaway" number has STAGE is stamped all over it, but it's the most effective number in the movie.
Many actors are recreating their Broadway characters. The big replacement is Doris Day, a proved movie performer who does well in a new role. The male lead, John Raitt, reprises his Broadway role. Male lead Raitt has a good voice and sings well in a duet with himself in "Hey There"; but he's so stiff he might have played the Commendatore in Mozart's Don Giovanni before he came to life. He desperately needs Day's inestimable charm to pull him through as well.
The second leads, Eddie Foy Jr. as Vernon Hines and Carol Haney as Gladys Hotchkiss, are both pros able to translate their practiced Broadway performances to the screen with new energy. Their parts are truncated from Broadway, and this is a good thing: with their energy they'd have swamped Day and Raitt and it would have become the Gladys and Hinesy show. Although, from what I understand, the excisions mean that Hines comes off as unreasonably (maniacally, even) jealous of Gladys, if these two were allowed any more to do in this picture Day and Raitt might as well have stayed home and phoned in their lines.
The plot based on Richard Bissel's slight novel 7 ½ cents, about a labor dispute at a pajama factory, is of no interest. The workers themselves don't even seem to care about the story until it raises its head again as a convenience. The story is simply a clothesline to string up a collection of great songs.
There's nothing here for anyone with a low threshold for musicals. This is no treatise on arbitration. It's a fun romp through romances in a pajama factory with lots of singin' and dancin' and knife throwin'.
Workers in a pajama factory fight to get a 7 1/2 cent raise!
tomdarragh18 August 2006
One of the truly unsung musicals of the 1950s, with a remarkably convincing performance from Doris Day, an impressive movie debut by John Raitt and wonderful choreography by Bob Fosse.
Pajama Game is probably one of the two most successful musical movies that Warner Bros produced, the other, of course, also starring Doris Day: "Calamity Jane", which reversed the order of Adler and Ross's wonderful creation by moving to the theatrical stage after the movie was made.
Stanley Donen and George Abbot have produced and directed a total joy of a movie, creating a believable factory environment and giving the union demands for a pay rise the full strength.
Carol Haney (from the record breaking Broadway production) makes a wonderful front office employee and with her number "Steam Heat" gives Fosse's choreographic skills full rein!
Truly a joy of a movie, wonderfully photographed in magical colours and in excellently framed CinemaScope. How hard to think this film has been overlooked for so long. Definitely a must for any fan of musical movies and it warrants repeated viewing on a regular basis.
A gem just waiting to be rediscovered.
Pajama Game is probably one of the two most successful musical movies that Warner Bros produced, the other, of course, also starring Doris Day: "Calamity Jane", which reversed the order of Adler and Ross's wonderful creation by moving to the theatrical stage after the movie was made.
Stanley Donen and George Abbot have produced and directed a total joy of a movie, creating a believable factory environment and giving the union demands for a pay rise the full strength.
Carol Haney (from the record breaking Broadway production) makes a wonderful front office employee and with her number "Steam Heat" gives Fosse's choreographic skills full rein!
Truly a joy of a movie, wonderfully photographed in magical colours and in excellently framed CinemaScope. How hard to think this film has been overlooked for so long. Definitely a must for any fan of musical movies and it warrants repeated viewing on a regular basis.
A gem just waiting to be rediscovered.
What's up with that bizarre subplot?!
planktonrules16 July 2012
When I watched this film, I was VERY surprised to see the subplot involving the jealous boyfriend (Eddie Foy Jr.) Such extreme jealousy is NOT funny--though it was sure meant to be. And late in the film when he chased his girl with a knife--tossing them right and left at her...funny?! It's pretty amazing that insane pathological violence was seen as a laugh-getter back in the day!
As for the plot of "The Pajama Game", it plays a LOT like a musical-comedy version of "Norma Rae"! Seriously....it really is very similar. Doris Day plays a spunky union rep who is pushing her company for a 7 1/2 cent an hour raise--and the pig-headed boss is willing to let the business go to pot for 7 1/2 cents. Stuck in the middle is John Raitt--who represents the company BUT who is also infatuated with Day. What's to happen? See the film.
This is a decent musical overall but not much more. Some of the songs are very familiar and quite good, while some seem inexplicable, as they seem to have nothing to do with the plot and just seemed crammed in regardless (such as "Steam Heat" and "Hernando's Hideaway"). Also, when it comes to Day's singing, you might find (like I did) that it came off as brash--as she belted out tune after tune with little grace--just LOTS of power. In fact, though he never went on to star in another film, Raitt came off pretty well in this one and you wonder why he didn't get more opportunities in films--though apparently his career on stage was quite long and successful.
As for the plot of "The Pajama Game", it plays a LOT like a musical-comedy version of "Norma Rae"! Seriously....it really is very similar. Doris Day plays a spunky union rep who is pushing her company for a 7 1/2 cent an hour raise--and the pig-headed boss is willing to let the business go to pot for 7 1/2 cents. Stuck in the middle is John Raitt--who represents the company BUT who is also infatuated with Day. What's to happen? See the film.
This is a decent musical overall but not much more. Some of the songs are very familiar and quite good, while some seem inexplicable, as they seem to have nothing to do with the plot and just seemed crammed in regardless (such as "Steam Heat" and "Hernando's Hideaway"). Also, when it comes to Day's singing, you might find (like I did) that it came off as brash--as she belted out tune after tune with little grace--just LOTS of power. In fact, though he never went on to star in another film, Raitt came off pretty well in this one and you wonder why he didn't get more opportunities in films--though apparently his career on stage was quite long and successful.
Just knock three times and whisper low... that you and I were sent by Joe...
Sweet Charity15 February 2002
When I purchased "The Pajama Game", I felt confident that the same team that brought me my all-time FAVORITE musical, "Damn Yankees", would not let me down. I was right. The dynamic team of George Abbot & Stanley Donen, Bob Fosse's oustandingly quirky choreography, and the wonderfully superb music and lyrics provided by Adler & Ross bring me more satisfaction than the 7 1/2 cents raise when it was given to the Sleep-Tite employees. Doris Day is charmingly witty and All-American in the role of Babe Williams... a role that allows her to radiate that eternal sunshine that seems to constantly course through her veins. Watch her vitality in numbers like "7 1/2 Cents" and "I'm Not At All In Love," her energy and vivacity in "There Once Was a Man", and the romance in her "Hey There" reprise. But let's keep in mind that Doris is also the only cast member not imported from the original Broadway show. (Much as I love Doris... what the heck was wrong with Janis Paige? Rent the film Silk Stockings... I think she would have been perfectly darling!) The show cast is an ensemble of sheer perfection! Reta Shaw is terrific as Mabel, Barbara Nichols and Thelma Pelish are riots as Poopsie and Mae, Jack Straw is superb as Prez, and Ralph Dunn is sublime as Mr. Hasler ("Now that isn't nice!"). John Raitt is great in reprising his role of Sid Sorokin... the man with stars in his eyes and a company to run. Whatta voice! And how about that Eddie Foy, Jr.? As Vernon Hines (aka "Hiiiiinesy"), he's an absolute TRIP! What's better than a drunken knife thrower who is having a hard time trusting his girlfriend? AND he sings and dances. Such an ADORABLE guy with a bundle of talent! However, my PERSONAL favorite is none other than that smashing, electrifying dancer with the absolute LONGEST limbs ever... Carol Haney, as Gladys Hotchkiss.. She is not only BRILLIANT but gives an absolutely FLAWLESS performance, in my opinion. Her dancing is not to be reckoned with... just look at her go in "Steam Heat" (breath-taking choreography and dancing!), and even "Hernando's Hideaway", as well as "Once-A-Year Day." Her comedic timing is uncanny, and with that grainy voice and pixie hair cut, she absolutely STEALS every scene she's in. It's most unfortunate that she died so young and was unable to pursue a further career in movies or on Broadway. All in all, this is a WONDERFUL piece of musical cinema, and I definitely recommend it!
This one's not for me.
simonrosenbaum12 May 2012
I'm currently working my way through a Doris Day box set and having now watched 10 of them this is by far the least entertaining one I've seen.
I agree with those that think there are too many songs for the amount of time the films lasts but that wouldn't really matter if the songs were more memorable than they are.
The biggest problem though for me is the lack of a decent story and the very unappealing leading man. It also manages to be bland and at the same time rather sinister which makes you feel a bit unsettled. The whole knife throwing at the picnic scene being the main example of that. It's possible that the songs might grow on me if I heard them a few times but I don't think I would want to watch the film again. 3/10
I agree with those that think there are too many songs for the amount of time the films lasts but that wouldn't really matter if the songs were more memorable than they are.
The biggest problem though for me is the lack of a decent story and the very unappealing leading man. It also manages to be bland and at the same time rather sinister which makes you feel a bit unsettled. The whole knife throwing at the picnic scene being the main example of that. It's possible that the songs might grow on me if I heard them a few times but I don't think I would want to watch the film again. 3/10
High-energy musical that may surprise you.
Hinda15 February 1999
Who'd have thought that a labor dispute could be such fun? Just add Doris Day's smile, Bob Fosse's choreography, amazing music and dancers and a bag of popcorn! This is a highly energetic film, super-charged with charisma. I can't count the number of times I hit "pause" and "rewind" just to get another look at a surprise dance move. Boy, do I dare say that this may have been what "Grease" was hoping it could aspire to? I want to see this one again real soon!
Great songs in a lesser known musical
HotToastyRag5 February 2018
The Pajama Game has some really cute songs, but most people who aren't musical aficionados haven't even heard of it. The major problem with it is the actual story; it's not at all interesting. A new foreman in a factory doesn't want to give his workers a raise so they go on strike. If there weren't any songs, it would be a terrible movie.
Thankfully, there are songs, and there are Doris Day and John Raitt to sing them! Almost all of the songs are engrossing, so you'll probably find yourself forgetting there's a non-singing story in-between the numbers. Doris is adorable when she sings "I'm Not At All In Love", John's voice shines out as he sings "Hey There", and the two of them are dynamite during the romantic duet "There Once Was a Man". I don't own the movie, but I do have the soundtrack, which is very fun to listen to! Even the supporting characters have their own delightful songs, like Carol Haney's "Hernando's Hideaway" and Eddie Foy Jr.'s "I'll Never Be Jealous Again".
The Pajama Game is a very cute movie with some funny jokes thrown into the lyrics and great chemistry between the two leads. If you like musicals but haven't seen this one yet, definitely check it out. It's best kept for the spring or summer, since there's a fun scene at the annual fair and everyone frolics in the sunshine.
Thankfully, there are songs, and there are Doris Day and John Raitt to sing them! Almost all of the songs are engrossing, so you'll probably find yourself forgetting there's a non-singing story in-between the numbers. Doris is adorable when she sings "I'm Not At All In Love", John's voice shines out as he sings "Hey There", and the two of them are dynamite during the romantic duet "There Once Was a Man". I don't own the movie, but I do have the soundtrack, which is very fun to listen to! Even the supporting characters have their own delightful songs, like Carol Haney's "Hernando's Hideaway" and Eddie Foy Jr.'s "I'll Never Be Jealous Again".
The Pajama Game is a very cute movie with some funny jokes thrown into the lyrics and great chemistry between the two leads. If you like musicals but haven't seen this one yet, definitely check it out. It's best kept for the spring or summer, since there's a fun scene at the annual fair and everyone frolics in the sunshine.
Ho-hum... There are better musicals you could spend your time with
Justin19832 January 2008
While I did not hate or greatly dislike The Pajama Game, watching the movie did feel to me like a tedious chore. Quite simply, I was not entertained (a simple and primary criteria of mine for any musical I watch... I don't have to be entertained by an art-house movie, but I better be by a musical), nor did I feel as though it was a particularly well-made film. I have heard several people (who are fans of musicals) praise The Pajama Game, which is why I was somewhat surprised by the mediocre nature of it. Maybe that is just the problem, as you might very well have to be an enthusiastic and die-hard fan of musicals to be able to overlook the unremarkable quality of The Pajama Game.
I am indifferent when it comes to the genera of musicals, I don't have a bias in their favor (like I do for say film-noir) or against their favor (like I do for say fantasy films). But if I am to enjoy a musical, I notice that more often than not I desire (among a dozen other things) that the film have a solid script. A solid script that contains an interesting story, is told in an entertaining way, includes well-written dialogue, and contains legitimate substance (as opposed to being just a depthless vehicle for song and dance)--and while this is not dogma, it sure helps me feel like I'm still watching a film, and just not people singing and dancing for the sake of singing and dancing.
The Pajama Game's dialogue is unmemorable, the story is uninteresting (that goes for the plight of the pajama factory workers for their potential raise, and the budding romance between the films main characters), and what shallow story there is is told in a way completely devoid of entertainment. But, to me, the biggest crime of all is that the script for The Pajama Game really is a shallow vehicle of a script of scenes strung together merely for song and dance (and in my opinion, mostly mediocre song and dance that can not begin to compare to some other classic musicals).
The cinematography certainly could have been better in The Pajama Game. Primary colors are the main choices in the color palette for the movie (after all, it is a movie that mainly takes place in a factory that makes brightly colored pajamas), but they are never used as richly as they are in other musicals such as Singin' In The Rain, Une Femme Est Une Femme, Parapluies De Cherbourg, or even The Wizard of Oz (which some people define as a musical, myself included as its songs progress the plot, but others merely consider Oz as a "classic family film"). In those movies the constantly present primary colors enthrall the viewer, and are photographed and lit in a manner that creates a bright and vibrant world that seems richer than the actual real world in some ways. In The Pajama Game the cinematographer failed to elicit any such enthrallment from the viewer. They are just colors-nothing more, nothing less. And while it may seem like I am being nit-picky, if you are making a lighthearted and silly musical with primary colors as the main choices in your color palette, you should make those colors "pop".
In The Pajama Game it would be very easy to accuse the actors of not acting as people, but of acting as "imitations of humans". Sure, it's not realistic for characters to break out into song and dance at the drop of a dime-but the characters in a musical should at least feel realistic to the viewer at least in some manner. The majority of the characters in the movie have as much realistic believability as the characters that might populate a vintage Hannah-Barbera cartoon. Even Babe feels like an imitation of a spunky factory worker, and Sid the imitation of a stern "by-the-books" factory superintendent.
As for the positive: the one thing I took interest in with The Pajama Game was the duet that Sid has with himself (by means of a tape recorder used for dictation in his office). To my memory I had not seen a musical where a character performs a duet with themselves until I saw this film.
While a lot of people I know who have seen this film enjoy it, I would exert that I feel there are better musicals (such as the ones I referred to while discussing the cinematography of the film several paragraphs above) that you could better spend your film-watching time with.
I am indifferent when it comes to the genera of musicals, I don't have a bias in their favor (like I do for say film-noir) or against their favor (like I do for say fantasy films). But if I am to enjoy a musical, I notice that more often than not I desire (among a dozen other things) that the film have a solid script. A solid script that contains an interesting story, is told in an entertaining way, includes well-written dialogue, and contains legitimate substance (as opposed to being just a depthless vehicle for song and dance)--and while this is not dogma, it sure helps me feel like I'm still watching a film, and just not people singing and dancing for the sake of singing and dancing.
The Pajama Game's dialogue is unmemorable, the story is uninteresting (that goes for the plight of the pajama factory workers for their potential raise, and the budding romance between the films main characters), and what shallow story there is is told in a way completely devoid of entertainment. But, to me, the biggest crime of all is that the script for The Pajama Game really is a shallow vehicle of a script of scenes strung together merely for song and dance (and in my opinion, mostly mediocre song and dance that can not begin to compare to some other classic musicals).
The cinematography certainly could have been better in The Pajama Game. Primary colors are the main choices in the color palette for the movie (after all, it is a movie that mainly takes place in a factory that makes brightly colored pajamas), but they are never used as richly as they are in other musicals such as Singin' In The Rain, Une Femme Est Une Femme, Parapluies De Cherbourg, or even The Wizard of Oz (which some people define as a musical, myself included as its songs progress the plot, but others merely consider Oz as a "classic family film"). In those movies the constantly present primary colors enthrall the viewer, and are photographed and lit in a manner that creates a bright and vibrant world that seems richer than the actual real world in some ways. In The Pajama Game the cinematographer failed to elicit any such enthrallment from the viewer. They are just colors-nothing more, nothing less. And while it may seem like I am being nit-picky, if you are making a lighthearted and silly musical with primary colors as the main choices in your color palette, you should make those colors "pop".
In The Pajama Game it would be very easy to accuse the actors of not acting as people, but of acting as "imitations of humans". Sure, it's not realistic for characters to break out into song and dance at the drop of a dime-but the characters in a musical should at least feel realistic to the viewer at least in some manner. The majority of the characters in the movie have as much realistic believability as the characters that might populate a vintage Hannah-Barbera cartoon. Even Babe feels like an imitation of a spunky factory worker, and Sid the imitation of a stern "by-the-books" factory superintendent.
As for the positive: the one thing I took interest in with The Pajama Game was the duet that Sid has with himself (by means of a tape recorder used for dictation in his office). To my memory I had not seen a musical where a character performs a duet with themselves until I saw this film.
While a lot of people I know who have seen this film enjoy it, I would exert that I feel there are better musicals (such as the ones I referred to while discussing the cinematography of the film several paragraphs above) that you could better spend your film-watching time with.
Name of the Game
sol-20 March 2016
Pajama factory workers debate striking for a wage increase while the head of their grievance committee romances the new superintendent in this bright and colourful musical starring Doris Day. The imaginative dance sequences are choreographed by Bob Fosse and with memorable tunes throughout (there is a song number at least once every five minutes), there is hardly a boring moment to be had. The plot, however, leaves more than a little to be desired. Some have described the movie as musical version of 'Norma Rae' - a description that is pretty much on the mark - however, the need for the workers to strike here never seems anywhere near as strong. Their working conditions are actually very decent, their desired wage increase is quite minimal, and the frequency of bright song/dance numbers detracts from any sense of urgency in terms of their demands being met. Appealing a couple as Day and lead actor John Raitt are, the two of them also fall in love far too quickly for credibility with barely a mention of the unethical nature of their relationship. There is, however, a lot to like in the way the tension at work conflicts with their romance, culminating in Raitt having to make a very hard quick decision at one point. Raitt is also surprisingly decent for a first time lead actor, though the film's best moments go to trained dancer Carol Haney in (apparently) the only talking role of her movie career. Her creatively choreographed "Steamed Heat" number is a particular highlight, though "Hernando's Hideaway" deserves top marks for her best song.
THE PAJAMA GAME (George Abbott and Stanley Donen, 1957) ***
Bunuel19764 August 2007
I'm not a big fan of vintage Hollywood musicals any more and can only return, even if with trepidation, to just a handful of classic titles. For that reason, I haven't watched one in ages
but this film had always been a highly-touted example of the genre being also more adult than usual, with a social theme involving an impending factory strike so, I decided to give it a go. That said, my adjustment to the schmaltzy style which so characterizes musicals of this era wasn't immediate...
However, there's no denying that the songs by Richard Adler and Jerry Ross are splendid even if I preferred the more intimate numbers; likewise, Bob Fosse's choreography felt impersonal for the most part (though I was, admittedly, conditioned by the fact that I'd seen the musicals he later directed which exhibited a definite, and unique, stylization to the dance steps prior to this one!). Anyway, the best musical sequences are: Doris Day's "I'm Not At All In Love", John Raitt's melancholy "Hey There" (later reprised by Day), "Steam Heat" (a recognizably Fosse number highlighting Carol Haney) and the stylish "Hernando's Hideaway" (though, in retrospect, it seemed silly to me that the latter is ostensibly a "secluded place" and yet all the factory-workers seem to hang out there!).
The cast, of course, is headed by Day (ideally cast here as the head of the factory's "Grievance Committee", with the film itself generally considered as her best); many of her fellow performers had originated their characters during the show's Broadway run including leading man John Raitt (rather stolid in his only major film role), Eddie Foy Jr. (as the burly manager at the factory whose fits of jealousy and penchant for throwing knives could turn dangerous when he's had one drink too many!) and Carol Haney (as the latter's fiancé and the factory-boss' secretary in what proved to be her last film, as she died quite young).
Ultimately, the film isn't up to Donen's best (and better-known) musicals such as ON THE TOWN (1949), SINGIN' IN THE RAIN (1952) and SEVEN BRIDES FOR SEVEN BROTHERS (1954) nor do I see myself watching it as frequently as his two delightful imitation-Hitchcock comedy-thrillers, namely CHARADE (1963) and ARABAESQUE (1966). Still, even if I wasn't quite as enthused with the film as I'd hoped, I'd still like to catch the same team's follow-up musical DAMN YANKEES (1958), if anything for its Faustian overtones.
However, there's no denying that the songs by Richard Adler and Jerry Ross are splendid even if I preferred the more intimate numbers; likewise, Bob Fosse's choreography felt impersonal for the most part (though I was, admittedly, conditioned by the fact that I'd seen the musicals he later directed which exhibited a definite, and unique, stylization to the dance steps prior to this one!). Anyway, the best musical sequences are: Doris Day's "I'm Not At All In Love", John Raitt's melancholy "Hey There" (later reprised by Day), "Steam Heat" (a recognizably Fosse number highlighting Carol Haney) and the stylish "Hernando's Hideaway" (though, in retrospect, it seemed silly to me that the latter is ostensibly a "secluded place" and yet all the factory-workers seem to hang out there!).
The cast, of course, is headed by Day (ideally cast here as the head of the factory's "Grievance Committee", with the film itself generally considered as her best); many of her fellow performers had originated their characters during the show's Broadway run including leading man John Raitt (rather stolid in his only major film role), Eddie Foy Jr. (as the burly manager at the factory whose fits of jealousy and penchant for throwing knives could turn dangerous when he's had one drink too many!) and Carol Haney (as the latter's fiancé and the factory-boss' secretary in what proved to be her last film, as she died quite young).
Ultimately, the film isn't up to Donen's best (and better-known) musicals such as ON THE TOWN (1949), SINGIN' IN THE RAIN (1952) and SEVEN BRIDES FOR SEVEN BROTHERS (1954) nor do I see myself watching it as frequently as his two delightful imitation-Hitchcock comedy-thrillers, namely CHARADE (1963) and ARABAESQUE (1966). Still, even if I wasn't quite as enthused with the film as I'd hoped, I'd still like to catch the same team's follow-up musical DAMN YANKEES (1958), if anything for its Faustian overtones.
Enjoyable Music, Dance and Interesting Class Conflict Settting
jayraskin123 May 2010
This was the reactionary 50's, so showing a conflict between management and labor, however comically presented, was quite daring. While not exactly a Marxist textbook case, it does show exploitation of workers and their attempts at fighting back. One can also view it as trivializing the harsh and terrible struggles of workers and unions against capitalist exploitation, but that seems a bit mean-spirited. While no "Cradle Will Rock" it does make the point that even a small issue (a pay raise of seven and a half cents) can be important in the context of a worker's life.
I liked most of the songs and dances. There may be two or three too many as they do tend to slow down the plot a bit.
I loved Doris Day, but I didn't feel that John Raitt was a good leading man for her. I didn't feel any chemistry between them. Someone suggested that Dean Martin was up for the lead. I would have preferred him. Carol Haney was good, but I was kind of sorry that the part didn't go to her Broadway understudy Shirley Maclaine. It now seems to me that Maclaine imitated Haney for the first eight years of her movie career. Still, Haney was 32 when she did the part and not in good health. She appears to be an older version of early Shirley. A 22 year old Maclaine would have been terrific.
The song "There Once Was a Man" reminded me of the great duet between Betty Hutton and Howard Keel in "Annie Get Your Gun" - "Anything You Can Do." I would put this in the second tier of great movie musicals. It isn't "Cabaret" or "Singing in the Rain," or "Dames," as it does drag in a few spots, but for 75 out of its 95 minutes, its delightful.
I liked most of the songs and dances. There may be two or three too many as they do tend to slow down the plot a bit.
I loved Doris Day, but I didn't feel that John Raitt was a good leading man for her. I didn't feel any chemistry between them. Someone suggested that Dean Martin was up for the lead. I would have preferred him. Carol Haney was good, but I was kind of sorry that the part didn't go to her Broadway understudy Shirley Maclaine. It now seems to me that Maclaine imitated Haney for the first eight years of her movie career. Still, Haney was 32 when she did the part and not in good health. She appears to be an older version of early Shirley. A 22 year old Maclaine would have been terrific.
The song "There Once Was a Man" reminded me of the great duet between Betty Hutton and Howard Keel in "Annie Get Your Gun" - "Anything You Can Do." I would put this in the second tier of great movie musicals. It isn't "Cabaret" or "Singing in the Rain," or "Dames," as it does drag in a few spots, but for 75 out of its 95 minutes, its delightful.
Dated musical of a Broadway stage musical
Dunham1622 March 2017
Warning: Spoilers
The play is about workers in an Iowa pajama factory whose owner wishes to refuse them a raise and to this end hires a new site manager told to keep it from happening until the new guy falls for one of the three elected representatives of the staff. Broadway performers cast in the film include four of the leads - John Raitt, Eddie Foy, Jr., Carol Haney and Reta Shaw. Doris Day in the film takes the part played on Broadway by Janis Page as one of the three union leaders. A fine memory of life in these times for those who lived through them but so dated today it may not please every movie buff. Its two production numbers, Once A Year Day and Seven And A Half cents are well done on screen.
The quintessential 1950s musical comedy
ekamholz4 May 2001
I believe "The Pajama Game" is the quintessential 1950s musical comedy. Although the film cut a few of the songs from the Broadway version, there were none added, so what is seen is a very faithful version of the source material. Another bonus with the film is that much of the Broadway cast is featured in the movie version.
Doris Day, is as usual, wonderful, as is a young Bob Fosse's choreography. The "Steam Heat" and "Once A Year Day" numbers are highlights.
The DVD features a cut number written for the movie. It is quite good, but it is also understandable why they didn't use it, in that it would have slowed the momentum of the film had it been used.
All in all a very entertaining film.
Doris Day, is as usual, wonderful, as is a young Bob Fosse's choreography. The "Steam Heat" and "Once A Year Day" numbers are highlights.
The DVD features a cut number written for the movie. It is quite good, but it is also understandable why they didn't use it, in that it would have slowed the momentum of the film had it been used.
All in all a very entertaining film.
Exciting musical sequences in an otherwise just average film.
movieman-20015 June 2005
Warning: Spoilers
The Pajama Game (1957) is a tired little warhorse of a musical. The plot concerns itself with the whopping seven-and-a-half cent raise demand put forth by the feisty grievance committee chair person, Babe Williams (Doris Day) on behalf of the general laborers working for Sleep-Tite apparel manufacturers. Shop superintendent and company man, Sid Sorokin (John Raitt) has other plans. He's interested in the heated discussions he shares with Babe, but more from a purely romantic angle that would have most of today's HR departments screaming sexual harassment. Ah, me, consider it foreplay. For very soon in the game Babe finds herself happily getting the hint and melting to the demands of her boss/lover. However, when Sleep Tite's president, Vernon Hines (Eddie Foy Jr.) decides to put his foot down, you can bet that the whole business of hearts and flowers goes the way of the domestic dust bin in a hurry.
Based on the modest Broadway sensation choreographed by Bob Fosse, the film is co-directed by George Abbott and Stanley Donen the latter staging some brilliant set piece musical numbers - particularly 'Hernando's Hideaway', sung and danced by a candle-lit processional that turns into a jazzy riff at a local hot spot, and, the brilliantly executed dance in the park during a company picnic, set to the tune of 'Once A Year-Day'. Yet for all its energy the film today seems to lack that essential spark required to make it an instant classic. Doris Day is in fine voice with 'There Was A Man' but John Raitt is a singer and romantic lead unequal to the task. He has no presence on the screen and is quite easily dominated by the rambunctious Ms. Day.
Warner's DVD is a re-release, previously made available over a year ago with different packaging. The transfer is the same on both discs: absolutely stunning. Colors are very bold and rich. Shadow and contrast levels are marvelous. Blacks are deep and solid. Whites are clean: truly, nothing to complain about. The audio has been remixed to 5.1 and delivers an admirable kick during the musical sequences, but sounds rather unnatural and strident during the rest of the audio presentation. Dialogue is decidedly forward sounding with no spread across the channels. The only extra is a deleted song; 'The Man Who Invented Love.'
Based on the modest Broadway sensation choreographed by Bob Fosse, the film is co-directed by George Abbott and Stanley Donen the latter staging some brilliant set piece musical numbers - particularly 'Hernando's Hideaway', sung and danced by a candle-lit processional that turns into a jazzy riff at a local hot spot, and, the brilliantly executed dance in the park during a company picnic, set to the tune of 'Once A Year-Day'. Yet for all its energy the film today seems to lack that essential spark required to make it an instant classic. Doris Day is in fine voice with 'There Was A Man' but John Raitt is a singer and romantic lead unequal to the task. He has no presence on the screen and is quite easily dominated by the rambunctious Ms. Day.
Warner's DVD is a re-release, previously made available over a year ago with different packaging. The transfer is the same on both discs: absolutely stunning. Colors are very bold and rich. Shadow and contrast levels are marvelous. Blacks are deep and solid. Whites are clean: truly, nothing to complain about. The audio has been remixed to 5.1 and delivers an admirable kick during the musical sequences, but sounds rather unnatural and strident during the rest of the audio presentation. Dialogue is decidedly forward sounding with no spread across the channels. The only extra is a deleted song; 'The Man Who Invented Love.'
Maybe Worked on Stage, But It's a Dud of a Movie
evanston_dad20 June 2010
Musicals as a genre can afford to be about nothing, since the point of a musical is its song and dance. But even at that, "The Pajama Game" is pushing it.
This ditzy, schizophrenic musical about labor relations in a pajama factory doesn't make a lick of sense. Doris Day plays the head of HR while John Raitt is the new hard-line manager. There's knife throwing, firings, a scene of attempted murder set in a creepy basement full of mannequins (yet played for laughs), and there's nary a dramatic conflict to be found. Or more precisely, there are conflicts, but they disappear without getting resolved, or they're resolved within minutes after being introduced, leaving you to wonder what the rest of the film will possibly be about.
Many of the stage actors were transplanted directly to the screen, and maybe that's one of this film's biggest problems. These aren't screen actors who know how to make material work in context of a film. This musical is probably a hoot on stage, but it doesn't work as a movie at all.
Bob Fosse provided the minimal choreography the film's few dance routines contain, but fans watching the movie for his touch will likely be disappointed. Still, even at that it's still his signature number, "Steam Heat," that stands as the most memorable moment, even if it has nothing to do with anything else going on.
Grade: C-
This ditzy, schizophrenic musical about labor relations in a pajama factory doesn't make a lick of sense. Doris Day plays the head of HR while John Raitt is the new hard-line manager. There's knife throwing, firings, a scene of attempted murder set in a creepy basement full of mannequins (yet played for laughs), and there's nary a dramatic conflict to be found. Or more precisely, there are conflicts, but they disappear without getting resolved, or they're resolved within minutes after being introduced, leaving you to wonder what the rest of the film will possibly be about.
Many of the stage actors were transplanted directly to the screen, and maybe that's one of this film's biggest problems. These aren't screen actors who know how to make material work in context of a film. This musical is probably a hoot on stage, but it doesn't work as a movie at all.
Bob Fosse provided the minimal choreography the film's few dance routines contain, but fans watching the movie for his touch will likely be disappointed. Still, even at that it's still his signature number, "Steam Heat," that stands as the most memorable moment, even if it has nothing to do with anything else going on.
Grade: C-
Very good translation
ryancm28 November 2009
While not the best musical ever, it is certainly entertaining. Lots and lots of songs (more than dialog it seems) with a frail story line to keep the songs going. Too bad they had to sanitize some of the songs, but because of severe censorship in the 50's it had to be done. Even in the 7 1/2 CENTS number, the had to change "hell-of-a lot_ to "heck-of-a lot". Seems silly. I'LL NEVER BE JEALOUS AGAIN was changed even more...to bad. Other lyrics as well were changed, but at least they made it into the final cut, unlike other musicals that take out almost everything and add new numbers. Only three numbers were cut from the stage version and it's too bad A NEW TOWN IS A BLUE TOWN wasn't included.
The performances are all top notch. A perfect vehicle for DORIS DAY, although JANIS PAIGE who did the stage version would have worked as well but she wasn't a big NAME. Ironic that JANIS had first billing and the lead in DORIS' first movie ROMANCE ON THE HIGHT SEAS, and about 8 years later DORIS takes over from JANIS. Oh well, that's show biz.
For a fun way to spend and hour and 41 minutes, do see PAJAMA GAME. A bit stagy but after all it was a stage play.
The performances are all top notch. A perfect vehicle for DORIS DAY, although JANIS PAIGE who did the stage version would have worked as well but she wasn't a big NAME. Ironic that JANIS had first billing and the lead in DORIS' first movie ROMANCE ON THE HIGHT SEAS, and about 8 years later DORIS takes over from JANIS. Oh well, that's show biz.
For a fun way to spend and hour and 41 minutes, do see PAJAMA GAME. A bit stagy but after all it was a stage play.
good music, good acting, controversial plot
daviddaphneredding7 January 2013
I like John Raitt, Eddie Foy, Jr., and especially Doris Day in this movie, and I liked the songs, but the plot was somewhat controversial in this George Abbott/Stanley Donan production from Warner Brothers from 1957. The plot centers around the workers in a pajama factory putting forth endless efforts for their seven-and-a-half-cents-an-hour raise. Thus, to some extent this is a "serious" musical,though, granted, it is humorous in places, but again is a story about a sensitive issue. Too often anymore too many places go on strike for a raise, and it ends up affecting the whole economy in this country.Does this movie seem to say that fighting for raises is "cute"? I wonder. But again, the songs and occasional comedy are very entertaining, john Raitt and Doris Day click, and it does end up on a positive note. Yet, if this is supposed to be a comedy, then deal with something less controversial.
Mediocre all around
whoster6920 November 2005
I don't see how this dog of a film could be averaging 7.1. It's mediocre at best. Acting is terrible (for the most part). Story is hardly there in between the songs, most of which are god-awful! Choreography is abysmal.
The few high-points are Doris Day and Carol Haney. They both are good even though they give brassy songs to Day that don't show the real value of her voice.
If this had been the first musical I had ever seen I think I would have sworn off of them for life! Users beware. This one does NOT rate a vote of 7 or anything close to it.
The few high-points are Doris Day and Carol Haney. They both are good even though they give brassy songs to Day that don't show the real value of her voice.
If this had been the first musical I had ever seen I think I would have sworn off of them for life! Users beware. This one does NOT rate a vote of 7 or anything close to it.
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