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Gordon MacRae, Gloria Grahame, Gene Nelson, Charlotte Greenwood, Shirley Jones, Eddie Albert, James Whitmore, Rod Steiger, Barbara Lawrence, Jay C. Flippen, Roy Barcroft, James Mitchell, Bambi Linn

Twelve years after its Broadway premiere this successful musical received a cinematic adaptation. This is a musical that was considered in 1943, as the original invention for the modern stage musical, which has reached infamy and still reaches a large audience throughout the world. The story takes place on the 1890’s prairies of Oklahoma where life was tough, but love still found a way to root. ***

Through the cornfields of Oklahoma the audience arrives to the vast widths of the Oklahoman prairie, as the camera moves into position in the opening scene. A man gallops on his horse into the picture, as the title screen fades in and out. All of this is accompanied by the Richard Rogers Overture, Main Titles, as it lands the audience on the farm where most of the story takes place. It has a little of a whimsical mood for a western where most of these films have a struggling theme. Nonetheless, it begins to dazzle the audience with the fitting song Oh, What A Beautiful Mornin'. ***

The story in itself is a rather simplistic narration, which has similarities with Red Garters (1954) that was released the year before. It intermingles a number of musical performances with a various dance numbers. Occasionally, these dance performances come across as pretend fights, but it is a much better way of facing a rival than with a six-shooter. The music and dance continues to astound the audience, as it elevates the story to a more dream-like mood instead of the heavy testosterone atmosphere that surrounds cowboys. ***

The film opens with the cowboy and cattle driver Curly McLain (Gordon MacRae) who tries to woo Laurey (Shirley Jones) in a somewhat childish manner (by teasing and acting indifferent.) In addition, Curly is from a man’s world where the tough need-nobody attitude seeps through into his tender ego, as it does to those with this self-imposed toughness. However, he courts Laurey in Miss Aunt Eller’s (Charlotte Greenwood) presence, as he is a gentleman too. The courting opens with initial verbal tease that leads to the song The Surrey With the Fringe On Top performed by the flirting duo and later they will reunite in People Will Say We’re in Love. ***

The love story is not without trouble from an external source, as Jud (Rod Steiger) too tries to pursue Laurey. However, Jud’s lack of personality and frightful presence intimidates her, and drives her off. This fear of Jud enters Laurey’s mind, which through a Freudian entry haunts her dreams. The infamous dance choreographer Agnes DeMille presents her nightmare in a bizarre dance piece, which seems a little out of place. Yet, it shines with brilliance. However, the jealousy and vengeance that fill Jud’s mind and heart will eventually lead to a crime of passion. ***

There are also a number of subplots such as Will Parker (Gene Nelson) returning from Kansas City (also a song Nelson sings in the film) with the fifty dollars he needs in order to marry Ado Annie Carnes (Gloria Grahame). However, to his heartache he learns that Annie has been seeing the flirtatious salesman Ali Hakim (Eddie Albert). This triangle drama contrasts the conflicting love story between Laurey, Curly and Jud, as this is more of a sideshow with strong comic undertones. Many scenes are full of amusing lines such as when Ali makes the comment, “I wanted to marry her when I saw the moonlight shining on the barrel of her father's shotgun.” ***

Oklahoma! captures the sheer size of the prairie in the film by shooting the film simultaneously in two different systems Todd-AO and CinemaScope, which helps transcend this musical to a delightful cinematic journey. Unfortunately many scenes are static due to the cumbersome management of the sizeable camera equipment. On occasions, the film feels a little too fluffy, and the acting too staged. Yet, the film provides a warm and whimsical love story drenched in dance and song. *** ---

Fifty years ago when they shot Oklahoma! they used two different cameras simultaneously: CinemaScope (2:55.1) and Todd-AO (2:20:1). Fox has been kind to the audience by letting them see both versions, but back in the day the Todd-AO with its 70mm had a sharper and better image. However, on this DVD the CinemaScope version appears far superior in regards to quality of clarity, sharpness, and specks. The CinemaScope version can be found on disc one while the second disc has a fussy and, at times, a lot of digital issues on the Todd-AO version. Yet, it is nice to be able to see these two versions and compare them, and fortunately the audience does not have to see the horrendous televised pan and scan version. ***

The audio comes in two varieties: Dolby Digital 5.0 and Dolby Digital 2.0. The first version is preferred, as it feels more authentic without sharp auditory distortions common with the mono sound of the time. The music and voices flow in a smooth and natural manner from the speakers, and it will help accentuate the importance of the music in the film. ***

Both discs have extras and all of the extras on disc one are repeated on disc two such as the Singalong and the Songs Only Chapter List. These two are definitely fun for the audience, as the reason people see the film is the music and here the audience gets to see the separate acts and sing along with them. There are also theatrical teasers on both discs. However, the rest will be found individually on each disc. ***

On Disc 2 two the audience will find CinemaScope vs. Todd-AO. It presents a brief historical perspective on the time when the television kept people away from the theater, as they could watch movies at home. As a response the production companies made the films literary bigger by changing aspect ratio and enhancing the screen size. It gives an excellent visual explanation on how they accomplished to attract the audience to the theaters away from the tube at home. The Miracle with Todd-AO is the second feature on the second disc. This is an informative commercial from the 1950s that explains the benefits of Todd-AO. It is interesting in a historical perspective, as it shows how it enhances the cinematic experience. A third feature on the camera technology called The March of Todd-AO displays an American journey experienced through the Todd-AO camera system, which might offer the audience a little venture in cultural travel. In addition there are two Vintage Stage Excerpts that presents a live televised broadcast from the actual Broadway show, which is a real treat for the audience. Ultimately, there are two different galleries present on the disc. First there is the Behind the Scenes Gallery and then there is the Lobby Cards and One Sheets. Both sets of photos offer a little extra for the interested viewer. *** ---

For musical lovers, Oklahoma! is a must with its whimsical tone and comic relief drenched in song and dance. The story in itself is rather simplistic, but it is within the simplicity the audience gets to know the characters. This makes it a much more appealing film experience, even though it at times feels a little too fluffy. In the end, fans of music, song, and dance will appreciate this film on a high level while people with a lack of enthusiasm for musicals might find it a little dreary. *** --------------------------------------------------------------------------------