Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Pretending to be an esteemed music professor, a fast-talking conman plans to swindle the residents of the small Iowa town by forming a band that requires expensive costumes and instruments in this big screen version of Meredith Wilson's hit Broadway play. While there are some memorable songs and well choreographed dance routines ("Shipoopi" stands out in particular), the film is mostly carried by the energy that Robert Preston brings to the lead role. He also manages to make his somewhat despicable character likable despite his flaws. In fact, one of the film's best elements is how he unexpectedly brings hope and joy to the lives of so many youngsters when all that drives him (at least initially) is the con. Co-lead Shirley Jones is less effective, though much of that has to do with how the character is written. Described as an "old maid" and pitched as love interest for Preston (who looks old enough to be her father!), it feels like a part written for a much older actress. The way Jones quickly flips from being scrupulous of Preston to falling in love with him never quite feels right either and the pair lack romantic chemistry together. Fortunately, much of the film focuses instead on Preston inadvertently changing the town for the better and between the detailed costumes and catchy music, this remains a pleasant enough musical experience.

I may only come across it for a moment, or have it on as background noise while I do something else. No matter where I come in on the movie, from the beginning on, it never fails that two-and-some-hours later, I come to myself watching the closing credits. I don't know why. I have no connection with the the mid-west rural America turnabout of the last century of the story. I grew up in Dallas, and have lived at the southern end of that sprawling coastal urban mass of people known as BosNYWash for the last 23 years. Nonetheless, the movie is unfailingly entertaining. It never pales or becomes dull in repeat viewings.Of course, the music can be credited with a large part of its appeal. It is by turns, rousing, witty, sweet, and moving. The lyrics are inventive, amusing with the spoken songs; clever, with enough satire to send up the provincialism of small towns; polished, as a reflection of Mr. Hill's technique; simple and direct, when expressing deep-felt aspirations and emotions. The production numbers are all wonderful, the choreography of the the dancers, chorus, cameras, and editing smooth and energetic. And the performances are all great, with just that much larger-than-life necessary to make for a good show.But other movies have that, and wouldn't keep me watching them time after time. It must be The Music Man deals with something more essential. There is a surprising amount of cynicism and worldliness in the story, not just by Harold Hill. The town folk are all ready to expect the worst of human nature. Not the usual picture of rural America, or the innocent rubes taken advantage of by the scheming con man. They are taken advantage of, but it's by Hill's manipulation of their weaknesses, fears, and proclivities, not their innocence. Paradoxically, the fakery Hill needs to practice brings about the good in the movie. To deflect investigation of his credentials, he turns the feuding school board into an inseparable quartet. Looking for a natural leader to coalesce the band around, he pulls the young Tommy out of a life of hooliganism, giving him responsibility. Conning Winthrop Paroo, he breaks the child out of his lonely and unhappy isolation. And for Marion Paroo, he brings birds, bells, and love.I have an informal list in my head of my favorite musicals. They include movies like 42nd Street, the Rogers/Astaire musicals, Funny Face, and others. The Music Man, however, doesn't automatically come to mind. I'll have to work to change my thinking.

I saw this movie last night, in TMN's 4th of July tribute. After all these years, its charm still prevails.It always amazes me when someone hits a home run out of the ball park during his first time up at bat. That's what Willson has done with The Music Man. This is one of the cleverest musicals I've ever seen, both music and lyrics alike, and all from the ingenious mind of the same brilliant man!It's wonderful that so many of the leading cast from the Broadway show were involved in the movie, including Director Morton Da Costa and, of course, Robert Preston, among others. It's filmed in much the same way as the stage production. Oona White's choreography is energetic, infectious and as terrific as anything from Jerome Robbins.But back to Willson. He skilfully weaves his best songs in with each other ('Good Night, My Someone'/'76 Trombones', 'Pick-a-little,Talk-a-little/Good Night, Ladies' and 'Lida Rose', the duet between Shirley Jones (Marion the Librarian) and The Buffalo Bills, to name but a few. The movie was made almost 55 years ago, but because it's set in the '20's, it nonetheless holds up. It was dated back then, and it's dated now, which is why it still works. And a song like 'The Sadder But Wiser Girl for Me' must have been risqué back in the day, but the lyrics are clever, funny, and quite probably ahead of their time, for a family-oriented musical! Watching this movie is like a masterclass in stagecraft.

This is a problematic movie.It has a collection of fine performances, and one - Robert Preston's incarnation of Howard Hill - that is simply off the charts, it's so good.It has some very impressive dance numbers.The costumes and sets are Technicolor fun.But this is a musical, and the music, with the exception of two outstanding numbers - Seventy-Six Trombones, Till There Was You - is completely and immediately forgettable.The Marian the Librarian number is a good example of the problems this causes. It's wonderfully choreographed, but despite all that great dancing and energy, it never really takes off, because the music is so uninteresting.It's a shame, really, as there is so much talent in this movie.If you're lucky, the energy and talent will make you forget that there's no substance to the numbers. And the two good numbers are, indeed, wonderfully done. Shirley Jones does full honors to Till There was You, and Howard Preston is a lot bigger - and better - than life in Seventy-Six Trombones.So, enjoy it for what it's worth. I just wish it were worth more.