The movie is wonderful and true, an act of love in all its contradictions and complexity

The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Not without imperfections, but seeing 'The Unsinkable Molly Brown' in tribute to the now late Debbie Reynolds still filled me with a lot of happiness.Reynolds attacks her part with delicious gusto and energy, she sings like an angel and she dances with poise and brio. Subtle it isn't, but infectious? Yes, yes and a million times yes. Harve Presnell is a similarly splendid leading man, and the supporting cast sparkle, with the likes of Jack Kruschen, Ed Begley, Hermione Baddeley and Martita Hunt, Kruschen and Hunt especially revel in their characters with aplomb.Production values are similarly top-notch, especially the exquisite Colorado scenery and the handsome cinematography and lavish colour do it no disservices. The script sparkles with wit, the musical numbers are staged with brio and pathos, the story has fun, charm and poignancy and Charles Walters makes the most of the material.'The Unsinkable Molly Brown' is a little overlong however, with some of the second half dragging when the story gets thinner. Apart from Reynolds' exuberant rendition of "I Ain't Down Yet" the songs are not particularly memorable despite everyone's noble efforts in making them come alive.In conclusion, doesn't completely float but in way does it sink without a trace. 7/10 (mainly for the cast and the production values) Bethany Cox

Directed by Charles Walters with a screenplay by Helen Deutsch, who had earlier collaborated on Lili (1953), this Richard Morris play was made into a slightly above average Musical comedy starring Debbie Reynolds, who earned her only Oscar nomination (Best Actress) for playing the title role.It's a biographical account of a backwoods tomboy (who survived a flood as an infant!) whose woodsman husband, played by Harve Presnell, strikes it rich only to find, per her crude ways, she isn't accepted in Denver's snobbish old money high society. So, she and her husband venture to Europe where she becomes educated in food and fashion while becoming the toast of Paris, charming many with her uniquely boisterous Americanism.The Browns then return to Denver with several of the titled Royalty they'd met in tow. They host an hilarious, outlandish high society party of their own which, instead of prompting their acceptance, turns into a brawl! Molly later becomes famous for her spirit and feistiness when she survives the sinking of the Titanic!The film's Color Art Direction-Set Decoration, Cinematography, and Costume Design, as well as its Sound and Music Score, also received Oscar nominations. Unfortunately for producer Lawrence Weingarten, all of these categories were won by the Best Picture that year, My Fair Lady (1964).Ed Begley plays Molly's father, Audrey Christie the stuck-up neighbor; Jack Kruschen, Hermione Baddeley, and Hayden Rorke, among others, also appear. Most of the rest of the story revolves around the "on again, off again" relationship between Molly and her husband. Reynolds and Presnell sing all of the songs, the most memorable of which is Reynolds's "Belly Up to the Bar Boys" number, or the frequently reprised "I'll Never Say No".

Reynolds' character is too obnoxious "The Unsinkable Molly Brown" is a generally enjoyable film, though you need to understand that like most Hollywood films of yesterday, great liberties were taken with the facts. In other words, if you want a true account of the life of Molly Brown, you might want to look elsewhere.The film begins with Molly as a child. She is washed away by a flood, but being unsinkable, she manages to pull herself to safety. The story is set in Colorado, where she grew up a rough and tumble tom-boy. However, despite being VERY unladylike, she had a dream of one day living in a fine house, with a brass bed, a warm fireplace and all the niceties money can buy. When Mr. Brown falls for her, the rather mercenary Molly insists she won't marry any man who can't provide her with all these things....and he does. Soon (and only in a Hollywood film can it be THIS soon), Mr. Brown is very, very, very rich and his wife has many, many things....but she is still unhappy because she doesn't fit in with society. So, she sets off very determined to go off to Europe to refine herself and make friends with royalty. Well, she does....but somehow in the process she ends up losing what is really important--though in real life, no such realization and reconciliation ever actually occurred.The film is VERY bouncy and, at times, quite fun. Debbie Reynolds throws herself into the role and it's one of her best. As for poor Mr. Brown, Harve Presnell was GREAT. He really, really sang beautifully and it's sad he never really became a household name. And, the film is pretty good. However, there was one weakness that prevented the movie from being any better--the leading character was unbelievably selfish and hard to like--especially as the film progressed. Maybe this was just me--but that detracted a bit from the overall production. Still, it's worth seeing despite this.

The movie musical by this time was already breathing its last. Perhaps all genres go through a life cycle and eventually fade away, or so most observers believe. But I think there was a more fundamental shift at work, a shift in how we see film stories. Musicals demand that we enter a work that wavers between reality (in the story) and a stylized non-reality where a song-and-dance theatrical entertainment is presented. Since the 60s, we've been unwilling to shift realities without one of the explicit conventions that have evolved, some quite sophisticated.They tried something like one of these conventions by having an onstage "band" whenever Christmas and gang appeared.But there are other interesting things about this project. First, that it really is rooted in reality, more so than others of its ilk. At least Molly Brown did live, and her life was roughly as depicted. Second, there was another fold with reality: a celebrity scandal involving the "good" Debbie and the "bad" Liz, with Debbie fighting back (as a pudgy 32 year old).But there's another level that is lost today. The 60's in particular and the decades before as well were periods when the American social conscience was in a "populist" camp. Movies and books reflected this: the rich were either evil, or selfish, or blind or simply stupid while the real wisdom and joy and meaning of America was found in its "ordinary" people.Many were the dramas that reduced things as they are here: genuine but rough, simple people contrasted with the stodgy, sober unimaginative rich. That was before the American scene shifted. Most people now consider themselves middle class and don't mind being a bit pretentious consumption-wise. What was "simple" and "genuine" has been co-opted by their commercial abstractions in various worlds ("country" and "hiphop" for example).The model for "Molly" has now shifted to the explicitly dumb but well-intentioned and pure- hearted as in "Legally Blond."Once again, we have a Technicolor redheaded heroine. She's no Charisse and danced with a loping wide athletic stance that Gene Kelly would famously criticize. Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.