Entertainment Weekly's 25 Best Movie Musicals


Now, I don't consider EW the final word in musicals by any means, but I am always intrigued by the choices on lists like this. Who compiles them, what standards of movie musicals are we holding them to? In this case, a guy named Steve Daly whose a senior writer for EW. What that says about his musical taste, I don't know.

We'll start at 25 and work out way to 1. I'll post Steve's comments, and then my own, if I have any (yeah, right).

25. Once (2006)

Made for less than $200,000, this scruffy indie from writer-director John Carney redefines the musical form. It stars an actual musician — Glen Hansard, of the Irish rock band the Frames — as a fictional busker who falls for a quirky pianist (Marketa Irglova) on the streets of Dublin. They have a tortured romantic flirtation, and pour their hearts out to each other in mournful original tunes that feel utterly real because they're not played as musical fantasy. A must.

First of all, can we consider this a musical? Sure. It features diegetic music (refresher: music
that is produced by people or devices that are part of the story space of the film) sung by characters in the story to express themselves. I did like this movie, but didn't love it; I think I was distracted by other stuff when watching it. Would it be on my top 25 list? No.

24. Seven Brides for Seven Brothers (1954)

The star here is choreographer Michael Kidd, who turns the big barn-raising scene into something that's part dance sequence, part gymnastic contest, and part action spectacle: It starts out real neighborly, but degenerates into a brawl when the building teams start sabotaging each other. The rest of the movie gene-splices Snow White and the Seven Dwarfs with The Taming of the Shrew, as a frontier gal (Jane Powell) copes with making a home for her sexist-pig husband (Howard Keel) and six mangy siblings.

I adore this movie for so many reasons. The songs, choreography, names like 'Dorkis,' blatant sexism, and setting in backwoods Oregon. Who can say no to songs with titles like "Lament (Lonesome Polecat)" or "Bless Yore Beautiful Hide"? A fantastic ensemble musical featuring Russ Tamblyn as Gideon, the brother who steals your heart.

Favorite Scene: Barn Dance. (Who didn't see that coming?)

23. The Music Man (1962)

Robert Preston repeats his Broadway role as Professor Harold Hill, a swindler who organizes small-town kids' bands so he can steal their uniform and instrument money. Costar Shirley Jones has great chemistry with Preston, little Ronnie Howard lisps and mugs shamelessly, and composer Meredith Wilson gives his melodic all to ''Seventy-Six Trombones,'' ''Marian the Librarian,'' ''Till There Was You'' (later a hit for the Beatles) and lots more. Best corn you'll ever consume that's not popped.

Even though I grew up with this musical and therefore by default love it, how I could not like a musical featuring a librarian named Marian? Unfortunately I don't think I can classify myself as a "sadder but wiser" girl. Full of fun character names like Winthrop and Eulalie Mackechnie Shinn, dances called "Shipoopi" (any Family Guy fans?), and long overdue praise for states like Iowa and cities like Gary, Indiana; this movie musical is one-of-a-kind.

Favorite scene: Again, an obvious choice: "Marian the Librarian."

22. Gigi (1958)

Screenwriter-lyricist Alan Jay Lerner and composer Frederick Loewe basically cloned their stage hit My Fair Lady for this adaptation of French author Colette's 1945 novel about a teenage Parisian courtesan. It's got the same ugly-duckling-to-swan transformation for the leading lady (Leslie Caron), and the same half-sung 11th-hour epiphany for the confirmed-bachelor leading man (Louis Jordan). But thanks to director Vincente Minnelli, it feels original — and works better as cinema than George Cukor's film of Fair Lady does.

Growing up my sister and I hated this movie. Never wanted to see it. (Unlike Steve we loooooved My Fair Lady.) At the time we could hardly stomach Leslie Caron in An American in Paris (I don't think we ever watched it all the way through the ballet) much less in some 'French' film we didn't really understand. Was she a kid or a woman? Was her love interest attractive or not (let's just say he's no Omar)? I think the main reason was that it was too slow for our tastes. A few years ago when we were home alone it was on TCM, and we thought if nothing else we'd sit through it and make fun of it. But we loved it. Especially "I Remember it Well" the geriatric duet with Maurice Chevalier (French musical icon) and Hermione Gingold (Eulalie Mackechnie Shinn in The Music Man). When my parents came home my dad was mortified that we were watching Gigi, himself convinced of its terribleness and boredom-inducing pace. Maybe he's why we never watched it...

Favorite Scene: "I Remember it Well."

21. Beauty and the Beast (1991)

Still the only animated feature to be nominated for Best Picture, and one of the great love stories in any medium. It's the last full score that lyricist Howard Ashman completed with composer Alan Menken, and it's his finest hour: Witty, intensely emotional, and perfectly integrated with the story. Downside: The movie was such a hit (along with Ashman and Menken's The Little Mermaid) that Disney replicated the cartoon-musical formula till they wore the concept out.

While this is one of Disney's best, especially post-Walt, I didn't really like watching it as a kid. Too dark and scary for my tastes. Now I can appreciate it more, but still don't have to watch it all the time. If you're not into musicals (and if that's the case I congratulate you on even making it to #21) or if you love the story, be sure to check out Jean Cocteau's La Belle et la bete (1946). C'est Magnifique!

Favorite Scene: "Belle (Reprise)"

20. Funny Girl (1968)

Can you imagine today's pop machinery making a star out of someone as unusual looking as Barbra Streisand? She keeps this biopic of Fanny Brice, her movie debut, from becoming completely soggy in the second half, and takes her vowel-bending vocals to spine-tingling places in ''People'' and ''I'm the Greatest Star.'' Homage alert: The belting-out-on-a-tugboat shot that caps ''Don't Rain on My Parade'' shows up transposed to a garbage truck in Hairspray.

Steve: Marry me?

Favorite scene: Like no other, "My Man."

19. The Sound of Music (1965)

Its initial runs played in theaters for several years, it was so popular. Some of the more maudlin passages may make you wince — like ex-nun Maria (Julie Andrews) comforting adopted daughter Liesl, or Captain Von Trapp (Christopher Plummer) singing ''Edelweiss'' — but the Austrian scenery will beat you into submission, and the Rodgers & Hammerstein score will penetrate your noggin and remain there forever. The opening hillside shots haven't been topped, though they have been cribbed in Beauty and the Beast and Enchanted, among other places.

I've said my piece (and other peoples') about this movie before on this blog: here, here, here, and here. The musical may make its way into every third post I ever write. So I won't go on about it this time, but honestly, the Captain singing "Edelweiss" a "maudlin passage"? More like a piercing phoenix of emotion that wraps your heart in a flame of despair betwixt with national pride.

Favorite Scene: There are many, but right now I have to go with "Something Good."

The Busby Berkeley Disc (2006 compilation)

The trouble with all those old '30s movies with Berkeley production numbers is you have to sit through a lot of creaky, tedious exposition to get to the good parts. But this DVD roundup (sold as part of a Berkeley boxed set) gives you just about every sequence you need from 42nd Street, Gold Diggers of 1933 and 1935, Footlight Parade, and many others. Highlight: The expressionistic mini-epic ''Lullaby of Broadway,'' a sort of retro club-kid cautionary tale.

It is known far and wide among the movie musicals field that nobody makes musicals anymore like Busby Berkeley. Probably because nowadays they would break all kinds of health and safety codes. This is before CGI, and the man was able to create all kinds of optical treats using human bodies (usually half-naked female ones) and sequins. I actually have only seen clips of his films from That's Entertainment! (1974), but I ordered the aforementioned compilation through my library.

Favorite Scene: Tough call considering I'm only familiar with snippets, but my favorite clip was with the neon violins: "Shadow Waltz" from Gold Diggers of 1933. Very catchy waltz.

17. Chicago (2002)

There's not much left of Bob Fosse's original Broadway choreography, and not all the John Kander-Fred Ebb songs made it, either. But that's OK, since director Rob Marshall and screenwriter Bill Condon find ingenious ways to make the overtly stagy source material work as a mind's-eye musical fantasy on film. Dandy performances by Catherine Zeta-Jones, Renée Zellweger and John C. Reilly help elevate okay work by Richard Gere, and the cross-cutting only occasionally gets too busy. By and large, razzle-dazzling.

I completely and whole-heartedly agree with Steve. SO WHY IS IT #17? More like #25. A huge tragedy: Hugh Jackman was considered for the role of Billy Flynn. And they gave it to Richard Gere. Moment of silence, please. If only Richard could give us more than a moment. Perhaps the biggest tragedy:
When the film rights were originally bought by producer Martin Richards in the 1970s, Bob Fosse was to be involved with the film project, and Goldie Hawn, Liza Minnelli, and Frank Sinatra were announced as the stars; but Fosse's death in 1987 ended that attempt at a film version. Oh, what could have been... I honestly think Fosse's version would have been even better.

Favorite scene: Hard to choose. Do I pick a scene without 'I-haven't-eaten-since-Bridget-Jones'-Diary-wrapped' Rene Zellweger, or one without 'I-can't-keep-my-hands-to-myself-but-love-Tibet' Richard Gere? How about one with neither: "All that Jazz."

16. A Star is Born (1954)

Judy Garland's character, Vicki Lester, wins an Oscar for Best Actress, but Garland lost offscreen (to Grace Kelly for The Country Girl). Dopey vote, given Garland's powerhouse takes on ''The Man That Got Away'' and ''Born in a Trunk.'' She's also got a freaky ability to cry so hard onscreen she gets hiccups. The studio chopped half an hour, but a theatrical and video reissue put most of the scenes back (some as still-photo montages). If those are missing, you're watching a butchered version.

Once again, Grace Kelly ruins everyone's lives. The end.

Just kidding (about it being the end, that is). This movie is a re-make of a non-musical from 1937 that was then later re-made by Babs herself in 1976 (with different songs). Let me save you the time and energy: this version's the best. The story is another classic re-telling of an age-old musical plot:

Husband of star: "You're a bigger star than me!"

Wife: "But I love you just the same."

Husband: "I can't handle the fact that you make more money than me!"

Wife: "But I love you just same."

Husband: "It's either me or the stage!"

Wife: "That's kind of unfair. I love you both."

Husband: "I'm leaving you!"

Favorite scene: "The Man That Got Away." If you've seen P.S. I Love You, this is the song that Hilary Swank sings along with in her dead husband's boxers. Loves it.

15. Hairspray (2007)

Swathed in a fat suit, John Travolta looks like a startled hamster as early-'60s housewife Edna Turnblad. But his weird Baltimore accent works, and he plays Edna as an actual woman instead of the drag creature of John Waters' original 1988 film and the Broadway show (from which this is adapted). The Marc Shaiman-Scott Wittman score pays shrewd homage to period pop, even if it folds in some later-'60s sounds, and director Adam Shankman brings irresistible energy to the dancing.

Seriously? #15? If we were making a list of the top 100 best musical movies, this could easily make an appearance, but #15? Give me a break. I really enjoyed this movie and wouldn't mind owning it or watching it on a irregular basis. The dancing is full of energy as Steve said, and the score is memorable and well-sung. And you have to love the body image message, even if the film does employ a fat suit. But this one still isn't in the top 25.

Favorite scene: Santos performing the beginning of the show in a subway car on the show Ugly Betty. From the actual movie: "I Can Hear the Bells", because while it's not the best song in the line-up, it completely reminds me of my high school experience.

14. Grease (1978)

Who cares if the students at Rydell High look like they're already past graduate school? John Travolta doing a chicken dance to ''Summer Nights,'' Olivia Newton-John announcing she's an exchange student from Australia, Stockard Channing crowing ''Look at Me, I'm Sandra Dee'' with bad-girl panache, Frankie Avalon showing up for ''Beauty School Dropout'' — this is the stuff of repeat-playback heaven. Don't look for much 1950s rock-music flavoring, though: The title tune smacks of disco and the rest is show-tune pastiche.

You'll hear people complain about this one, and maybe you count yourself among said people, but don't try to tell me that when "Summer Nights" comes on the radio or at a sporting event/wedding reception/dance you don't also count yourself as either a Pink Lady or a T-bird and jump right in to how summer lovin' had you a blast or happened so fast. It's scary how young many of us were when we first saw this movie considering its adult themes and jokes, but in middle school I would definitely have the soundtrack in my walk-man during family vacations and pump my arm up and down during "Greased Lightning" (oblivious of course to the songs meaning/metaphor). But jokes aside, the movie's plot has a great moral lesson for young girls:

John Travolta: "I like you, but you're not cool enough."

Olivia Newton-John: "What if I dress like a slut?"

John Travolta: " Now that you're not who you are, I can love you for who I wanted you to be."

Also, did anyone else think that Rydell High was what high school was going to be like? I mean, I knew we wouldn't all break into song at once on repeated occasions (a harsh reality that took me years to face), but we'd go together like rama lama lama and that we'd go to drive-in movies and/or stage fatal car races? Anybody? Oh, and this movie is decidedly better than Grease 2 (1982).

Favorite scene: As an adult, I think you have to love Rizzo more than Sandy. Plus she's got the best song in the bunch, "There Are Worse Things I Could Do." As a kid, there's no replacing "You're the One that I Want." Even now it gives me chills! (Though notice how his eyes keep moving all over her body. Don't worry, that doesn't send any kind of message to you as a young girl.)

13. On the Town (1949)

Three randy sailors (Gene Kelly, Frank Sinatra, and Jules Munshin) have 24 hours to find love in New York City. Producer Arthur Freed chopped out much of the original Broadway score by Leonard Bernstein and Comden & Green. (Too sophisticated, and too raunchy.) But what remains of it — buoyed by the leggy dancing of Ann Miller and Vera-Ellen, and a hilarious turn by horse-faced Alice Pearce as a loser named Lucy Schmeeler — is, as a Brooklynite might put it, ''cherce.''

This is more like it! Now we've got a real classic. The first musical to be shot on location, this is Stanley Donen and Gene Kelly's baby. According to, the crew tried to keep the filming as low key as possible, even from the back of a station wagon. Featuring so many of my favorite triple threats: Frank Sinatra (more like a double threat...but they definitely make up for his lack of dancing), Jules Munshin, Betty Garrett, Ann Miller, and Vera-Ellen.

Favorite scene: Do I have to choose? If so, "New York, New York" so you can see all that great on-locationism.

12. Swing Time (1936)

The lightest, sweetest outing for Fred Astaire and Ginger Rogers. Lots of folks say the pinnacle is 1935's Top Hat, with a score by Irving Berlin, rather than this outing, with songs by Jerome Kern and Dorothy Fields. But Swing Time deserves the edge for the passionate romantic longing on display in ''Never Gonna Dance.'' It's enough to make your loins ache. Dancing with the Stars? Amateur night by comparison — a joke. This is dancing with starlight itself.

Touche, Steve, touche. This isn't my favorite Astaire-Rogers pairing, as I'm partial to their last: The Barkleys of Broadway (1949). But my grandparents always showed me their films and it never gets old watching these two.

Favorite Scene: "Pick Yourself Up."

11. An American in Paris (1951)

There's a lot of romantic twaddle involving Gene Kelly and Leslie Caron before you get to the climactic 18-minute ballet, but wow — the finale is an unparalleled rhapsody in Technicolor. Set to George Gershwin's instrumental music, it depicts a fantasy Paris rendered in the styles of great French painters (Utrillo, Lautrec, Renoir, among others), and stands as the most dynamic fusion of ballet and cinema that anybody's come up with yet. Another from Vincente Minnelli, whose name we'll soon see on this list again.

The romantic twaddle is great too, Steve! But he's right, the real masterpiece is the ballet. Here we have Gene Kelly, who completely owns the 'every-man hoofer' in his roles as a sailor or solider, but for this film he envisioned, choreographed, and performed an entire ballet. He cast a complete nobody (Leslie Caron) as his leading lady, and she went on to star in Gigi, Lili (1953), and Daddy Long Legs (1955) with Fred Astaire! There are several memorable moments in this film, "Our Love is Here to Stay" along the banks of the Seine , dancing and singing on top of Oscar Levant's piano in "Tra La La"...OK, I've decided to stop and will just have devote a whole post to this movie.

Favorite scene: I have to go with the hottest thing I think I've seen in a golden age musical; the fountain dance portion of the ballet. Listen for the horn at 00:13. It's the sound of desire!

10. Love Me Tonight (1932)

You won't believe how frisky the pre-Production-Code banter is between Maurice Chevalier and Jeanette MacDonald in this delightful fable about a tailor who falls in love with a haughty princess. Richard Rodgers and Lorenz Hart wrote the songs, and director Rouben Mamoulian finds ingenious ways to use them — especially in a segment that follows ''Isn't It Romantic?'' as it's passed along from a taxicab to a train to a marching regiment of soldiers, the orchestration shifting with each dissolve.

You're right, Steve. I won't believe how frisky Maurice is because I've never seen it. But I ordered it from my library!

Favorite scene: let's go with Steve's, "Isn't it Romantic?" (a song I love in Sabrina).

9. Meet Me in St. Louis (1944)

Even if you hate people breaking into song, you've got to admire how gracefully director Vincente Minnelli handles the trick in this nostalgic portrait of a turn-of-the-century family. ''The Boy Next Door,'' delivered by Judy Garland on a sunny porch in midsummer, feels completely natural, as does her rendition of the downbeat ''Have Yourself a Merry Little Christmas'' in a darkened bedroom late on Christmas Eve. Pure high-fructose eye and ear candy, with a bittersweet kick.

This film also deserves its own post. America continued its love affair Judy as the ultimate girl-next-door. I have an especially strong attachment to this musical right now as it's about a family preparing to move from their beloved hometown to a foreign city and home. Unfortunately their happy ending will not be my own. Unless I win the lottery and can buy my parent's house before someone else does.

Favorite scene: "The Trolley Song", hands down.

There's no reason why this should be on the list, Steve. We had such a good thing going. You hurt my heart.

7. A Hard Day's Night (1964)

A black-and-white farce spun out of a pop band's latest album? It shouldn't have worked. But screenwriter Alun Owen turns the Beatles into the most anarchic comedy quartet this side of the Marx Brothers, and director Richard Lester wraps it all in shaky, hand-held shots that perfectly match the brash humor. As ''the boys'' scramble from gig to gig, they roll out more great tunes than most modern popsters do in their entire careers. Behold their fecundity and marvel.

I don't think I really loved the Beatles until I saw this movie. They're hilarious, mischievous, and oh-so-talented. But as entertaining and iconic as this movie is, it's definitely not the 7th best musical movie ever made. Come on, Steve! Redeem yourself!

Favorite Scene: Peter Sellers doing Laurence Olivier doing "A Hard Day's Night." From the movie? "Can't Buy Me Love."

6. The Band Wagon (1953)

In which screenwriters Comden and Green and director Vincente Minnelli send up the New York theater world. Meet Jeffrey Cordova (Jack Buchanan), a pompous windbag of a director-producer-actor who convinces a washed-up movie hoofer (Fred Astaire) to star in a musical Broadway version of Faust. It bombs, then becomes an old-school revue. Peak scene: Astaire glides through Central Park with Cyd Charisse to the strains of ''Dancing in the Dark.'' Patently fake set, sublimely convincing star chemistry.

This is the first one on here to feature Cyd Charisse, which is surprising. She's 87, and has starred in multiple films; usually as oh, you know, Fred Astaire or Gene Kelly's dance partner. She's not the best actress ever, but I totally buy the love story and fortunately they don't ask her to sing too much. The score is one classic after another: "By Myself", "That's Entertainment!", "Dancing in the Dark", "I Love Louisa", and the sublimely subtle "I'll Guess I'll Have to Change My Plans."

Favorite Scene: "Shine on Your Shoe" at 03:53 (but you should watch the first part to appreciate it).

5. Mary Poppins (1964)

Okay, so Dick Van Dyke mangles his cockney accent. He's still magic as Bert, a chimney sweep in 1910 London infatuated with nanny Poppins (Julie Andrews, in her Oscar-winning movie debut). What makes the treacly lilt of tunes like ''Jolly Holiday'' and ''Supercalifragilisticexpialidocious'' work so well? The sexy subtext of Bert and Mary's romantic fling. And dig the swipes at English imperialism, as in a fantastical cartoon scene where Bert and Mary rescue a bedraggled Irish fox from stuffy British hunters. Cheeky!

Mary Poppins is weird, but she's definitely one of a kind. This movie IS full of magic, even the scenes that mix animation and live action (but Gene Kelly did it first in Anchors Aweigh). You know what else is full of? Freaky old men who try to steal your money, and probably-nice but still freaky old women who feed birds, tuppence a bag.

Favorite Scene: The Mary Poppins Horror trailer. From the movie? "Sister Suffragette", of course!

4. Cabaret (1972)

A truly adult movie musical — yet rated PG! — charting the ''divine decadence'' of 1930s Berlin as the Nazis come to power. A kinky M.C. (Joel Grey) is your host, along with delusional fag-hag chanteuse Sally Bowles (winningly played by future tabloid staple Liza Minnelli). Bob Fosse's direction copped him an Oscar, and the smash-and-grab editing helped usher in modern music videos. The songs, by John Kander and Fred Ebb, never wear out their Wilkommens.

I've blogged about Cabaret before, here and here. It's almost perfect. "Doesn't my body drive you wild with desire?"

Favorite scene: Because "Wilkommen" wasn't available and the Liza solos are a no-brainer, here's the perfectly paired Joel Grey and Ms. Minnelli in "Money."

3. Singin' in the Rain (1952)

A happy mix of pitch-perfect elements, attached to a sendup of early talking pictures: Songs by Nacio Herb Brown and Arthur Freed; a zinger-laden script by Betty Comden and Adolph Green; peerless high comedy from Jean Hagen as a silent-screen star cursed with a hard-as-nails voice; abundant charm from Debbie Reynolds as a feisty ingénue; agreeable hamming by Gene Kelly as a vain actor; and sidekick Donald O'Connor doing extreme backflips. Nimbly codirected by Kelly and Stanley Donen.

This one really has it all: sweet love songs, show-stopping dance numbers, a rags-to-riches/the proud-are-humbled story-line, humourous montages and hi-jinxes, and a send-'em-all-to-hell dream sequence! I took a film class in high school where we watched one film together from each genre we studied. Our teacher chose this one, and won the whole class over. It was so satisfying for me to listen to my classmates--almost all who claimed to dislike musicals--cracking up at The Dueling Cavalier's technical difficulties.

Favorite scene: All, all, all of them. But if you're looking to be impressed, check out the veil dance with Cyd and Gene. So dramatic!

2. West Side Story (1961)

Natalie Wood doesn't make the most believable Puerto Rican Juliet to Richard Beymer's pretty-American-boy Romeo. But choreographer and codirector Jerome Robbins injects the opening gang-warfare finger-snapping ballet and other big numbers with so much energy, it carries the whole thing along. Genius scene: The edgy, angsty, jazzy setpiece ''Cool,'' which feels like a nihilistic '50s teen-rebel movie on drugs. Kudos to composer Leonard Bernstein and lyricist Stephen Sondheim for the most sophisticated score ever to go mainstream.

Also worthy of its own post, West Side Story is a musical for the ages. Winner of best picture, it's obvious that all the best were at work here: Bernstein, Robbins, Sondheim, and in this case, the supporting cast bombast of talent that is Russ Tamblyn, George Chakiris, and Rita Moreno.

Favorite scene: "America" especially the key change (?) at 01:24. And the dancing, oh the dancing.

Drumroll, please....

1. The Wizard of Oz (1939)

Who'd pine for drab, dusty Kansas after visiting fab, glamorous Emerald City? Homebody Dorothy Gale, that's who — and it's a testament to Judy Garland's hyper-emotional acting that you believe the kid really does want out. Entire books have extolled Oz's splendors, but here we'll just cite the eternally charming songs of Harold Arlen and E.Y. Harburg (anchored by the bathetic, Oscar-winning ''Over the Rainbow'') and the endlessly rich background score by Herbert Stothart (another Oscar).

This is one of the greatest films ever made, but it's not my #1. Judy Garland stole everyone's hearts with this one, though I'm sad Ray Bolger didn't get half as much fame as she did from his role as the Scarecrow. They worked together again in Harvey Girls (1946), where he has a lot less make-up on. Anywho, this movie was scary too, fulls of storms, being lost, opium, flying monkeys, witches, talking trees, large marching guards with staffs, and an authority figure you weren't %100 sure you could trust. But it holds a place in my heart since I myself played Glinda in my elementary school production. A safe choice, Steve, but a good one.

Favorite scene: Perhaps the best known song in America, "Somewhere Over the Rainbow."

If you stayed with me thorough all 25, you amaze me. I was aghast at the absence of The King and I (1956), Carousel (1956), Oklahoma! (1955), Oliver! (1968), Moulin Rouge (2001), Les parapluies de Cherbourg (1964), The Pajama Game (1957), White Christmas (1954), High Society (1956), Holiday Inn (1942), My Fair Lady (1964), All That Jazz (1979), Victor/Victoria (1982), Thoroughly Modern Millie (1967), Hello Dolly! (1969), Kiss Me Kate (1953), Showboat (1936 or 1951), Anything Goes (1936), Pal Joey (1957), Guys and Dolls (1955), Jesus Christ Superstar (1973), Hair (1979), Going My Way (1944), Evita (1996), Annie Get Your Gun (1950), Easter Parade (1948), Funny Face (1957), The Jazz Singer (1927), Anchors Aweigh (1945), Fiddler on the Roof (1971), The Pirate (1948), South Pacific (1958), Finian's Rainbow (1968), Sweet Charity (1969), Summer Stock (1950), Cabin the Sky (1943), Brigadoon (1954), Gypsy (1962), Camelot (1967), Royal Wedding (1951), Godspell (1973) and more. Ok, maybe not aghast for some of those, but they would be on some people's lists. What would be on your list that didn't make it here?


StoryGuy said...

Good morning!

I enjoyed your comments! (My wife and I joke about the fact that I like musicals!!! But I do... generally - I was dragged into them kicking and screaming - and then had to admit I liked them!)

I totally agree, how could they leave White Christmas, and especially Holiday Inn off the list???

I think part of the problem with some of the ones you missed is that while they were good, maybe great, musicals, they weren't as successful as movies.

I haven't seen all of the movies listed, but of the ones I have... Hard Day's Night may be my favorite. And I think The Music Man has a magic about it no other movie has.

Ha! Just by complete and total coincidence I am listening to My Fair Lady as I write this!!!

Maryann said...

That's true, I wonder if commercial success was a factor (which would possibly explain the Hairspray and terribly placed #8). But yeah, xero Bing Crosby???

Chelsea Lee said...

maryann my love. i did one incredible thing after reading this post: i fwd. it to my uncle jorge who writes and produces off-broadway plays. i could not sit by and let your love of the stage be consigned to this blog. hopefully my uncle will see what i see, a woman who was meant for broadway. who knows this time next year you could be living in new york, working on his next project.

Maryann said...

Chelsea! I don't deserve such a gesture or such a friend! I'm honored!

Allie said...

I think I will endeavor to write my own list.
And PS: I have an enormous hatred for Grace Kelly. She's an untalented biotch.

Maryann said...

HO-MY-GOSH, Allie! Thank YOU!

What is the deal with Grace Kelly? She's a toothpick with jaws. She's whiny and acts dumb, but not in an endearing way like Marilyn Monroe. So overrated.