Movie Musicals

[Bruinsfan]

I know it suffered from not having particularly talented singers (aside from Christine Baranski, whose rendition of "Does Your Mother Know" I preferred to the original), but Mamma Mia! was still an enjoyable romp to me. I really liked what the movie did with "Dancing Queen," "Mamma Mia," and "Super Trooper." And the chase scene for "Take a Chance on Me" was funny enough that I didn't particularly mind how badly it was sung. (There's still no excuse for Brosnan on "SOS," though. I love him, but if that's an example of how the man sings he should never have been cast in a musical.)

[vibeology]

But a moviemaker feels above all that, the necessities of the form don't apply to him. And so we get Peter Bogdanovich making At Long Last Love (with after-the-fact protestations: "People don't understand! Cybill and Burt are deliberately bad -- it's cute!" yes, he really did). Woody Allen making Everyone Says I Love You. James L. Brooks making "I'll Do Anything" -- remember that one? It was so bad, they cut out all the songs before release and recut it as a straight drama. All of these jerks who think they want to make a musical without knowing anything about the form show only contempt for it and for their audience.

 

How sad is it when you look at the South Park Movie and think Trey and Matt had a better handle on the musical than any of those esteemed filmmakers listed above.

 

The biggest movie musical fail in recent memory for me is Les Miserables. I'm not talking about Russell Crowe either. (Though he was a poor choice.) Hooper was the real problem. Who takes the biggest musical in modern history, sourced from an epic novel and thinks "I need to make this smaller and more intimate. Realism is what this singing spectacular needs." The tone was wrong from the get go and it was really unenjoyable to watch one of the great musicals be ashamed of the singing and the music. I really hated it because while Les Mis is a serious and emotional story, it shouldn't feel small and the movie really did. Also, there are professionals doing eight shows a week. Singing a couple of takes live is not that impressive, especially when it sounds bad. And again, I'm not just talking about Russell.

[Rinaldo]

How sad is it when you look at the South Park Movie and think Trey and Matt had a better handle on the musical than any of those esteemed filmmakers listed above.

It's absolutely true, but I don't know that I find it sad. They seem to know their stuff when it comes to musicals, and have a love of the existing masterpieces. At the opposite pole from the ones I mentioned. Good for them, I say!

 

And yes, yes, yes to everything you said about the Les Mis movie. There have in fact been other instances of recording "live" on the set in the past, despite the PR that this was new and revolutionary. It was usually done for the benefit of actors too idiosyncratic or too unmusical to match their lipsynch (Rex Harrison in My Fair Lady, the whole cast of the aforementioned At Long Last Love). I'm not putting Hugh Jackman or Anne Hathaway in that category -- they're great musical stage performers. But the idea that we were supposed to fall over in admiration of this technique, and be willing to take mediocre vocal renditions as a tradeoff for "real" filming, is BS. As you say, stage performers deliver good performances 8 times a week. I shouldn't have to accept a lower standard on film. (Neil Patrick Harris is usually genial with his satire, but he was really scathing about this notion, the last time he hosted the Tonys.)

Edited October 9, 2014 by Rinaldo

[Mystery]

Tonight PBS is showing Seven Brides for Seven Brothers, which I pretty much hate (and I love musicals) other than the barn raising scene. I love the athleticism of that scene, and I always enjoy watching Jeff Richards hide in the background (though sadly that means that Julie Newmar, his "bride," also doesn't do a lot of dancing).  

[harrie]

Mystery, I've seen bits of Seven Brides/Brothers and also didn't like it, so I never realized Julie Newmar was in it.  I may have to check it out now -- Julie Newmar is kind of a girl crush for me and was my childhood idol as Catwoman --  and just grit my teeth when necessary.  But I'm curious -- does Jeff Richards hide because he's a lousy dancer or is it something in the plot?  

[BatmanBeatles]

 

But I'm curious -- does Jeff Richards hide because he's a lousy dancer or is it something in the plot?

The former. Which understandably pissed off Julie Newmar.

[harrie]

Thanks, BatmanBeatles.  That does suck - such a waste of her talent.

[Mystery]

Barn raising! Jeff Richards (a former baseball player) is lurking in the background in the orange shirt. 

 

I've read that he COULD sing. 

 

[Julia]

He sings some in The Opposite Sex, the musical remake of The Women (now, with added men). He played Buck Winston, the Countess' husband. 

[Spartan Girl]

In honor of Halloween ,is there any love for Sweeney Todd?  I know that Tim Burton's version wasn't exactly the same as the stage version, but I liked how he incorporated the feel of a gothic horror film.  All that blood though...yeesh.

 

Johnny Depp was great in the lead; his singing voice was awesome and he did a good job putting his own spin on Sweeney as this emotionally dead person.  The look on his face when Mrs. Lovett told him what happened to his wife was heartwrenching.

 

Speaking of whom, I might be in the minority that liked HBC as Mrs. Lovett.  Granted, after watching Emma Thompson in the recent Lincoln Center performance of the show, I think she would have been phenomenal, but HBC wasn't too bad.

[Rinaldo]

I have trouble calling Depp's singing voice awesome for Sweeney Todd, having seen/heard Len Cariou, George Hearn, Norm Lewis, Brian Stokes Mitchell, Thomas Allen, and Bryn Terfel in the role. And as for HBC, in a movie shouldn't we hope for more than "not too bad"?

 

Boy, I sound grumpy. In fact, I didn't really dislike the movie; it certainly had Tim Burton's point of view throughout, and was a distinctive experience. But it missed a lot of what I love in the stage show, and ended up feeling to me like an unequal trade-off. Others, I know (including Sondheim himself), think much more highly of it.

[Sharpie66]

I would love to see a movie version of Sondheim's Assassins, but I guess that is really too dark for Hollywood.

[Milburn Stone]

 Others, I know (including Sondheim himself), think much more highly of it.

 

I don't know about you, but it seems to me that Sondheim always thinks highly of every production of his work ever. At least on the record. Whether it be a movie eviscerating the original show or John Doyle making a travesty of it.

 

And I think the reason is that Sondheim wants his work to live. He's in his twilight years (we all hope he's around forever and gives us eighty-nine great new shows, but the odds are against it), he sees the writing on the wall for the Broadway musical itself as an art form, and he knows there are no guarantees anyone will know who Sondheim was fifty years from now. Any new production keeps his work alive for another generation. Who knows, some young person may see the film of Sweeney Todd or Into the Woods (imperfect as those films may be) and be inspired to stage a revelatory production in the year 2028. One thing's for sure. If there are no new productions of Sondheim, his work will die out. So when he says how great the new John Doyle desecration or Disney bowdlerization is, I think I understand why.

[cpcathy]

I like Sweeney Todd a lot, but then I realize it's because of the music, not because it's an exemplary film.  Johnny Depp was also really good, and I'm not normally a fan of his.

 

Speaking of Sondheim, where is a film production of Sunday in the Park with George? No love for this one?

Edited October 15, 2014 by cpcathy

[Rinaldo]

Speaking of Sondheim, where is a film production of Sunday in the Park with George? No love for this one?

Well, as far as the general populace is concerned... not much love, I fear. I adore it myself, saw the original production 4 times and half a dozen other productions since, but it was never made to be a commercial blockbuster. Also, it's so much about the theatrical experience of being present while the painting comes together; I can't see where that could be organic to a film. We're lucky to have the video preservation of the original production, and I'm content to stick with that and whatever new productions I'll still be able to see.

[cpcathy]

I thought maybe it was too cerebral for a film, as well.

[Sharpie66]

The Carnegie Hall tribute to Sondheim from the early 1990s is terrific--I was so glad that PBS recorded it for broadcast. When I listen to the CD of the concert, the final song, "Sunday," always ends up making me cry for some reason.

[Rick Kitchen]

My favorite part of the Burton Sweeney is the casting of an actual child in the Toby role.  Grown men in the role are too skeevy.  And Ed. Sanders actually could sing.  I loved "Nothing's Gonna Harm You."

[Julia]

I have trouble calling Depp's singing voice awesome for Sweeney Todd, having seen/heard Len Cariou, George Hearn, Norm Lewis, Brian Stokes Mitchell, Thomas Allen, and Bryn Terfel in the role. 

 

Bryn Terfel? Holy cow.

 

I'm jealous over pretty much all of those.

[GreekGeek]

In honor of Halloween ,is there any love for Sweeney Todd?  I know that Tim Burton's version wasn't exactly the same as the stage version, but I liked how he incorporated the feel of a gothic horror film.  All that blood though...yeesh.

 

I'm not a fan of the movie because of all the blood. I'd love to see Sweeney Todd on stage, because the music is great. And I want to see Broadway stars with trained voices, instead of Depp and Bonham Carter doing their "Victorian madman and madwoman" schtick again. I also like it that the stage puts a certain distance between the audience and horrifying goings-on. I don't want to see a screen King Lear with a graphic gouging out of Gloucester's eyes, either.

Edited October 15, 2014 by GreekGeek

[bosawks]

I like Sweeney Todd a lot, but then I realize it's because of the music, not because it's an exemplary film. Johnny Depp was also really good, and I'm not normally a fan of his.

Speaking of Sondheim, where is a film production of Sunday in the Park with George? No love for this one?

Love Sunday was lucky enough to see the revival twice. It actually has my favorite Sondheim line in the canon.

[Rinaldo]

Another thing that the stage Sweeney Todd does that may help the squeamish is to frame it with a prologue, a number of interludes, and an epilogue of "The Ballad of Sweeney Todd," setting it in a storytelling frame and putting it at one remove, as it were. The instrumental music is present at the start of the movie, but it's never sung (basically, all choral singing was eliminated).

 

@Julia , Bryn Terfel did the role with the NY Philharmonic this year, and it was telecast on PBS last month. (As a "Live from Lincoln Center" segment, which means there will never be a DVD.) He and Emma Thompson made quite a wonderful pair.

 

@ Rick Kitchen , I too like the reimagining of Toby as a boy in the movie; it works well, and as you say, the kid is very good. My only problem with it is that some subsequent stage directors of the show decide they want to make it "like the movie" (a frequent fault of unimaginative college and community directors, despite it violating the performing license) and cast a boy onstage too; it just doesn't work, the vocal and instrumental scoring doesn't allow for it.

 

On the other hand, "skeevy"? With all the horrifying things happening in this story, having a grown-up apprentice wouldn't be on my own list of icky elements. Still, chacun a son goût.

[aradia22]

 

 

Others, I know (including Sondheim himself), think much more highly of it.

I don't know about you, but it seems to me that Sondheim always thinks highly of every production of his work ever. At least on the record.

Yeah, I don't have the highest hopes for Into the Woods just because he's vouching for it. I'm not sure if it's about thinking his work is going to die but I think he likes knowing that people appreciate it. My issue is that it's all well and good for high schools and regional community theatres to do what they want but a movie has legs and it might put a stop to both remakes of that specific musical and future movie musicals in general. 

[Macbeth]

For me the last great Movie Musical was Cabaret - back when Hollywood still knew how to make musicals. 

 

Liza Minelli has been unfairly dinged in her portrayal in some quarters as she was much too good of a singer to be believable as as a 3rd rate performer who can only get a job in a Cabaret.  If she was as good as Liza - Hollywood would snap her up - as the argument goes.

 

Well duh.  That is why you have Liza on screen and not a 3rd rate singer.  And I am sure the director of a cabaret in real life doesn't have mad Fosse skills.

 

Les Mis was a screw up from top to bottom.  Hooper should have been fired when he admitted having the actors just star singing was weird for him and he wondered how the audience would adjust to such a strange transition.  Really???   Most of the movies these days have superheroes in them. 

 

The singers for Marius and Cosette sounded like they were recorded at speed 78.  Chipmunks.  (Full disclosure - I worship at Michael Ball's altar - so I doubt anyone would suffice for me.) 

 

Russell Crowe needed to be dubbed.  I liked the quality of his voice - but he had no power in his singing which is shocking given that we are talking about Russell Crowe.   I would say get another actor, but Crowe suits Javert to a T.

 

I love Hugh Jackman - but the pitch was too high for his voice.  You desperately need Hugh for this role - so you lower the pitch for him.  He is a baritone.  Just because Colm Wilkinson defined the role on stage is a tenor doesn't mean the role always has to have a tenor sing it. Stupid. Stupid. Stupid.

Edited October 27, 2014 by Macbeth

[Lonesome Rhodes]

Figured I'd just add a couple of things on a chilly morning as Winter advances.

 

Has there ever been a more joyful moment in film, let alone musicals, than "Shall we Dance" in The King and I?  The merging of a 19th century Western and Eastern couple just romping across the stage without stop?  Possibility.  Risk.  A bursting.  Just magnificent.

 

Another musical filled with profundity which I have come to cherish is Jesus Christ Superstar.   Call it a rock opera, but to me, that genre is a subset of "musical."

 

Anyway, when I first saw it, I was disappointed with the minimalist art direction and staging.  All I could think was "cheap."  There are a few gorgeous scenes, but I felt like the producer was trying to be avant garde with an ancient story and it just didn't work.   Load up the microbus and set off to preach looooove, baby!  Ugh. 

 

I've seen it dozens of times now and have come to appreciate the approach now.  Whatever you may think of Jesus' significance, his approach was as austere and basic as it gets.  He always eschewed any trappings of wealth.  The lives of most everyone in his time was just yuck.  All dust and heat and strife.  Get through the day was pretty much it.   What was average life expectancy?  35?  40?

 

The scene that really got me to flip is when he is being welcomed back to Jerusalem and the Pharisees are perched as so many crows (ravens) on the scaffolding.  The power and menace of the basso profundo "He is daaaaangeroussssssss."  is outrageous.  The stark art direction really helps the message hit home.  There is nothing distracting from it.  

 

I don't much care for ALW, but I have to give it to him - the man knows how to score music.

[Sharpie66]

I grew up watching JCS and Godspell on tv. Here in Chicago back in the 1970s and '80s, the ABC affiliate had the rights to Godspell, and the CBS affiliate had the rights to JCS. They always coordinated their broadcasts so that one would show their film on the Saturday night before Palm Sunday and the other would show their film on the Saturday night before Easter, both at 10:30 after the evening news. These were the only times my parents would let us stay up that late, even on a weekend night, so we could watch those movies, because they knew how much we loved them, and since this was before VCRs, this was the only time we ever got the chance to see them.

 

My sister and I listened to the movie soundtracks for both of those movies all year long, and we would argue over who got to sing Judas when we listened to JCS. We were thrilled when we found out that Lynne Thigpen (RIP :-( ) was a Joliet native, since that's our hometown, too. Her performance of "Bless the Lord" in Godspell is terrific!

[BatmanBeatles]

 

Les Mis was a screw up from top to bottom.

I didn't like Helena Bonham Carter in this one. Her character is supposed to sing "Master Of The House" loud and bawdy. She kind of whispered her part in the song.

[methodwriter85]

Russell Crowe needed to be dubbed.  I liked the quality of his voice - but he had no power in his singing which is shocking given that we are talking about Russell Crowe.   I would say get another actor, but Crowe suits Javert to a T.Russell Crowe needed to be dubbed.  I liked the quality of his voice - but he had no power in his singing which is shocking given that we are talking about Russell Crowe.   I would say get another actor, but Crowe suits Javert to a T.

 

 

       Hollywood used to dub singing voices without a second thought in musicals, but it's like Modern Hollywood doesn't want to anger the egos of their stars, so they let them sing like shit instead of getting a good singer to dub. The best example of this: Mama Mia. Seriously, Pierce Brosnan was just PAINFUL. And Dominic Cooper was hot to look at, but come on, he couldn't carry a single note.

 

      It's why I don't think a planned remake of West Side Story can work unless they can magically find someone who's famous, can pass for 17, can dance, can act, and has an operatic singing voice. That musical is just too challenging to be able to pull it off with mediocre singers and Autotune.

Edited October 27, 2014 by methodwriter85

[Bruinsfan]

       Hollywood used to dub singing voices without a second thought in musicals, but it's like Modern Hollywood doesn't want to anger the egos of their stars, so they let them sing like shit instead of getting a good singer to dub. The best example of this: Mama Mia. Seriously, Pierce Brosnan was just PAINFUL

You said it. Honestly, I'd have preferred them to dub him over with Marnie Nixon singing the part. (More realistically, couldn't they have had Meryl Streep clap a hand over his mouth after three words or so and finish the song herself? I wouldn't say she's a great singer or anything, but she didn't make me want to scream "WHY, GOD, WHY?!?" in the middle of the theater.)

Edited October 27, 2014 by Bruinsfan

[methodwriter85]

You said it. Honestly, I'd have preferred them to dub him over with Marnie Nixon singing the part. (More realistically, couldn't they have had Meryl Streep clap a hand over his mouth after three words or so and finish the song herself? I wouldn't say she's a great singer or anything, but she didn't make me want to scream "WHY, GOD, WHY?!?" in the middle of the theater.)

 

 

     French and Saunders did a very good parody of Mama Mia where they just skewered Pierce.

[aradia22]

 

Has there ever been a more joyful moment in film, let alone musicals, than "Shall we Dance" in The King and I?  The merging of a 19th century Western and Eastern couple just romping across the stage without stop?  Possibility.  Risk.  A bursting.  Just magnificent.

I think it's a lovely moment but there are definitely more joyful ones. For me, that's being let into someone else's moment whereas my big joyful moments are when actors play to camera and pull you into the scene.

 

Hollywood used to dub singing voices without a second thought in musicals, but it's like Modern Hollywood doesn't want to anger the egos of their stars, so they let them sing like shit instead of getting a good singer to dub.

I'm conflicted when it comes to dubbing. On the one hand, I want Broadway talent on the screen so I say, go get the people who can actually sing the score. But I know with big budget films they need to bring in an audience and a lot of that involves signing big name talent. Sadly now that Idina is a semi big name, she and Kristen are way too old for the proposed Wicked musical that keeps getting talked about. When it comes to old movies, I have three main examples. I had no problem with Deborah Kerr being dubbed in The King and I because I didn't realize she was dubbed. I can't watch West Side Story or My Fair Lady because the dubs in those movies are sooo obvious. So I guess dubs are only acceptable to me if you do a really good job. I don't want to constantly be aware that you're lip-syncing either because you're not doing a good job of lip-syncing or because the voice coming out of you sounds nothing like your voice.

[topanga]

 

I have trouble calling Depp's singing voice awesome for Sweeney Todd, having seen/heard Len Cariou, George Hearn, Norm Lewis, Brian Stokes Mitchell, Thomas Allen, and Bryn Terfel in the role.

This role made me dislike Johnny Depp. Not because he was terrible, but because I watched an interview with him before I actually saw the movie. He very arrogantly stated that he'd never taken a singing lesson in his life and did not consider himself a good singer, but he declined the studio's offer for voice lessons because he thought his "natural" voice was perfect as it was. Who the hell does he think he is? Even naturally talented singers take voice lessons to refine their voices, especially if they're singing unfamiliar songs.

[Sharpie66]

At least My Fair Lady has the excuse that Hepburn is singing to a completely different track in at least a couple of songs than the version that ended up on the soundtrack.

 

I agree that they should go back to dubbing an actor if they can't get the right blend of big name and good voice that's needed.

 

I think that Wicked could pull in a decent amount just from the size of the play's fanbase alone, if it was really well done.

[Julia]

On a Whatever happened to note: I just realized that Duckie's mom on NCIS was Nina Foch, the predatory american socialite from An American in Paris. This fills me with joy.

 

Just, you know, saying :)

[aradia22]

So I watched the Into the Woods trailer with singing in it. Meryl Streep's voice does sound very thin. However, even though she and Johnny Depp seem to be falling back on what's comfortable as far as comedy goes, it does kind of work. At least in the trailer. My big problem is that I don't see a lot of emotions in the actors' eyes or faces. If you want me to believe in the silly world, you have to believe in the silly world. Now obviously these are very short out of context clips but it bothers me that they were so flat for much of the trailer. I did think that Anna Kendrick and Emily Blunt and Chris Pine had some moments. But right now it feels a little stilted and emotionless. 

[Grace284]

So I watched the Into the Woods trailer with singing in it. Meryl Streep's voice does sound very thin. However, even though she and Johnny Depp seem to be falling back on what's comfortable as far as comedy goes, it does kind of work. At least in the trailer. My big problem is that I don't see a lot of emotions in the actors' eyes or faces. If you want me to believe in the silly world, you have to believe in the silly world. Now obviously these are very short out of context clips but it bothers me that they were so flat for much of the trailer. I did think that Anna Kendrick and Emily Blunt and Chris Pine had some moments. But right now it feels a little stilted and emotionless. 

 

I've listened to the soundtrack previews on itunes and aside from Meryl and Emily Blunt it was all a bit restrained, which I put down to the difference between film and stage but left me feeling unengaged. I was pleasantly surprised by how most of the actors sounded, although the kid who plays Jack has the worst diction in the world which you just can't get away with in a Sondheim musical. His parts in Your Fault were incomprehensible. 

[harrie]

I know it's not great, but I enjoyed a good chunk of Guys and Dolls this morning on TCM.  Unfortunately, I had to leave for work right when Sky and Sarah Brown get to Havana, which might be my favorite part (or anything Stubby Kaye does - it's a tossup). Jean Simmons sings "If I Were A Bell" kind of awfully, but I give her credit for trying.

[Athena]

I think Guys and Dolls has some of my favourite Marlon Brando moments.

[harrie]

I think Guys and Dolls has some of my favourite Marlon Brando moments.

 

He is very hot in that particular stage of his career.  (Just my flushed, sweaty-palmed opinion.)

[Grace284]

It's very difficult for me to watch Guys and Dolls now without hearing The Simpsons version of the lyrics in my head. Luke be a Jedi tonight!

[aradia22]

http://playbill.com/news/article/schedule-of-upcoming-movie-musical-adaptations-216487

 

I thought this article might wake up this thread a little. At the beginning is a list of the upcoming musicals that I'm sure we all know about.. Into the Woods, Annie, etc. but most of the list is made up of rumored musicals and projects that are always said to be in production in some way or another (e.g. Wicked). Which ones would you be most excited to see? Which ones do you think would transfer well to a movie adaptation? Which ideas need to be abandoned as soon as possible. Chime in with your thoughts!

[ancslove]

I really want a Joseph without Donny Osmond.  But I think the children's choir, which works on stage, could be awkward in a real movie.  I don't think the world needs a third South Pacific.  The last one with Glenn Close playing the young naive ingenue was bad enough, and I do have a soft spot for the original.  Digitize the original without the weird color filters, and rerelease that.  And the world will probably howl at remaking West Side Story.  We also do not need another Gypsy.  

 

Wicked and In the Heights would be cool, and maybe Spring Awakening.

[Sharpie66]

I saw a local non-Equity dinner-theatre production of Joseph that was really fun, had a male narrator, and no chorus at all, which was an excellent show.

 

And, no, please do NOT remake West Side Story!!

[BatmanBeatles]

I'm not really feeling "Annie".

[ancslove]

I saw a local non-Equity dinner-theatre production of Joseph that was really fun, had a male narrator, and no chorus at all, which was an excellent show.

 

I like the female narrator, simply because it's the only real female singing role in the show.  (Not counting Reuben's wife doing the Ahhs in One More Angel.)  But a male narrator could be cool.

 

How did the do the songs with no chorus?  Did they just cut out those parts, or reassign the lines to the ensemble cast.  

 

ETA:  Annie has its place.  I know a lot of people who are looking forward to the recasting, and at least it also looks like they're doing some interesting things to update the story.  Don't know if I'll see it in theater, though.  

Edited December 9, 2014 by ancslove

[Shades of Red]

Another musical filled with profundity which I have come to cherish is Jesus Christ Superstar.   Call it a rock opera, but to me, that genre is a subset of "musical."

 

One of the first "musicals" I ever watched.  I used to listen to the soundtrack on vinyl at the home of people I used to babysit for.   Do Godspell and Hair fall into the "rock opera" category too?

 

Not sure if it fits in but I really like All That Jazz.  The singing and dancing are amazing and I always laugh when Joe looks in the mirror after popping pills and eye drops and says "it's show time folks"!

 

I like cheesy musicals too - Burlesque, August Rush and Once fit into that category for me.  I have the soundtracks for all of those movies because I enjoy the music so much.  I liked Evita, but musicals were so out of date when that came out that it took me almost an hour of watching it in a theatre to figure out why no one was "talking" and everyone was singing. 

 

For me the "classic definition" of a musical is a play/movie/production that has the characters singing with very little spoken dialogue.  Have fun trying to find something like that these days.  As mentioned the definition is now pretty fluid and depends on a person's point of view vs something written in stone.

 

Oh and I despised Chicago and honestly wasn't too thrilled with Cabaret.  I tried to watch Cabaret and gave up after 45 minutes or so.

[ancslove]

Not all musicals are sung-through, even going way back.  Even Rodgers and Hammerstein's weren't, and they're pretty classic.  

[Schweedie]

I'm torn about West Side Story. I mean, the idea of an auto-tuned cast consisting of the current crop of younger actors, with Lea Michele or someone similar as Maria... No thanks. But at the same time I'd sort of like to see what a current adaption might look like!

 

I know the Johnny Depp/Helena Bonham-Carter/Tim Burton schtick has gotten old, but I still really enjoy Sweeney Todd. Granted, I've never seen it on stage so can't compare, but I think the film works surprisingly well on its own.

 

A show I'd really like to see made into a film is Next to Normal (if you're into theatre, youtube it - it's amazing). It is sung-through, but so is Les Mis and they made that work. I think they could do some interesting things with the main character's hallucinations, for instance, and if they got actors who could act and sing for real (by which I mean, stay away from Meryl Streep and Pierce Brosnan for this one) it could be fantastic.

 

ETA:

Another musical filled with profundity which I have come to cherish is Jesus Christ Superstar.   Call it a rock opera, but to me, that genre is a subset of "musical."
Anyway, when I first saw it, I was disappointed with the minimalist art direction and staging.  All I could think was "cheap."  There are a few gorgeous scenes, but I felt like the producer was trying to be avant garde with an ancient story and it just didn't work.   Load up the microbus and set off to preach looooove, baby!  Ugh.
I've seen it dozens of times now and have come to appreciate the approach now.

 

Completely. I thought it was ridiculous the first time I saw it, but I've come to love the campness of it. And rock operas are totally musicals, too.

Edited December 9, 2014 by Schweedie

[Rinaldo]

For me the "classic definition" of a musical is a play/movie/production that has the characters singing with very little spoken dialogue.  

Maybe I'm overly influenced by having just given my final exam in History of American Musicals, but... when has that ("very little spoken dialogue") ever been true?

[proserpina65]

I got a little confused there and thought you were talking about a John Waters version of West Side Story.  Which...now that I think about it might make me like WSS more.  (I'm not a fan.)

THAT I would pay money to see.