Paint Your Wagon (1969) Reviews

• Clint CAN sing. Movie is a hoot.

  MaKoch1998-12-18

  I once heard a critic state any movie where Clint Eastwood sings should be rated for violence. He must have never actually listened to this movie. Clint may not be the best voice in the cast but he is surely not the worst. As a young man he has a pleasant "everyman" kind of voice I ENJOY. And in addition to that this an outrageously funny and moving movie.

• A very silly but very fun movie

  Samus Aran2004-03-05

  (No spoilers herein). My friend sent me this movie wanting to know my comments on it, without telling me even a word of what it was about or what he thought of it. I went and checked out the entry on IMDB and was a touch confused why he was sending me a sort of musical half-western flick, being that neither of those categories would pop up at the top of either our lists. Needless to say, something about this movie surprised me -- I fully enjoyed watching it ! Right from the start the characters were interesting and the scenes quite absurdly funny. Some of the singing was truly awful (in a funny way), and other songs were actually very toe-tappingly catchy. There is a whole lot of physical humor in this movie, from the opening scene after they bury the guy, to the ending scenes with the bull. And holy crap the older man drinks a lot. I don't think I've ever seen a movie where a single character drinks so much hard alcohol ! Along with the numerous sexual jokes I certainly wouldn't recommend this movie for children. As the movie came to a conclusion, I found myself attached to the main characters and wanting to see more of their adventures. The plot had a very natural progression. As silly and ridiculous as it certainly was, the plot made a strange sort of sense. I rate the movie an 8 out of 10.

• "A Happily-Married ... Triple"

  stryker-52000-08-14

  Clint Eastwood and Lee Marvin - in a musical? Yes, and it works rather well. No expense was spared by Paramount in assembling the behind-camera talent. Lerner and Loewe's successful stage show was beefed up by Andre Previn's compositions and Nelson Riddle's arrangements, and a script by Paddy Chayefsky. If Clint and Lee aren't exactly Mario Lanza and Tito Gobbi, they are good enough. Clint sings timidly but tunefully ("I Talk To The Trees", "Gold Fever") and Marvin's growly "Wandering Star" was a big chart success back in 1969. The songs are strong, the lyrics clever and the choreography slick and busy. At two and three-quarter hours, the film is rather too long, but it contains plenty of interesting things, including some excellent comedy. No-Name Town is a rough and ready prospectors' settlement, one of many such ramshackle communities springing up during the California Gold Rush. Two very different men link up as partners and grow into inseperable friends. 'Pardner' (Eastwood) is a straight, solid farmer from the Mid West, while Ben Rumson (Marvin) is a hell-raising wildman from no place in particular. When a mormon auctions one of his wives (Elizabeth, played by Jean Seberg), Rumson buys her. Things get complicated when Pardner falls in love with Elizabeth, and she falls in love with .... er, both men. Added interest is provided by the arrival of a bunch of French whores and a party of rescued wagon-trainers (this last was drawn from a true story). Good things include a barnstorming performance from Marvin, radiating enormous personality and a real flair for comedy. His career flowered late, but he was at his best in the late sixties ("Point Blank", "Hell In The Pacific", and of course this one). Previn's musical interlude which introduces the Parson (Alan Dexter) is superb, leading into one of the film's best songs, "Here It Is". The comical discords of the musical passage are a joy in themselves, and they pave the way perfectly for the Parson, who is at odds with everybody. "Hand Me Down That Can Of Beans" is rendered by the Nitty Gritty Dirt Band, guesting in the movie. The boys obviously decided to stay on, because they crop up in various shots throughout the film. Mad Jack is played with manic zest and a peculiar British accent by Ray Walston, none other than TV's "My Favourite Martian". The interminable gag of the collapsing tunnels stand as a metaphor of the film's shortcomings - over-elaborate, and over-long.

• A Nicely Naturalistic Musical

  MOscarbradley2004-06-08

  Joshua Logan's screen version of "Paint your wagon" works a treat, perhaps because the original stage version is so little known and apparently has been given something of a make-over by screen writer Paddy Chayefsky. The fact that the leads (Lee Marvin, Clint Eastwood and Jean Seberg) can't sing matters not a jot; they perform with charisma, (even Seberg is less wan than usual) and bring a touch of realism to the proceedings, their songs seeming to evolve naturally from the action. Other singing duties are performed by the splendid Harve Presnell and a rousing, mostly male, chorus for this is a musical western of a more robust kind than "Seven Brides for Seven Brothers". It's plot, which concerns mining for gold, polygamy and the building of a town, fairly races along. Logan handles the whole thing with great aplomb and brings to it some nice, naturalistic touches sadly lacking from his earlier musicals, "South Pacific" and "Camelot". Most critics didn't warm to it, though and it remains largely under-valued.

• the cap on the timecapsule

  shipes_j2004-08-17

  paint your wagon is, in a lot of ways, the end of an era that I cherished the most (my teen years) the musicals were always there as a kid even though I didn't really like them in the fifties (except 7 brides) ....but there is something about the orchestration of those musical movies that sounded so similar....and true to its genre, paint your wagon's soundtrack had a timecapsuled, nostalgic feel reminiscent of those bygone days when musicals ruled.....the negative rap on this film is probably due to the timing of its release...the Vietnam war was hot and perhaps people couldn't accept its bawdy comedy and musical theme....even though it should have been a perfect escape type film...it is considered a major flop....like some others that took on an afterlife that superseded its theatrical run...word of mouth finds favor with the film in almost all venues....except some of the reviews I've read recently. I love the depth of the dialogue and the nitty gritty reality of the mindsets of those prospectors who took from life what they needed and created their own utopian world (or tried to)...and ironically were sad (inside)even though there was uproarious drinking and carousing...which characterizes man self destructive nature when left to himself to do as he pleases...not unlike ancient rome. lee marvin played the lead role so well...it was almost as if it had been written for him...even surpassing his clever coolness of a similar character "a #1" (emperor of the north...a film about the great depression hobos) in paint your wagon so much of man's delemia is characterized in dialogue about growing up, doing what feels good, and paying the price for such behavior later.....the grim reminder of man's struggle with his own self can best be shown in the scene with ben rumson as he takes an assessment of his life in a few brief words to holmbrook (the mediator)...."there are two kinds of people....them going somewhere and them going nowhere....I'm an exodus to nowhere....sometimes I get mighty homesick"....then you hear the profound lyrics to the song "born under a wander star" where even the most blessed place one can get will never be satisfying enough to make these kinds of folk want to stay. another heady piece is the scene with clint singing "gold fever" and how greed will turn people into a total different character from what they were before the fever hit.... this movie has a lot of heavy thoughts and depth even though it is a great comedy film...it's the reason it is my favorite movie of all times....really cool characters....outrageous comedy....mind provoking dialogue...and a nostalgic soundtrack that will take you back to the fifties.... as for the bad rap on lee marvins singing...just how great would those songs have come off if he had had an operatic baritone with perfect pitch?...in a word...fake.