Comparisons between the 1962 and 2003 versions of the Music Man are inevitable. And such comparisons are going to center on the different approaches that Robert Preston and Matthew Broderick used to create the character of Professor Harold Hill. While many critics have dismissed Matthew Broderick’s characterization, I believe that these critics have overlooked a significant interpretation of the Music Man. I like both versions of The Music Man, because they complement each other.
Robert Preston interpreted Harold Hill as a fast talking con man who doubled as a sort of Pied Piper. He would lead and the town people would follow right along. It is fun to watch, but also a little confusing. Here are all these stubborn, stiff-necked Iowa folk being gullibly conned left and right. One would think that the citizens of River City wouldn’t have agreed to the creation of a Boys Band unless there was something else going on.
On the other hand, Broderick’s Harold Hill is someone who can somehow appeal to a person’s innermost wants and dreams. He isn’t fast talking; instead he is able to get them to invoke their own dreams and wants, and he is able to do this because he is trying to realize his own frustrated dreams. In contrast to Preston, Broderick underplays Harold Hill and it works.
No where is this interpretation more evident than in the “Marian the Librarian” sequence. Preston’s Hill creates havoc in the library by behaving like a Pied Piper and everyone else is swept up in the process. Even Shirley Jones’ Marian is temporally swept away.
Broderick’s Hill mesmerizes Kristin Chenoweth’s Marian so that she invokes her dream in an unusual interlude in this number. It works because Broderick’s Hill isn’t trying to con her into something; he is trying to awaken her hopes and dreams.
The “Trouble in River City” sequence also highlights this different interpretation of Harold Hill. Robert Preston invokes the atmosphere of a Religious Revival, whereas Broderick jumps from place to place (the barber shop, the ladies hat shop, the street, etc) planting the idea into everyone’s head.
Once you understand this approach, then other things in the 2003 version of the Music Man make a lot of sense. Unlike the 1962 version where Marian changes her mind because Hill has made Winthrop happy with an instrument; the 2003 version Marian changes her mind because she understands that by realizing Winthop’s dreams her brother will come out of his shell. Moreover, in this context, Marian’s monologue of why she is glad Hill came to town, even though he is a swindler, makes more sense.
Having said all this, the 1962 version is more polished. The editing is crisp. The supporting cast is difficult to beat: Buddy Hackett, Hermonone Gingold, Paul Ford, Ron Howard, and even Mary Wicks!
But there are still some things about the 2003 version that I think are superior to the 1962 version. The 1962 version edited the “My White Knight” song, whereas Kristin Chenoweth gives us the full version. The dance sequences in the 1962 version are very tight and invoke a sort of Busby Berkeley production. I prefer the 2003 dance sequences because you actually get to see more of the feet, body, and arm movement that were sacrificed in the 1962 production. One last point, you can understand the lyrics in the 2003 version a lot better.
Professor Harold Hill has come to River City, Iowa, to get them to start a boys’ marching band. He claims he can teach the students to play; all the parents need to do is buy the instruments and uniforms. Only the mayor and Marian, the local librarian and piano teacher, seem at all suspicious of this fast talking smooth salesman. Can they find the proof they need to stop him from swindling the rest of the town? Will they want to?
I’m almost ashamed to say that this was my introduction to this classic American musical only because it took me this long to see it. I fell in love with it as soon as I saw it, however. Since I had nothing to compare it to, I thought it was wonderful. I have since seen the original film, and I can see differences. Matthew Broderick plans a toned down version of Harold Hill, but I find his charm more appealing as a selling point to the town’s people. Kristin Chenoweth shines as Marion. That woman can sing and brings real warmth to the roll. The rest of the cast is wonderful as well, especially Victor Garber as the mayor and Molly Shannon as his wife. Considering Victor Garber’s past musical experience, I was surprised at how small his part here really was, but he makes every appearance memorable. This version takes better advantage of the film format for some truly inventive, fun dance numbers, especially in “Seventy-six Trombones” and “Marian the Librarian.”
Those hoping for some nice bonus features on the DVD like I was will be disappointed. There is only a short (7 or 8 minute) documentary on the making of the film that barely scratches the surface and a special recording of Kristin Chenoweth singing “Till there was You.” The movie itself is presented in full frame, which makes sense considering it was made for TV. Picture quality and sound are top notch throughout the DVD.
So, which version is better? That’s really a hard call. Those raised with Robert Preston will probably find flaws with this version and reasons to like the original. I think I lean a little more toward this one, mainly for the dance numbers and favorites in the cast. Both are excellent, however, and capture the charm of this musical well.
