Congressional Musical Film

Salutations to you. I'm an enormous admirer of 1776. A dreamrole is one of the musical's characters. The 1969 and 1997 recordings are treasured by yours-truly. Naturally, I'm admiring of the 1972 film's director's-cut.

Onna White's choreography is skillfully applied to the musical numbers and precisionous. There's canny arranging and instrumentals of Sherman Edward's melodous, elevating, varying score. I extend a shoutout to the film's lighting. The musical's overture is set to an opening titles sequence of righteousness. There's period makeup, props and hair. The detailing of Patricia Zipprodt's costuming is kudosable. The scenery inspires awes. There's choicely cinematography. Peter H. Hunt acefully translated his stage directions to celluloid and accentuated the actions.

The film's ensemble cast is an advantage. Casting-wise, I admit that Jack L. Warner (the film's producer) atoned. There are dexterous horses. Stephen Nathan's sorrowful as The Courier. John Myers, Charles Rule, Howard Caine, James Noble, Mark Montgomery and Rex Robbins had memorability. Blythe Danner performs winsomely as Martha Jefferson, Ken Howard acts withdrawn as Thomas Jefferson. Ray Middleton was clement and blustering as Col. Thomas McKeon. William Hansen has immense gravitas as Caesar Rodney. Patrick Hines possessed numerous notes as Samuel Chase.

Donald Madden was vehement and dimensional as John Dickenson (shame his grandest scene was initially 86ed). Emory Bass is sycophantic & eventually dignified as Judge James Wilson. Roy Poole's boozing Stephen Hopkins is engagingly codgering. As Richard Henry Lee, the diverting Ron Holgate was exuberantly bouncy. John Cullum (a posterity-preserved replacement) is unbelievably smug and frightful as Edward Rutledge. David Ford's nettled John Hancock and Ralston Hill's prim Charles Thomson are foremost. The regal Jonathan Moore acted marvelously as Dr. Lyman Hall. William Duell, Andrew McNair, was a diligent, especial character actor. The radiant Virginia Vestoff thoroughly enchanted as Abigail Adams! She beguiled. Howard Da Silva's Benjamin Franklin is sardonic, bubbling, sagely and performed echtly. William Daniels, our fab lead, is commanding, impeccable and committed as John Adams.

Though it isn't everybody's mug of rum, I maintain a liking for the film's moderate pacing. Pete Stone adapted American history into a story that's sturdy. Sheman's songs are snugged into Stone's script. It's informing and contains historical quotations. There's running-gags and catchphrases. Edward's musical numbers are elevating to Pete's material. There is unromanticisation of the story and characters. There's stellarly written dialogue. Obviously, the denouement enthralls. Because of Sheman Edwards, 1776 is an atypical musical movie. He, Hunt and Stone collaborated nicely. Minus the film's occasionally finnicky editing, it's an effectively crafted film. It was made for me.