Year of Release: 1962
Director: Jose Ferrer
Genre: Comedy, Drama, Musical
Synopsis: A Texas farm family make the trek to the Dallas State Fair, where the son and daughter seek romance, with differing results.
Within a film history context: Many musicals with scores composed by Rodgers and Hammerstein, the majority originating as theatrical productions, were showcased to cinema audiences from the 1940s to the 1960s. In 1955 the first of their productions was adapted into a film, being Fred Zinnemann's OKLAHOMA! In 1956 two more Rodgers and Hammerstein theatrical shows arrived on screen, with Henry King's CAROUSEL and Walter Lang's THE KING AND I successfully released. These were followed by Joshua Logan's SOUTH PACFIC in 1958, another box office hit for the team. Henry Koster's FLOWER DRUM SONG was their next film adaptation in 1961, followed by one of their most successful films, Robert Wise's THE SOUND OF MUSIC (1965). Not only a box office sensation at the time of its release, it has also ranked as one of the highest-grossing films ever.
STATE FAIR was different from these films as it did not originate as a Rodgers and Hammerstein production. In its first incarnation in 1933, it was a non-musical film about a farm family venturing out to the Iowa State Fair, slightly changed to Texas in the 1962 version. The 1945 edition of STATE FAIR was the first to include Rodgers and Hammerstein music, the characters again visiting the Iowa State Fair. The 1962 film also featured the Rogers and Hammerstein tunes from 1945, with some new songs composed for the film. The STATE FAIR of 1962 was not a box-office success, and is notable as the final film version of the Frake family story. The changing winds of audiences and the world itself may have contributed to its lack of box-office clout, but musicals themselves were not as popular as they once were in decades such as the 1930s, 1940s and 1950s, but only in exceptional circumstances such as THE SOUND OF MUSIC.
Within a film history context: Many musicals with scores composed by Rodgers and Hammerstein, the majority originating as theatrical productions, were showcased to cinema audiences from the 1940s to the 1960s. In 1955 the first of their productions was adapted into a film, being Fred Zinnemann's OKLAHOMA! In 1956 two more Rodgers and Hammerstein theatrical shows arrived on screen, with Henry King's CAROUSEL and Walter Lang's THE KING AND I successfully released. These were followed by Joshua Logan's SOUTH PACFIC in 1958, another box office hit for the team. Henry Koster's FLOWER DRUM SONG was their next film adaptation in 1961, followed by one of their most successful films, Robert Wise's THE SOUND OF MUSIC (1965). Not only a box office sensation at the time of its release, it has also ranked as one of the highest-grossing films ever.
STATE FAIR was different from these films as it did not originate as a Rodgers and Hammerstein production. In its first incarnation in 1933, it was a non-musical film about a farm family venturing out to the Iowa State Fair, slightly changed to Texas in the 1962 version. The 1945 edition of STATE FAIR was the first to include Rodgers and Hammerstein music, the characters again visiting the Iowa State Fair. The 1962 film also featured the Rogers and Hammerstein tunes from 1945, with some new songs composed for the film. The STATE FAIR of 1962 was not a box-office success, and is notable as the final film version of the Frake family story. The changing winds of audiences and the world itself may have contributed to its lack of box-office clout, but musicals themselves were not as popular as they once were in decades such as the 1930s, 1940s and 1950s, but only in exceptional circumstances such as THE SOUND OF MUSIC.
Overview: Jose Ferrer was an actor who branched out into directing, with seven features to his credit. Beginning with THE SHRIKE (1957) he also helmed such varied films as I ACCUSE! (1958), THE HIGH COST OF LIVING (1958), and, RETURN TO PEYTON PLACE (1961) the sequel to Mark Robson's successful small town drama PEYTON PLACE (1957). STATE FAIR was Mr Ferrer's cinematic directorial swan song, and his sole musical. A remake of the 1945 version of STATE FAIR directed by Walter Lang, Mr Ferrer's vision of the film is an energetic, entertaining musical, if lacking some of the gentle charm of the 1945 movie.
The updated mentalities and sensibilities of the 1962 version do make some of the characters a little more rough-hewn than the 1945 film, but possibly this was to be expected at this time of boundary-pushing in 1960s cinema. There are some parts of the movie that do not work well, such as the romance of Margy and Jerry, which pales in comparison to Emily and Wayne's story. This does slow down the movie, but a greater concentration on Ann-Margret and Pat Boone would have strengthened STATE FAIR considerably. While a watchable motion picture, the 1962 STATE FAIR is the lesser of the three films, the 1945 version standing out as the most even in all aspects.
The updated mentalities and sensibilities of the 1962 version do make some of the characters a little more rough-hewn than the 1945 film, but possibly this was to be expected at this time of boundary-pushing in 1960s cinema. There are some parts of the movie that do not work well, such as the romance of Margy and Jerry, which pales in comparison to Emily and Wayne's story. This does slow down the movie, but a greater concentration on Ann-Margret and Pat Boone would have strengthened STATE FAIR considerably. While a watchable motion picture, the 1962 STATE FAIR is the lesser of the three films, the 1945 version standing out as the most even in all aspects.
Acting: The performances in this film are mostly above-average, with four actors standing out for their contributions. Alice Faye does well as the Frake family matriarch Melissa, wife of farmer Tom Ewell, and mother of Pat Boone and Pamela Tiffin in STATE FAIR. Her sense of comic timing, especially with Tom Ewell, and dead-pan, world-weary but warm dialogue delivery works, making her a realistic character. She is well-matched with Tom Ewell's Abel, and they actually seem like a married couple who could be in the predicament they are. Mr Ewell's quietly buoyant and practical nature contrasts with Alice Faye's more ironic character, giving them a dynamic which works onscreen.
Ann-Margret and Pat Boone are also a great combination in the film, looking good together physically but with a nice chemistry. Ann-Margret performs her dance routines with gusto, aided by attractive backgrounds and costumes that are suitable to what is being presented onscreen. Pat Boone portrays his character Wayne with a great mix of wholesomeness, devil-may-care, and, a subtle sensuality in his scenes with Ann-Margret. Their dramatic scenes together give their relationship a credence and a palpable, tragic undertone despite the film's overall glossiness and upbeat nature.
While Pamela Tiffin and Bobby Darin perform acceptably in their roles as Margy and Jerry, in comparison to Ann-Margret and Pat Boone, unfortunately come up as being slightly dull, their romance never catching fire. This may have had to do with the material not being compelling for the actors, but their performances are largely overshadowed by the other players. When held up to compare to the 1945 version with Jeanne Crain and Dana Andrews, the romance of Margy and Jerry lacks the poignancy of the earlier movie.
Ann-Margret and Pat Boone are also a great combination in the film, looking good together physically but with a nice chemistry. Ann-Margret performs her dance routines with gusto, aided by attractive backgrounds and costumes that are suitable to what is being presented onscreen. Pat Boone portrays his character Wayne with a great mix of wholesomeness, devil-may-care, and, a subtle sensuality in his scenes with Ann-Margret. Their dramatic scenes together give their relationship a credence and a palpable, tragic undertone despite the film's overall glossiness and upbeat nature.
While Pamela Tiffin and Bobby Darin perform acceptably in their roles as Margy and Jerry, in comparison to Ann-Margret and Pat Boone, unfortunately come up as being slightly dull, their romance never catching fire. This may have had to do with the material not being compelling for the actors, but their performances are largely overshadowed by the other players. When held up to compare to the 1945 version with Jeanne Crain and Dana Andrews, the romance of Margy and Jerry lacks the poignancy of the earlier movie.
Soundtrack: The songs are quite good in STATE FAIR, ably performed, and easy on the ears. The best of these is Ann-Margret and Pat Boone's version of "It's A Grand Night For Singing", with both actors in fine form.
Mise-en-scene: The film has not spared any expense in the outdoor location filming, with scenes at the Frake family farm, and at the State Fair itself, providing a visual feast for viewers. Images of the rides at the fair, and Ann-Margret's showstopping performance on stage are filled with colour and spectacle, assisted also by the film's CinemaScope widescreen format. The indoor locations such as the Frake family home, and the trailer they inhabit at the caravan park, are naturalistic, and fluent. The outside of the trailer home, on the other hand, is slightly artificial, obviously shot in a studio, but this is a minor negative as the majority of the movie has been filmed outdoors, providing it with a freshness and realism.
Award-worthy performances in my opinion: Alice Faye, Tom Ewell, Ann-Margret, Pat Boone.
Award-worthy performances in my opinion: Alice Faye, Tom Ewell, Ann-Margret, Pat Boone.
Suitability for young viewers: Suitable for children with parental discretion advised. Mild adult themes, low-level violence.
Overall Grade: C
Link: IMDB Page
Trailer
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