music, West atmosphere, Doris Day and Howard Keel.slice of a period , nice, seductive, crazy, funny.and itself. this is basic point because, in a ocean of musicals, it has its individuality not exactly for story or for songs but for charming manner of Doris Day to create her character. it is a modern fairy tale, fascinating for innocence slices and joy who has it axis. for the spirit of a childish play and for the sweet feminism. maybe, it is far to be memorable but the link between Keel and Doris is so amusing than whole chain becomes, formally, credible. it is a sunshine film and best cure for cloudy days from every windy city.

The reviews for this little movie are funnier than the film. Complaints about "cross-dressing" and shooting "Indians". Lighten up! It's a 1950's musical Western after all. It's not going to be "PC" but it's mostly innocent fun for all. Certainly not "Annie Get Your Gun", but a light, happy show with a few good tunes (not all) and an Oscar-winning song:"Secret Love". Howard Keel is in good form here, but the songs are not up to "7 Brides" or "Showboat" quality. Doris appears to do some of her own stunts, some of the riding, and appears to be hauled-up to the 2nd floor of the saloon (probably on a wire). She's quite athletic. Watch this with either of the Bob Hope "Paleface" movies and you will see the easy comparison between the two. Like I said, fun to watch.

Not the most obvious subject for a movie musical, Calamity Jane is one of the best.Decked out with a variety of subplots (the drag artist, the dresser impersonating the star, the ensuing romantic triangle) the main thrust of the film - Calam's gradual progression from scruffy tomboy to feminine woman and proud of it, and her realisation that her heart has always belonged to Hickock - is hardly a story at all, yet informs everything else which happens.All the principals are delightful, but this is Doris Day's film. Her portrayal of Calamity Jane - a role which demands, and gets, overplaying - is a tour de force. Keel is also excellent playing a macho man who can deal with gentle self-deprecation.And above everything else are the songs. The majestic Secret Love dwarfs everything else, even the punchy and pithy Deadwood Stage and Windy City numbers, but my personal favourite is Higher Than A Hawk, one of the most underrated songs from Hollywood's musical heyday.

This musical-western-comedy-romance (yes, it packs a lot of genres in!) is a terrific musical treat that shows star Doris Day to her best advantage. She's the lady of the title, but the Deadswood townsfolk certainly don't think this gun-toting tomboy is a lady. It takes a "Woman's Touch" to turn Calamity into a stunner, and by then, her best friend Wild Bill Hickok (Howard Keel)has lost his heart. Doris Day is so likable in this film-- full of charisma, talent and enthusiasm for her role. If Oscars voters in 1953 had any sense, she would have gained a nomination for her wonderful work here. This Warners Bros musical was obviously influenced by the big success of MGM's version of the stage hit "Annie Get Your Gun", which also starred Howard Keel. Keel gets a similar role, perfect partner for the independent lady if they ever stop disagreeing. Keel and Day worked very well together, and their number "I Could Do Without You" is energetic, fun and one of the best in the film. Keel is so sexy and charming. As with "Annie Get Your Gun", with Betty Hutton as the sharpshooter, Day's Calamity has to have a make-over first for men to notice her finer qualities. Yep, it's probably sexist now but I see it more as an encouragement for women to embrace their femininity, which, like it or not, is always there. I'm a tomboy myself, and I enjoyed seeing Day mix it with the boys--even if she does end up in a dress by film's end.