It only took seven years for Lerner and Lowe's "Brigadoon" to be made as a movie, eight for "My Fair Lady" and seven for "Camelot". But for the team's second big Broadway musical, "Paint Your Wagon", it took almost 20, and when the movie did finally get a release, it was at a time when movie musicals were beginning to tank at the box office. Unlike the first three movie musicals, "Paint Your Wagon" had not been a huge hit, running a season (which at the time was respectable and considered a semi-hit, if not a huge smash) and introducing several songs which have become standards in the world of showtune music. The movie altered the story a bit, taking on traditional themes of more recent westerns, and had some casting choices that while perfect for a western seemed questionable for a musical.Certainly Lee Marvin and Clint Eastwood were known for westerns, and here, they share both co-starring billing and the same woman (Jean Seberg). What they also share is a lack of musical experience, and if you are going to put them together in a musical, it should be a genre in which they have experience. Their voices are perfect for the characters they play, with grizzled Marvin singing several songs in a very raspy manner and a very low-key Eastwood almost whispering his. Their voices pale in comparison however to Harve Presnell who gets the show's most famous song, "They Call the Wind Maria", as well as several others, so there have been many a jokester who ridiculed this film by saying either, "I never miss a Lee Marvin musical!" or "I never miss a Clint Eastwood musical!".All that glitters is not gold, and in the case of the photography in this movie, it's filmed in a sort of faded color that almost seems like sepia tone. Somewhat overly long, it gets boring and tedious at times, but there are some wonderful musical moments that make up for the lack of singing talent. Clint's "I Talk to the Trees" is performed heartfelt and moving, while Lee's "Wandrin' Star" is also sweetly done. But you'll never hear "Hand Me Down That Can O' Beans" at a piano bar or "The First Thing You Know" where Lee's singing voice really gets grating, making Elaine Stritch's raspy voice seem soprano in comparison. Jean Seberg fails to impress as the heroine torn between the two men. This is one of those movie musicals which probably seemed like a good idea at the time but even with a powerhouse stage and musical director (Joshua Logan) behind the camera, it comes out as a missed opportunity and basically, "Too little, too late."

Alan Lerner was like Oscar Hammerstein inasmuch as both men preferred to write both libretto and lyrics of shows that they worked on and produced arguably their best work with one composer (respectively Fritz Loewe and Dick Rodgers) despite collaborating with other composers. Whilst Fritz Loewe was still active in 1969 - he wrote the score for a movie version of The Little Prince with Lerner in 1974 - he was more or less ready to call it a day and put his feet up, Lerner, on the other hand was still very much involved in musical theatre and would go on to write book and lyrics for another half a dozen shows up to 1983 so it's hard to understand why he would have agreed to allow Paddy Chayefsky to beef up his original book and share screenplay credit with him. He was already working with Andre Previn (their Broadway show Coco opened that same year) so was probably more conducive to writing extra material with Previn. Overall this is a disappointing effort as was, to be fair, the original stage show dating back to 1951. The film has a bravura performance by Lee Marvin more or less replicating his role in Cat Ballou but the other two leads, Clint Eastwood and Jean Seberg just about get by and direcor Josh Logan puts a little too much faith in rousing male choruses like the title number and 'There's A Coach Comin' In'. Just about worth a look but one is enough.

I recently viewed this movie for the second time and found it just as funny and entertaining as I did when it first hit the theaters all those years ago.Having just read through some of the reviews here I am startled that some people who are fans of the Western genre were disappointed because it was a musical and a comedy; others who love musicals were disappointed because it had a Western theme.I didn't mind that some of the singing wasn't of a high standard - most of the songs were of a humorous bent anyway, and didn't purport to be anything but an accompaniment to the visual romp on screen.Interestingly though, the couple of serious songs are actually quite beautiful, hauntingly wistful, lyrics lamenting the characters' forlorn lonesomeness. ("They Call the Wind Maria", and "A Million Miles Away Behind the Door.")Anyway I say to all that didn't like this movie, where is your sense of humor? It is light entertainment - a comedy first and foremost, and employs a good amount of slapstick and satire. And with just a truthful drop of the real history of that era with its sadness and desolation.An enjoyable fun movie.

I love musicals, but I honestly didn't know what to make of this film. Out of the Joshua Logan-directed musical movies, this film is my least favourite. It does have some nice photography, costumes and sets, and the score and songs are very pleasant and hummable. Out of the cast, Ray Walston and Harve Presnell(who actually has the best songs) come off best, and the chorale work directed by Roger Wagner is some of the finest ever heard in a musical. However, Joshua Logan's direction didn't work, I personally found it too stage-bound and smug. Also the dialogue doesn't convince, the film is too long and the story is forgettable and has one too many silly moments. The acting is nothing special, and while the singing isn't amazing it was passable. Lee Marvin's rendition of Wandrin' Star is listenable, and some of his comedy is a nice touch. Wasn't sure about Clint Eastwood though, I was perplexed at his casting initially and after hearing his singing my opinion hasn't changed. In conclusion, if I had to make an honest summary of this film, I would say worth watching for the music, chorale work and production values if little else. 5/10 Bethany Cox