The third film version of State Fair is the most unnecessary. The first in 1933 adapted the novel and changed the ending. The second in 1945 added songs. The third added nothing but a few extra songs, but since it was the era before rental and owning copies of beloved movies, if audiences wanted to see a repeat of State Fair, a remake was the way to go!
In this version of Rodgers & Hammerstein musical, Tom Ewell and Alice Faye head up the Iowa farm family who travel to the state fair. Alice, who famously turned down the second lead in the 1945 version, chose to make this film her return to Hollywood after a 17-year retirement. I don't know why she'd want such a stinging reminder of her absence, by taking the mother figure after turning down the love interest. She looked so disgruntled, I don't know why she wasn't fired and replaced by any other middle-aged actress who would have been glad to take the part. Fay Bainter could have even reprised her role with a brown wig and a soft focus lens. The mother role is supposed to be cute and endearing, but you don't root for Alice Faye one bit. You don't even believe she's happily married, and when she starts singing, "Never Say No to a Man" as romantic advice to her daughter, you'll want to turn the movie off.
The main problem with this remake is that the essential charm of the musical is destroyed. In 1945, the state fair was in Iowa, and the Frake family was purely small-town. At the fair, a nightclub singer who shows the innocent boy kindness, and the newspaper reporter with a perfect combination of fun and tenderness are the love interests. In 1962, the Frake family live in Texas, and the lyrics of the title song are actually changed to "Dallas to donuts", which destroys the small-town feel. At the fair, Ann-Margret is practically a stripper, prancing around in her underwear and performing nasty gyrations onstage. Pat Boone is smitten with her when she poses for a cheesecake picture before his racecar competition. Bobby Darin is a tv reporter with no respect for women, who treats the innocent Pamela Tiffin as another model on the assembly line. He's irritating, loud, fills her with alcohol, egocentric, insincere, and is shown picking up another girl when Pamela doesn't show up. Dana Andrews never acted that way in 1945!
The 1945 version is, hands down, the best. It's sweeter and the leads are more likable. If you love Pat, Bobby, or Ann-Margret, you'll probably want to rent this version, but if you don't and are just looking for an introduction, check out the earlier one. It couldn't be any better.
In this version of Rodgers & Hammerstein musical, Tom Ewell and Alice Faye head up the Iowa farm family who travel to the state fair. Alice, who famously turned down the second lead in the 1945 version, chose to make this film her return to Hollywood after a 17-year retirement. I don't know why she'd want such a stinging reminder of her absence, by taking the mother figure after turning down the love interest. She looked so disgruntled, I don't know why she wasn't fired and replaced by any other middle-aged actress who would have been glad to take the part. Fay Bainter could have even reprised her role with a brown wig and a soft focus lens. The mother role is supposed to be cute and endearing, but you don't root for Alice Faye one bit. You don't even believe she's happily married, and when she starts singing, "Never Say No to a Man" as romantic advice to her daughter, you'll want to turn the movie off.
The main problem with this remake is that the essential charm of the musical is destroyed. In 1945, the state fair was in Iowa, and the Frake family was purely small-town. At the fair, a nightclub singer who shows the innocent boy kindness, and the newspaper reporter with a perfect combination of fun and tenderness are the love interests. In 1962, the Frake family live in Texas, and the lyrics of the title song are actually changed to "Dallas to donuts", which destroys the small-town feel. At the fair, Ann-Margret is practically a stripper, prancing around in her underwear and performing nasty gyrations onstage. Pat Boone is smitten with her when she poses for a cheesecake picture before his racecar competition. Bobby Darin is a tv reporter with no respect for women, who treats the innocent Pamela Tiffin as another model on the assembly line. He's irritating, loud, fills her with alcohol, egocentric, insincere, and is shown picking up another girl when Pamela doesn't show up. Dana Andrews never acted that way in 1945!
The 1945 version is, hands down, the best. It's sweeter and the leads are more likable. If you love Pat, Bobby, or Ann-Margret, you'll probably want to rent this version, but if you don't and are just looking for an introduction, check out the earlier one. It couldn't be any better.