Starring Tommy Steele, Julia Foster, Cyril Ritchard, and Penelope Horner
Directed by George Sidney
Music and Lyrics by David Heneker
This week, we're going to look at two big musicals from the late 60's and early 70's that weren't hits when they came out, but deserve reevaluation today. Half a Sixpence, based after the H.G Wells book Kipps, was always intended to be a vehicle for Tommy Steele, who was a wildly popular singer and dancer in England in the early 60's. It was a hit in London and did relatively well on Broadway, enough for Paramount to try Steele and his brand of manic energy on the big screen. How does he come across in this story of a young man who gains, loses, and regains a fortune look today? Let's begin as young Arthur Kipps (Geoffrey Chandler) is taken to become an apprentice draper and tells his best friend Ann (Deborah Permentor) he'll return to her someday, and find out...
The Story: Arthur "Artie" Kipps (Steele) inherits a million dollars from the grandfather he never knew. He invests in a show put on by his playwright friend Harry Chitterlow (Ritchard) and gives the now-grown Ann (Foster) half of a sixpence she gave him as a child. Kipps, however, has bigger ambitions than financing shows. He becomes enamored with wealthy Helen Walsingham (Horner), even rowing with men from her set in a regatta and letting her brother Hubert (James Villiers) invest his money. He initially rejects Ann in favor of Helen, until he realizes how much Ann means to him. Even then, he's still determined to show off his money, until he discovers the hard way that wealth can buy a lot of things...but real happiness with someone you care about isn't one of them.
The Song and Dance: Considering how overbearing Steele was in The Happiest Millionaire and especially Finian's Rainbow, he's a lot easier to take in his own vehicle. Here, his endless energy and toothpaste smile radiate charm and give the fluffy plot a must-needed boost. He's in almost every number, and he's never less than delightful in each and every one. No wonder he would remain popular in England through the 70's and continues to occasionally perform to this day. He's backed by a terrific production, with gorgeous historically-accurate turn-of-the-century costumes, choreography by Gillian Lynne that more than matches Steele's energy level, and stunning filming in and around the English countryside.
Favorite Number: Our first song has the adult Kipps and his buddies commenting how their boss scrimps on materials but spends money on himself "All In the Cause of Economy" as they dress and prepare for their day. Kipps and Ann do a sweet version of the title song as they make their vow to always love one another in front of a merry-go-round. "Money to Burn" is the big chorus number at Chitterlow's show as Artie explains why he would buy a banjo if he had the cash. Ann claims at the beach as she and the shopgirls dress that "I Don't Believe a Word of It" when Kipps is late arriving...but when he does arrive, she claims "I'm Not Talking to You."
"A Proper Gentlemen" is a chorus song that depicts Kipps' around-the-world journey via him goofing off in front of vintage postcards of famous monuments. Kipps laments "She's Too Far Above Me" after a rainstorm ends his attempt to woo Helen at an outdoor concert. "If the Rain's Got to Fall" is an adorable routine for Kipps, a group of ragamuffins, and the chorus outside before and during an actual rainstorm that ends with everyone splashing around in puddles.
"Lady Botting's Boating Regatta Cup Racing Song" is the only song written for the film. Kipps sings it as a voiceover at the regatta as we hear his thoughts during the competition. "Flash Bang Wallop!" is the big wedding number, as Kipps, Ann, and the chorus celebrate with a huge dance at the tavern. Ann insists "I Know What I Am" after she argues with Kipps over how big their house should be. Kipps says "This Is My World" as he imagines their finished mansion filled with beautiful dancers in fine tuxes and gowns...until he sees Ann and realizes he's no gentleman. We end with Ann and Kipps reprising the title number in front of the merry-go-round again when they realize they only need each other to be truly content.
Trivia: This movie was such a huge critical and commercial flop, George Sidney quit directing all together.
Julia Foster was dubbed by Marti Webb, who starred in the original London production with Steele
The original London production ran for three years starting in 1963; the Broadway production ran almost as long. I don't think it's been seen in New York since then, but a revised version was a surprise hit off and on the West End in 2016, running over a year.
What I Don't Like: For all the gorgeous costumes and location shooting, this movie is too big and too long. It would have done better as a more intimate musical. The chorus numbers in particular just go on and on forever. As good as Lynne's choreography is, there's way too much of it. The thin story did not need to be stretched out to two and a half hours. Of the cast, only Ritchard is anywhere near Steele's level, and his role is limited to 20 minutes in the beginning and end. Foster in particular can't muster the appropriate spunk for "I'm Not Talking to You" and "I Know Who I Am." Among the songs dropped from the original stage version were "Long Ago," a duet for Ann and Kipps, "The Old Military Canal" for the chorus, and a second number at the tavern, "The Party Is On the House."
The Big Finale: This was dismissed in the 60's as overly sentimental, but I think it's worn rather well. For the most part, the sentiment now comes off as charming and adorable rather than too sweet. Fans of Steele and the big musicals of the 60's and 70's with time on their hands will really get a kick out of Kipps' adventures in the upper class.
Home Media: Easily found on DVD and streaming.
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