hair

Rating:
Date: 2008-07-06
A VIBRANT FILM VERSION OF '60's BROADWAY HIPPIE HIT
My first introduction to "Hair" was the classic 1968 Broadway Cast Recording. Much later, I saw the 1979 film version on Showtime and loved it!! Years rolled by, and I saw an excellent stage production at Seattle's 5th Avenue Theatre (twice) and added "Hair: The London Cast Recording" to my collection. I felt the time was right to view the film version again.
With eleven years between the original Broadway production and the film version, time allows for a different perspective. "Hair: The Movie" is not about "what's happening, baby, " as the stage production had been. But, it had to, and does, evoke some of the spirit of the late 1960's era. As director Milos Forman said: "When you are in the middle of a storm like the '60's, you do not have time to think about what is going on. With distance, now I can look at the period and see the contradiction, the humor."
Of course, there are differences between the stage and film versions. In the stage musical, the main characters of Claude, Berger, Shelia, etc. are all a merry band of hippies. Claude is conflicted. Will he burn his draft card or fight in Vietnam? In the film, Claude (John Savage) is a hick (from Oklahoma, I gather) who goes to NYC to join the Army and go to Vietnam. He meets Berger (Treat Williams) and his hippie pals in Central Park, who introduce him to the joys of drugs, sex, peace, freedom. happiness, etc. Shelia (Beverly D'Angelo) is now a society debutante who is drawn into the hippie group due to the mutal attraction between her and Claude. Of course, the hippies try to save Claude from going to Vietnam, and the film's "ironic twist ending," although different from the stage version, is every bit as moving and heartbreaking.
The film has an especially vibrant energy and the cast, particularly sexy Treat Williams as hippie leader Berger, is extremely charismatic. Most of the celebrated score by Gerome Ragni, James Rado, and Galt MacDermot, is included here; although a few songs are rather clumsily inserted into the film screenplay by Michael Weller. For instance, "Walking In Space," a drug use scene/song in the stage version, underscores an Army training sequence in the film. A few odd changes do not detract from the overall impact of the film, however. The opening number "The Age Of Aquarius," set in Central Park, is thrilling. Treat Williams' party crashing performance of "I Got Life", Cheryl Barnes' emotional showstopper "Easy To Be Hard", and the gender switching treatment of the "Black Boys/White Boys" number are a few other outstanding moments.
"Hair" belongs on that short list of film adaptations that manage to capture the spirit of the original stage musical and are a completely successful film musical in their own right. ("West Side Story," "The King And I," "The Sound Of Music," "Cabaret," and "Chicago" are the others). I'll never understand why the film version of "Hair" did not achieve the same success as the film version of "Grease," that shumaltzy/sleazy. over-rated tribute to the 1950's. "Hair" certainly has more grit, emotional power, better songs, and a stronger, more important message than "Grease." I don't even own "Grease," but "Hair" deserves to be in the library of everyone who loves the late 1960's and Broadway/film musicals.

Rating:
Date: 2008-05-25
Well loved classic.
A well loved classic that I re-visited for the third time. I did have an extra smile this time since I recall Scott Hamilton ice skating to the theme song in what was a very amusing skit on ice. The story is entertaining and the music fits well with the flavor of a tense moment in the sixties. When a country boy meets a group of homeless, city dwelling Hippies he's led on a strange journey he never expected, but will be touched by forever. A bizarre musical that is easily understood by any generation.

Chrissy K. McVay - Author

Rating:
Date: 2008-04-06
Hair DVD
I really enjoyed the movie! For being an old movie, this recording of it was totally clear and no blips or other defects.

Rating:
Date: 2008-03-31
Still so true, still so fresh
This is a cult film for many reasons. First because of the phenomenal success as a musical both in Broadway and London, then as a musical film. The film is close to the play and some of the provocation of the play is no longer provocative twelve years later. The discourse against the Vietnam war is no longer a protest song against the war itself, but a strong song demonstrating how the young people of these late 60s managed to bring the political establishment down. Milos Forman play with some situations at the end of the 70s like the narrow minded justice, the self-centered umbilical righteousness of the rich or of the little ones who have just one rank of power more than the powerless. He also heavily plays with the racial element and the sexual ambiguity he builds all the time. The film remains pleasant and thoughtful. And of course it is a tremendous thrill to remember these years when we have had the privilege, and that was not a chance, to live them. November 11, 1969, Nixon ordering mass celebration for the 1918 armistice, which became the order for teachers at all levels to take their students to the celebration and the march, supporting thus the invasion of Cambodia that was in full swing. And some dare give lessons in democracy to foreign countries. I also remember the long campaign for the impeachment of Nixon in 1973-1974 that will eventually lead to his resignation and the swearing in of Gerald Ford, the first Vice President, and eventually President, of the US who had not been elected, since he was appointed Vice President by the Senate after Spiro Agnew had to resign to face trial, conviction and sentence for embezzlement. Of course that makes us think of today when in 2000 a president of the US was not elected by the people but by the Supreme Court, or of a war that was rejected by millions world wide from the very start, and even before the start, and was started against the better judgment of the United Nations and of three permanent members of the Security Council. And some speak of a new world order based on the respect of others. Modern Western man seems to have some problems understanding that the world is changing and has already widely and wisely changed. Modern Western man seems to be kind of out of sync and to need special evening classes to learn that democracy wants the majority in the world to be the majority, and the West is far from that majority, and that if the Soviet block had been able to understand that market economy is not capitalism but that market economy can be either socialist or capitalist the Berlin Wall would have fallen, but the other way round, and that China has learned that lesson marvelously well and is at the foot of the wall they have to climb over to learn that their socialist market economy has to lead to political democracy, but they will, just like Vietnam was able to reconstruct itself after thirty years of vicious war aggression and damage. In other words, Hair is a perfect food for thought.

Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines

Rating:
Date: 2008-03-29
hate hippies, love hair
First: If you haven't seen the movie version of Hair, don't read the review that is a couple of entries below mine by James Ronald Colyer because he gives away the ending.

When I first started watching this I was sure I would want to clobber the cast, because I find hippies kind of annoying (I'm a liberal, but lived in Berkeley for a year and hated the contrived cartoonishness of hipsters there, which I imagine was the same in the 60s and 70s). And indeed, the characters in this movie act over-the-top hippie-dippie. But ultimately the director does reveal both the heart and the shallowness of the hippie movement. It is a loving tribute and a critical swipe all at once, which I really appreciated. The music is wonderful, the acting is at times wonderful, and the ending made me cry my eyes out. I think it is one of the most perfectly executed endings to a film I've ever seen, drama or musical. And the movie versions of the songs are fantastic. The singing in Aquarius is over the top, but in a way that makes it sublime, not Mariah-Carey-Celine-Dionne-Whitney-Houston annoying. The story line can be hokey and unrealistic at times, but by the end it doesn't matter...it all works works you up to being awed by the ending, which of course has much relevance today.

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