The MikadoDirector: Victor Schertzinger, Kenny Baker, Martyn Green, Sydney Granville
Though it boasts an American director and star, this Technicolor cinemadaptation of Gilbert and Sullivan's comic operetta The Mikado is a faithful record of what it must have been like to attend a performance of Britain's D'Oyly Carte opera company. Rradio tenor Kenny Baker stars as Nanki-Poo, the wand'ring minstrel who wanders into a curious set of situations in the Japanese village of Titi-Pu. D'Oyly Carte perennial Martyn Green plays the leading role of Ko-Ko, the timorous Lord High Executioner who must perform one execution per day or he'll lose his job-and his own head. Ko-Ko finds a likely candidate for decapitation in the form of Nanki-Poo, who feels mighty suicidal when it seems as though his sweetheart Yum-Yum (Jean Cola) is out of his reach. Unbeknownst to Ko-Ko, Nanki-Poo is the son of none other than The Mikado, played with a combination of pomp, circumstance and Noel Cowardlike waspishness by Sydney Granville. Most of the satirical Gilbert & Sullivan songs have been retained, including "The Lord High Executioner," "Three Little Maids from School are We," "Tit Willow," "Here's a How-de-Do," and "The Object Most Sublime." Musical accompaniment is provided by the London Symphony Orchestra.
- Release Date:
- Original Release:
- [Full Frame]
- Sales rank:
Cast & Crew
|John Barclay||The Mikado|
|Marcel Vertes||Costumes/Costume Designer|
and post it to your social network
Most Helpful Customer Reviews
See all customer reviews >
Although the cast is great, and the look of the movie is lush...there are one or two songs cut from the film, including one of the most famous, I'VE GOT A LITTLE LIST...otherwise, here is a good version of the G and S classic
UGH! I don't know why the reviewer thinks this in any way recaps the D'Oyly Carte experience. The 1939 film is a horrendous mangling of "The Mikado," which this household's Savoyards found simply unbearable to watch. It's not just that great songs are cut; it's the butchery of the plot, complete with re-assigning character-development material to other characters (when the music for "The sun whose rays" began in Act I, a family member and I looked at each other in disbelief; when Nanki-Poo was revealed as the singer, we both exclaimed "WHAT?!" and I left the room). We don't expect perfection. We would settle for a relatively faithful adaptation. This isn't it.