Living in a digital age where TV shows can be streamed online and movies are available to rent on demand, most people would scoff at the idea of watching a DVD or Blu-Ray. With the recent Redbox demise, one of the last remnants of a bygone home-video era, it’s become even harder to imagine someone consciously purchasing anything that isn’t easily accessible on a mobile device. I am not one of those people. I love buying DVDs and adding them to my personal (and rather vast) collection of classic films. If I happen to stumble upon a box set or an out-of-print title at a used bookstore, I feel like I’ve unleashed lightning in a bottle. And when I watch the bonus features that almost always accompany a disk, I might come across something that unexpectedly leads me down a new rabbit hole of discovery.
Finian’s Rainbow is what I would call an accidental find, hidden within a series of trailers discovered during one of my at-home DVD viewings. It is the only cinematic adaptation of the 1947 Broadway play to come to fruition after several failed Hollywood production attempts. The first was made by Metro-Goldwyn-Mayer (MGM) in 1948 with American actor Mickey Rooney in mind until an unreasonable price for distribution rights proved to be prohibitive. An animated version of Finian's Rainbow began to take shape in 1954 at the helm of the Distributors Corporation of America. Under the direction of John Hubley, renowned entertainers Ella Fitzgerald, Louis Armstrong and Frank Sinatra, to name a few, came together to record vocals for the motion picture's soundtrack. The creative endeavor, complete with a visual storyboard, was eventually abandoned when the director was called to testify before the House Un-American Activities Committee and blacklisted, causing a financial investor to withdraw funding. While two more production attempts, one independent and one foreign, couldn't get off the ground in the late 1950s, the first half of the next decade fared no better. Distributor United Artists couldn't get anywhere despite a substantial budget and star Debbie Reynolds at the helm of a 1960 project, and producer Harold Hecht certainly got close enough to filming the story with comedian Dick Van Dyke potentially playing Finian in 1965.
Despite the musical's long and varied history, I had never heard of it, but it caught my eye because it was eventually released by Warner Bros. at a time when over-the-top, showstopping musicals were no longer in fashion, barely surviving in a turbulent decade marked by countercultural values, rebellion and forward-thinking mindsets. I was also intrigued by the fact that Francis Ford Coppola, a then-novice director, was the mastermind behind the musical – one of his earliest motion-picture endeavors. And then there was Fred Astaire, the world’s most iconic dancer, making the last on-screen Hollywood appearance of his career since 1957’s Silk Stockings. For better or for worse, this triple-threat combination of inducements was too good to resist.
What I assumed would be a one-time viewing experience has since turned into an annual, St. Patrick’s Day-inspired tradition. But watching Finian’s Rainbow with several of my friends and family members,
I can honestly say that this peculiar but culturally significant film is not for everyone. Its humor is unapologetic, laughing in the face of sensitive topics that plagued a pre-civil rights movement society. The song and dance numbers are not as sophisticated and polished as those seen in some of the bigger-budget titles that preceded it, and the story is unconventional enough to leave nothing to the imagination. Alas, Coppola’s work is usually appreciated by a select group of individuals, including me, and we happen to see it as nothing short of a treasure – just like the one Finian McLonergan was seeking on his journey.
*Contains spoilers*
From the onset, Finian’s Rainbow promises to think outside the box and break through any boundaries that may try to stand in its way. During the film’s opening sequence, a father and daughter bravely make their way from Ireland to the United States entirely on foot – crossing majestic canyons, fording streams and climbing up and down scenic hills with no transport anywhere in sight. There is a spring in their step and a song on their lips as beloved British performer Petula Clark, playing Sharon McLonergan, delights the audience with a heartwarming rendition of “Look for the Rainbow,” a haunting ditty inspired by "Over the Rainbow" that quickly sets the mood for the remainder of the picture. With a nod to Irish folklore, the elderly Finian transports a crock of gold stolen from a leprechaun to bury somewhere near Fort Knox, on American soil, which he believes holds its own powerful sort of magic when it comes to manifesting wealth and increasing prosperity.
The sight that greets the elderly Finian and his beautiful daughter leaves much to be desired as the two find themselves in a small town in a fictional southern state, a somewhat clever mishmash called Missitucky, that seems to have depleted its financial resources and is barely staying afloat. The down-to-earth, friendly landowners and sharecroppers of the so-called Rainbow Valley seem confined within a time capsule that is a product of circumstances unjustly inflicted upon them by corrupt local officials. A miracle is needed, and with money suddenly growing on trees, the film’s whimsical approach to storytelling makes Finian’s arrival seems heaven-sent, a divinely guided journey rather than a random decision to relocate.
Though it's unclear how Finian got ahold of the crock in the first place, the mysterious vessel of gold and its rightful owner is a fascinating part of Irish tradition that has also made a cultural impact around the world. The leprechaun, a shoemaker by trade, is believed to be a descendant of fairies, taking the shape of a small man dressed in a cloak – usually red or green. His precious gold is usually buried near a rainbow for a treasure seeker to find, but it is the mysterious cobbler himself who is highly sought after for his ability to grant three magical wishes. While Ireland and the European Union embrace the concept of a leprechaun from a legal standpoint, going as far as to pass legislature to deem it a protected species and safeguarding certain regions where the creature is believed to be residing, the United States takes a more lighthearted approach in its depiction of the popular St. Patrick's Day icon. Notre Dame University has embraced the leprechaun as its mascot since 1965. The Boston Celtics team has drawn upon its own version of the Irishman to win several NBA championships. And manufacturer General Mills has popularized a cartoon version of the mythical figure via the cover of a Lucky Charms cereal box. While Finian's Rainbow is certainly a noteworthy vehicle for a leprechaun and his crock of gold to find a new home in popular culture, it is by no means the only one.
The cast of characters who welcome the Irish family with open arms are an essential part of a tale that begins to unfold and take plenty of unusual twists and turns along the way. The handsome and charming co-up manager Woody Mahoney, modeled after famous singer-songwriter Woody Guthrie and played by Canadian actor Don Francks, quickly becomes the leading man and Sharon’s love interest, one of two romantic developments to occur in the film. His botanist friend, Howard, brilliantly portrayed by Al Freeman Jr., is busy at work developing a mentholated tobacco product for a potentially lucrative business venture. The ever-so gentle Susan the Silent (Barbara Hancock), Woody’s mute sister, constantly expresses herself through eloquent dance movements. The most memorable and impressive star of the show, Fred Astaire notwithstanding, is the incomparable Tommy Steele in the role of Og, an eccentric leprechaun who follows Finian and Sharon all the way to Rainbow Valley in attempt to recover the gold and save himself from becoming a mere mortal. Og's eccentric behavior throughout the movie is made all the more amusing thanks to Tommy's undeniable showmanship. Whether he is disguising himself as a bush, quoting lyrics from songs sung by Fred Astaire or facing the camera to speak directly to the audience, Og becomes the center of attention in every scene where he's present.
The lives of Rainbow Valley's inhabitants become intertwined in unexpected ways when a shocking and disturbing development takes place as a result of Senator Billboard Rawkins' despicable behavior. Played by comedian Keenan Wynn, the senator is the primary reason behind the town’s dissent and dissatisfaction. Arrogant, backward and bigoted, he exhibits racism toward a visiting geologist who informs the politician of gold traces found in Rainbow Valley and Howard, whom he hires as a servant and calls George, a name disrespectfully given to all African-American men who worked as porters for the Pullman Company. The senator's attempts to drive the townsfolk away, all while insulting them, fail miserably when he gets a taste of his own medicine. During one of the most controversial plot points of the story, Senator Rawkins is transformed into a Black man by a magic wish, an act of fate that is intended to give him a taste of his own medicine but does little to change his despicable ways. The entire concept of the senator's out-of-body experience may seem offensive to some viewers, especially today, but I see it as a necessary confrontation in bringing to light outdated societal beliefs and unacceptable cultural norms that were at the height of public consciousness in the 1960s.
While the cinematography in Finian's Rainbow is not what you would call ideal – some of the film's sets having been recycled from predecessor Camelot and the majority of the scenes shot in studio backlots – it's impossible to voice any grievances against a soundtrack, which is so brilliantly crafted with fun and infectious songs from Burton Lane and E. Y. Harburg and orchestrated with a rousing score from Ray Heindorf, that it was later re-recorded in French for an international release.
The reminiscent “How Are Things in Glocca Morra?”, as performed by Sharon, evokes a feeling of nostalgia as one longs for a home and fondly thinks about the memories such an association evokes. "Old Devil Moon," a tune that has been recorded and released by popular artists outside of the musical, is sultry and playful, giving Sharon and Woody's romance a chance to blossom while also taking advantage of the natural chemistry that developed between Don Francks and Petula Clark on the screen. "If This Isn't Love," one of the most memorable scenes in Finian's Rainbow, recreates the magic of showstopping numbers usually associated with big-time musical productions. It's an all-hands-on-deck extravaganza with the entire cast coming together in a joyous celebration of song and dance, creating a collective on-screen camaraderie and giving each character a chance to shine.
Although Finian's role was limited in the staged production of the musical, his portrayal by Fred Astaire in the movie was elevated to top billing. And rightly so, for the legendary dancer doesn't disappoint, gifting his viewers with the exquisite choreography and world-class delivery they have come to expect from him over the years. Petula's supposed unease at dancing with Fred is nowhere near evident as she accompanies him for a father-and-daughter spin during a reprise of "Look to the Rainbow." And Fred, who was just as nervous about singing with Petula as she was about dancing with him, finds his own footing during "When the Idle Poor Become the Idle Rich," a number that follows an entr'acte. With the film's conversion from the original 70 mm theatrical presentation, a wider format that led to the initial removal of the screen's top and bottom frames, viewers can now see Fred's not-to-be-missed footwork in the home video-friendly 35 mm crop.
As Rainbow Valley prepares for Sharon and Woody's wedding, a secondary love story develops between Og and Susan. It is perhaps this romance that leads Og to making a series of important decisions that impact the lives of the town's inhabitants. When Senator Rawkins runs away, a secondary spell of open-mindedness cast upon him by Og, Sharon is pursued by the authorities and branded a witch. The hidden crock of gold has already granted a wish that alternated the senator's racial identity, and only two remain until the magic runs out forever. While Sharon and Woody are locked away in a barn, for better or for worse, it is up to the lofty leprechaun to appropriate the remaining wishes and save the day.
Og's unrequited feelings toward Sharon are forgotten as Susan catches his eye. In “When I’m Not Near the Girl I Love,” my favorite scene in the film, Og makes a decision to settle for what's in front of him rather than chasing something he can't have. This a tongue-in-cheek number is one of many in which Tommy steals the show, and thanks to an eye-catching, lush and intimate setting, the movie's audience is once again transported to a bygone era of musicals that made romantic sequences like this so popular back in the Golden Age of Hollywood.
Finian's Rainbow concludes with a happy ending, as every fairy tale should, but its finale is bittersweet. As Finian leaves the town of Rainbow Valley behind in search of a new adventure, his departure is symbolic of Fred Astaire's own Hollywood exit. Although the dancer continued to make television appearances throughout the 1970s and 1980s, even starring in the first two installments of the praise-worthy That's Entertainment documentary trilogy, he no longer graced the silver screen. In the 1968 motion-picture production, Fred receives a proper send-off, so to speak, and leaves behind a cinematic legacy that will continue to live on in the hearts of those he touched.
Petula Clark, who has also become a legend in her own right, continues to perform to this day. Following her radio debut in the early 1940s, Petula's multi-faceted repertoire includes television work, international recordings, countless concert appearances and five decades of film. She is considered to have one of the longest-running careers in Britain, spanning 85 years, and at the ripe age of 92, it seems like she's just getting started.
And then there is Francis Ford Coppola. Known for The Godfather trilogy – perhaps the greatest cinematic achievement of all time – the director who was just starting out in the motion-picture industry when hired by Warner Bros. to revive a down-on-its-luck project has since directed well-known and highly rated films such as Apocalypse Now, The Outsiders, Bram Stoker's Dracula and
The Rainmaker, among many more. Finian's Rainbow is one of the only musicals he's ever shot, and whether by the pure luck of the Irish or divine intervention, the timeless tale of a small southern town that is transformed by magic is a significant entry in a catalog of profound twentieth-century masterpieces that remains relevant, significant and enjoyable to this day.
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