Flower Drum Song | Tickets | Broadway | Broadway.com Flower Drum Song Browse more shows you may also be interested in. Duration In this new version of Rodgers and Hammerstein's Flower Drum Song, a young lady named Mei-li flees to America in the late 1950's when her father, a Chinese opera master, ... Story Read More In this new version of Rodgers and Hammerstein's Flower Drum Song, a young lady named Mei-li flees to America in the late 1950's when her father, a Chinese opera master, falls under persecution from the Communist government. Arriving in San Francisco, she finds work in a run-down Chinese opera house where the patriarch, Master Wang, struggles to keep old traditions alive, while his American-born son Ta dreams of converting the space into a Western-style nightclub. With the help of a leggy showgirl and her fast-talking agent, Ta's wish comes true; they discover success by turning the old theatre into a popular new nightspot, Club Chop Suey. Flower Drum Song - Rodgers & Hammerstein II FLOWER DRUM SONG a musical play in two acts by Oscar Hammerstein II and Joseph Fields, based on the novel by C.Y. Lee.

Music by Richard Rodgers, lyrics by Oscar Hammerstein II. Opened at the St. James Theatre, New York, 1 December 1958 with Miyoshi Umeki (Mei Li), Larry Blyden (Sammy Fong) and Ed Kenney (Wang Ta). Opened at the Palace Theatre, London, 24 March 1960 with Yau Shan Tung, Tim Herbert and Kevin Scott. A film version was issued by Universal-International Pictures in 1961 with Miyoshi Umeki, Jack Soo and James Shigeta. Palace Theatre, London - 24 March 1960. Synopsis This less appreciated creation of Rodgers and Hammerstein is long overdue for re-evaluation. Leaving the world of the musical play, the writers reverted to musical comedy, in this case set in San Francisco's Chinatown. The story concerns the generation gap between the old world Chinese who cling to traditional values, and the new world Chinese who see themselves as Americans who should adopt Western values and lifestyles. The ending, in the tradition of all comedies, is happy with all the protagonists finding their true loves.

Story Act 1 In the house of Master Wang Chi Yang, a wealthy patriarch of San Francisco's Chinatown, his elder son Wang Ta explains to his aunt Madam Liang how his dreams are troubled by girls, and sings her an old familiar Chinese love-song that he is preparing for that evening's blind date (You Are Beautiful), and she joins in nostalgically. His father returns home, having just been robbed of a $100 bill - he finds life in America difficult, particularly the idea of using a bank instead of a box under the bed! Sammy Fong, a successful and completely Westernised young man, arrives to suggest to Wang that his 'picture bride' just arrived from Hong Kong would be better suited to Wang Ta, as she is too sweet and obedient for his combative tastes. He introduces Mei Li and her father Dr. Li; Wang is favourably impressed, the girl is from a good family and born in the right year -what is more, she can sing the well-loved Flower Drum Song, and modestly obliges (A Hundred Million Miracles).

Ta's blind date is with Linda, a very Americanised Chinese girl, who makes a powerful pass at him (I Enjoy Being a Girl) and they agree to marry, if the necessary consents can be obtained. The next day, in Wang's house, all is bustle. A banker is counting Wang's cash to open an account for him, Wang is grudgingly being fitted for a Western suit for Ta's graduation ceremony and Helen Chao the seamstress (who is sweet on Ta) has arrived with his specially made gown. Mei Li is mesmerised when Ta enters, wearing gown and mortarboard, and as the family leaves for the ceremony, she sings "I Am Going to Like It Here". Wang has bought Mei Li a Western dress for the evening's party and Ta is obviously taken with her appearance (Like a God), but he has already invited Linda and her brother. At the party, Madam Liang leads many of the community in celebrating the great diversity of American life, which she calls "Chop Suey". Linda and her brother Commodore Frankie Low arrive; he confronts Wang with the news of Linda's engagement to Ta, which Wang roundly forbids.

Mei Li, believing herself rejected by Ta, is recommended by the suddenly alarmed Sammy Fong "Don't Marry Me". Sammy is not taken in by Frankie and Linda, whom he instantly recognises as 'artistes' from his night-club, Linda also being his long-standing girl-friend. To cope with a situation that is fast getting out of control, he invites the Wang family to his club, where Helen Chao, who is also Linda's dresser, pines for Ta (Love, Look Away). Linda 'reveals' herself to the shocked Wang and her 'brother' is shown up as a fake. The Wang party leaves in disgust and the furious Linda upsets a champagne bucket over Sammy's head in revenge. Act II Helen has taken the dejected Ta back to her room - the night passes as a ballet; in the morning Mei Li calls on an errand and spots Ta's coat with the flower she had pinned on it. She pockets the flower and leaves quickly; Ta also is anxious to get home to pacify his father, leaving Helen disconsolate. Wang and Madam Liang lament "The Other Generation" after Wang San, his younger son, has appeared dressed for baseball and demanding a sandwich.

When Ta returns, Wang and Dr. Li propose to formalise the betrothal of their children but Mei Li, having confessed to Ta that she had loved him at first sight, now believes that he loves Helen, if not Linda, and reveals the tell-tale flower. She and her father decide to leave the house for good. Sammy has decided to marry wildcat Linda and tells her so when she comes to his penthouse (Sunday). He telephones the Community Court that he will forthwith present his bride there, but when he arrives he finds that Dr. Li is there to enforce the 'picture bride' marriage contract and Sammy appears to have been 'framed', though Linda is once again convinced he has cheated her. Ta comes to Mei Li, who is staying with her father at Sammy's; they confess their love and Ta promises to find a way out of the dilemma. But it is Mei Li who discovers the clue unexpectedly when watching the Late Late Show on TV, and interrupts her lavish Chinese wedding to Sammy to "tell all", ending happily in Ta's arms, and of course with Wang's consent!

Cast: 6 men, 7 women, 1 boy, chorus Characters WANG CHI YANG - A Chinese paterfamilias, unable to settle easily in America and very much on his dignity. MADAM LIANG - His sister-in-law, motherly and understanding of both Wang's and the younger generation's problems, and herself making great efforts to assimilate. WANG TA - He has difficulty in finding the right girl for him and is unsure of his ethnic identity, but finally he chooses right. WANG SAN - His younger brother; very much an American kid, but still respectful enough to his father not to be overtly rebellious. SAMMY FONG - A high-roller who is not above some fairly dodgy dealing, but he is genuinely fond of the Wang family and 'does the right thing' by Mei Li. MEI LI - At first bewildered by her new life, she quickly grasps the situation and, having fallen immediately in love, survives all apparent setbacks with quiet patience. A very endearing personality. DR. LI - Her father; formal and deferential to Wang, but always the loving father.

LINDA LOW - She loves Sammy Fong, both for his lavish lifestyle and the fights they enjoy; we never find out whether her play for Wang Ta was perhaps only to encourage Sammy. HELEN CHAO - The girl who draws the short straw; loyal, loving and bound to be disappointed. FRANKIE WING - A small-timer, ready enough to take part in the deception of Wang. DR. LU FONG - Sammy's uncle MADAM FONG - Sammy's mother Instrumentation: 2 flutes db. piccolo, oboe db. cor anglais, 2 clarinets db. alto sax, bass clarinet db. tenor sax, 2 horns, 3 trumpets, 2 trombones, tuba, percussion, harp, guitar (db. banjo, mandolin), piano, strings Musical Numbers: You Are Beautiful - Madam Liang, Wang Ta A Hundred Million Miracles - Mei Li, Dr. Li, Madam Liang, Wang Chi-yang, Liu Ma 2a. - Bridge to Scene 2 I Enjoy Being A Girl - Linda Encore: I Enjoy Being A Girl - Linda End of Scene 2 - Linda 4a.

- Bridge to Scene 3 Back Beating - Mei Li I Am Going To Like It Here - Mei Li 6a. - Bridge to Scene 4 Like A God - Wang Ta 7a. - Bridge to Scene 5 Chop Suey - Madam Liang and Guests 8a. - Encore: Chop Suey Jazz Bit - Linda and San Don't Marry Me - Mei Li, Sammy Fong Grant Avenue - Linda and Ensemble 11a. - Bridge to Scene 6 Love, Look Away - Helen The action takes place in San Francisco's Chinatown.

Time: The Present ACT I SCENE 1: THE LIVING ROOM IN THE HOUSE OF MASTER WANG CHI YANG SCENE 2: A HILL OVERLOOKING SAN FRANCISCO BAY SCENE 3: THE WANG LIVING ROOM SCENE 4: WANG CHI YANG'S BEDROOM SCENE 5: THE GARDEN OF THE WANG HOUSE SCENE 6: LINDA'S DRESSING ROOM IN THE CELESTIAL BAR SCENE 7: THE CELESTIAL BAR ACT II SCENE 1: HELEN CHAO'S ROOM SCENE 2: THE WANG LIVING ROOM SCENE 3: SAMMY FONG'S PENTHOUSE APARTMENT SCENE 4: THE THREE FAMILY ASSOCIATION SCENE 5: SAMMY FONG'S PENTHOUSE APARTMENT SCENE 6: GRANT AVENUE, SAN FRANCISCO'S CHINATOWN SCENE 7: THE THREE FAMILY ASSOCIATION Flower Drum Song (1961) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later.

X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Chinese stowaway Mei Li (Miyoshi Umeki) arrives in San Francisco with her father to meet her fiancé, wealthy nightclub owner Sammy Fong (Jack Soo), in an arranged marriage, but the groom ... See full summary » Director: a list of 34 titles created 30 May 2012 a list of 43 titles created 18 May 2013 a list of 35 titles created 07 Jun 2013 a list of 34 titles created 10 Jul 2013 a list of 33 titles created 23 Jun 2014 Title: Flower Drum Song (1961) 7/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 5 Oscars. Another 1 win & 7 nominations.

See more awards » Photos 1 2 3 4 5 6 7 8 9 10 6.9/10 X Billy Bigelow has been dead for fifteen years, and now outside the pearly gates, he long waived his right to go back to Earth for a day. But he has heard that there is a problem with his ... See full summary » Director: Henry King On a South Pacific island during World War II, love blooms between a young nurse and a secretive Frenchman who's being courted for a dangerous military mission. Director: Joshua Logan Fred and Lilly are a divorced pair of actors who are brought together by Cole Porter who has written a musical version of The Taming of the Shrew. Of course, the couple seem to act a great ... See full summary » Director: George Sidney 1 2 3 4 5 6 7 8 9 10 7.1/10 X Robert Lomax, tired of working in an office, wants to be an artist. So he moves to Hong Kong to try his hand at painting. Finding a cheap hotel, he checks in, only to find it's used by ...

See full summary » Director: Richard Quine Farm family Frake, with discontented daughter Margy, head for the Iowa State Fair. On the first day, both Margy and brother Wayne meet attractive new flames; so does father's prize hog, ... See full summary » Director: Walter Lang A gitar playing traveler is on the run from a murder charge. He joins a circus, where he falls for two different women, who complicates his life. Director: Daniel Petrie In the Oklahoma territory at the turn of the twentieth century, two young cowboys vie with an evil ranch hand and a traveling peddler for the hearts of the women they love. Director: Fred Zinnemann Millie comes to town in the roaring twenties to encounter flappers, sexuality and white slavers. Director: George Roy Hill A widow accepts a job as a live-in governess to the King of Siam's children. Director: Walter Lang The story of the great sharpshooter, Annie Oakley, who rises to fame while dealing with her love/professional rival, Frank Butler.

Directors: George Sidney, Busby Berkeley Stars: Betty Hutton, Howard Keel, Louis Calhern A poor, uneducated mountain girl leaves her cabin in search of respect, a wealthy husband, and a better life. Director: Charles Walters Intrepid frontiersman Chris Holden foils the political and personal ambitions of renegade Martin Garth in the Ohio Valley following the French and Indian War. Director: Cecil B. DeMille Edit Storyline Chinese stowaway Mei Li (Miyoshi Umeki) arrives in San Francisco with her father to meet her fiancé, wealthy nightclub owner Sammy Fong (Jack Soo), in an arranged marriage, but the groom has his eye on his star singer Linda Low (Nancy Kwan). This film version of the Rodgers and Hammerstein Broadway musical is filled with memorable song-and-dance numbers showcasing the contrast between Mei Li's traditional family and her growing fascination with American culture. Written by alfiehitchie Broadway's Most Romantic Musical Comedy comes to the Screen!!!

See more » Genres: 9 November 1961 (USA) See more » Also Known As: Rodgers & Hammerstein's Flower Drum Song See more » Filming Locations: 4-Track Stereo (Westrex Recording System) Color: Did You Know? Trivia Larry Blyden was nominated for the 1959 Tony Award (New York City) for Actor in a Musical for "Flower Drum Song" for the part of Sammy Fong. See more » Goofs Linda ties her scarf in the car twice. See more » Quotes Tradesman : [in Chinese] What was that? Tradesman : [in Chinese] I don't know. Must be my stomach. Forget the PC and enjoy the movie, musical numbers, actors and film titles. 14 March 2005 | by kingcom (United States) – See all my reviews The last time I saw Flower Drum Song on a big screen was at the Asian Pacific American Studies event at New York University, spurred on by David Henry Hwang's Broadway revival which received favorable reviews except for one paper. I was invited because my father created the film titles.

Socialogical connotations at the event were discussed: cultural and generational conflicts, old and new set in the City on Golden Hill, the quest to achieve, etc. I have seen the original musical, the film many times, and the revival which deserved a longer run. Then the film began. I was impressed by Nancy Kwan's acting and others, memorable musical numbers and the opening and closing title paintings by my father, Dong Kingman. In many ways a beautiful film, and a case can be made, a pioneering one. Okay so it is a bit corny, a few young members of audience uneasily snickered at the stereotypes, scenes could have been cut, especially one fantasy sequence. Yet the Flower Drum Song endures and to enjoy. Rating is 7 1/2, plus half star more for dad. 24 of 24 people found this review helpful. Was this review helpful to you?

Yes Movie Review - - Screen: 'Flower Drum Song' Opens:Movie Drawn From a Musical Arrives Music Hall Offering New Film in Color - NYTimes.com Movie Review November 10, 1961 Screen: 'Flower Drum Song' Opens:Movie Drawn From a Musical Arrives Music Hall Offering New Film in Color By BOSLEY CROWTHER Published: November 10, 1961 SINCE colorfulness and pleasant music were the strong points in "Flower Drum Song," the Richard Rodgers-Oscar Hammerstein 2d musical, when it bloomed on the Broadway stage, it is notable that the film version stresses those qualities and does well enough by others. So "Flower Drum Song" fairly blossoms anew on the vast Panavision color panel of the Music Hall, where it was set out yesterday. Again the gay façades and fragile fretwork of a purely theatrical Chinatown frame an assortment of brightly costumed, Oriental ornamented characters who frequently leap into brisk dances and burst into glib American songs. Again pert Miyoshi Umeki starts the show with her reedy rendering of "A Hundred Million Miracles" and the carpenters take it from there.

Again Juanita Hall shouts "Chop Suey," which is the truest, liveliest song in the show, surrounded by a crowd of slim consumers, and all is right in this prefabricated world. Don't get the idea, however, that the characters and comedy put forth in this fable of Chinese-Americans residing in San Francisco's Chinatown are in any way basically different from the characters and comedy that used to bloom in any number of plays about German or Swedish or Jewish immigrants coming from the old to the new country (via the comedy route) in years gone by. Joseph Fields, who helped write the original and prepared the screen play for the film, obviously learned at the knee of his father, who was in the old vaudeville team of Weber and Fields. For the characters he has got to make the pat jokes about modern Americans and quaint Chinese could be lifted right out of "The Prince of Pilsen," which was about the vintage and style of Weber and Fields. There's the picture-bride come from Hong Kong to marry the Chinese-American she's never seen, and her father, who is a beaming Oriental about fifty years pre-Sun Yat Sen.

There's the fellow she's supposed to marry, a racy character, who doesn't really want her; and there's the nice college lad (Chinese-American) for whom she falls and who finally falls for her. Then, of course, there's the nice fellow's father, an old-world type who still wears long dressing gowns and a little round cap with a tassle on it, and there's the nightclub cutie who's oriented all around. Oh, yes—and there's the aunt of the nice fellow, a comical marriage-arranger, played by bulky Miss Hall. Set up by Mr. Fields as cozy clichés, if not outright caricatures, these characters emerge in the blunt contours of conventional romantics and clowns. Under Henry Koster's broad direction, they have a thoroughly artificial air, which is endurable when the artifice is skillful, oppressive when it is not. Miss Umeki's little smiling, paddling pre-bride is amusing in lighter scenes, but difficult when she settles softly into pot-holes of sentimental goo.

Nancy Kwan's nightclub cutie is as phony as a manufactured pearl, but we heartily concur in her sentiment when she goes through a strip-teasy number called "I Enjoy Being a Girl." James Shigeta is precise and unconvincing as the "Ivory League" (that's the joke!) lad, Benson Fong is fussy as his father, and Kam Tong is, too, as the father of the girl. Miss Hall is a dressed-up, social-climbing Bloody Mary as the aunt, and Jack Soo is broader than Jerry Lewis as the racy character. Reiko Sato, the beautiful dancer, is obscured in a small pathetic role, but she bursts forth briefly and handsomely in an ornate ballet done to the song, "Love Look Away." In short, there's nothing subtle or fragile about this "Flower Drum Song." It is gaudy and gaggy and quite melodic. Along those lines, it is quite a show.

The Music Hall stage show, called "Moonlight and Rhythm," features a singing group, the Eight Notes; Larry Griswold, trampolinist; Loray White, vocalist; the Rockettes and the Corps de Ballet in an elaborate performance to Beethoven's "Moonlight Sonata," with Irene Apinee and Jury Gotshalks as soloists. The Cast FLOWER DRUM SONG, screen play by Joseph Fields; directed by Henry Koster; produced by Ross Hunter for Universal-International. At the Radio City Music Hall. Running time: 133 minutes. Linda Low . . . . . Nancy Kwan Flower Drum Song (Lyrics) - Broadway musical Synopsis Initially production was opened in 1958 under the leadership of creative duo made of Rodgers and Hammerstein in St. James Theatre. Advance purchases of tickets were normal and regular sales were also strong, despite the unrest of the novel's author C. Y. Lee. Receiving 6 Tony nominations, among which there was only one award, musical confidently lasted for 600 exhibitions and it was more than another other show, comprised of Asian actors.

Closing took place in May 1960, after lowering the threshold of ticket sales to the level of 70%. This histrionics brought a profit of 35% of ROI on initial investment. This show served for Rodgers as his salvation from depression. After that, the opening in London wasn’t waiting too long & in 1960 it has already begun, giving 464 hits. There were fewer Asian actors than on Broadway and there were: Y. S. Tung, K. Scott, G. Minami, Y. Saki, T. Herbert, I. Shepley. The director was Jerome Whyte. The national tour followed in 1960, starting with Detroit, then the prosperous city, shortly before the death of Hammerstein in 1960. Marketing support in San Francisco was in streets decoration with Chinese lanterns, and Asian girls were hired to play on musical instruments. Closing of the tour was in 1961. Screen version of the film took place in 1961 too and received a terrible financial failure – the only one among adaptations of this creative duo that failed at the box office.

Following resurrection of the same version performed in 1961 in San Diego, 1961 at St. Louis, 1963 and 1964 in San Francisco, in 1965 at St. Louis again. It's hard to count numerous amateur performances, which began because of the popularity of this musical. It is only known that they began in the 1960s. In the second half of the 60s, musical popularity has declined because this musical was weaker than the rest of the work Rodgers & Hammerstein, and racial tolerance in the United States increased in general. Release date: 1958 Flower Drum Song lyrics list Act 1 Flower Drum Song - Broadway | Tickets, Reviews, Info and More Flower Drum Song Hi, I was on TheaterMania.com and thought you might be interested in seeing this. Cancel Send Email WHAT IS IT ABOUT? David Henry Hwang has re-written the book for the classic Rodgers & Hammerstein musical, Flower Drum Song. Lea Salonga stars in this new production, directed and choreographed by Robert Longbottom.

In this newly revised version, Mei-Li (Salonga), the daughter of a Chinese opera master, travels to San Francisco as the dying wish of her father. In Chinatown, she meets Master Wang, a colleague of her father's, and Wang's American-born son, Ta, at their struggling opera house, which over his father's objections, Ta transforms into a swinging nightclub, Club Chop Suey. As Mei-Li's own identity is in transition, she witnesses the delicate balancing act in her new community between the older generation's struggle to hold on to traditional beliefs and the younger generation's desire to assimilate. She also finds herself falling in love. Visit the Flower Drum Song website: Flower Drum Song :: Rodgers & Hammerstein :: Show Details Like this page on facebook. Flower Drum Song Music by Rodgers, Richard | Lyrics by Oscar Hammerstein II | Book by Oscar Hammerstein II and Joseph Fields | Based on the novel by C.Y. Lee The generation gap is given the Rodgers & Hammerstein treatment in this colorful approach to the age-old conflict.

In San Francisco's Chinatown of the late '50s, nightclub owner Sammy Fong's traditional family has ordered him a picture-bride from China, hoping to end his pursuit of an enticing dancer. Mei Li arrives, shy and at sea in a world she doesn't understand, and it's clear that she's the wrong gal for the totally assimilated Sammy. However, she may be just the ticket for Sammy's buddy, whose traditionalist father is fighting a losing battle with his kids against rock `n' roll, baseball, sports cars and the typical trappings of the modern American life-style. By turns raucous and heartfelt, the solution to this delightful Chinese puzzle of properly matching the young people while reconciling the old is a celebration of American ingenuity. Flower Drum Song Background Rodgers and Hammerstein’s FLOWER DRUM SONG opened in New York on December 1, 1958 and ran for a year and a half. The London production, which opened in March of 1960, ran for more than a year and the successful film version was released in 1961. The book by Oscar Hammerstein 2nd and Joseph Fields is based on the novel by C.Y. Lee.

The songs, with music by Richard Rodgers and lyrics by Mr. Hammerstein, include such fine examples of their art as: “I Enjoy Being a Girl,” “A Hundred Million Miracles,” “Sunday,” and “Love Look Away.” The setting for FLOWER DRUM SONG is San Francisco’s Chinatown and all the characters are of Chinese ancestry. However, in the original Broadway production most of the leading roles were played by non-Chinese: a Japanese girl, a Japanese-American girl, a black woman, a Hawaiian and a Caucasian from Texas. In his autobiography, “MUSICAL STAGES,” Mr. Rodgers wrote: “This ethnically mixed cast demonstrates one of the wonderful things about theatre audiences. People want to believe what they see on stage, and they will gladly go along with whatever is done to achieve the desired effect.” Prior to FLOWER DRUM SONG, Rodgers and Hammerstein had enjoyed great success with OKLAHOMA!, CAROUSEL, SOUTH PACIFIC, and THE KING AND I. They were to follow it with the enormously successful THE SOUND OF MUSIC.

It should be noted that prior to writing with Rodgers, Hammerstein achieved recognition in earlier collaborations with Jerome Kern, Sigmund Romberg, and other illustrious composers. Mr. Rodgers was, of course, the Rodgers of Rodgers and Hart. Flower Drum Song History "It was our lucky hit," said Oscar Hammerstein II in regards to FLOWER DRUM SONG, his ninth collaboration with Richard Rodgers. "Luck" was putting it mildly: even Hammerstein probably underestimated the web of serendipity that led to the popularity of their 1958 musical, a story of love and culture clash among Asian-Americans in San Francisco’s Chinatown. To paraphrase one of the show’s most beloved songs, FLOWER DRUM SONG’s journey to success is truly the product of a hundred million miracles. The story begins in China, where a man named Chin Yang Lee was born to a Hunan rice farmer in 1917. By the mid-1940s, with his country ravaged by war, Lee managed to secure a student visa and flee to America in pursuit of his dream: to be a playwright, like his hero Eugene O’Neill.

Despite the language barrier, he was accepted into the Yale playwriting program, O’Neill’s prestigious alma mater. Drawing from his life experiences in China, Lee wrote several plays at Yale and had them produced on campus. When literary agent Ann Elmo showed up at one of them, Lee assumed that his big break had arrived. But instead, Elmo gave him some career advice that broke his heart. "Forget that Chinese stuff," she told him. "It’ll never sell." Discouraged, Lee moved to San Francisco, where he rented a room above a Chinatown honky-tonk and began to try his hand at straight fiction. His visa had expired by then, and he lived in constant fear of deportation—but his luck changed when one of his short stories won a national contest. Lee realized then that he had talent after all, and he decided to renew his visa and start a novel—one that returned to the subject of "that Chinese stuff." The finished manuscript, called The Flower Drum Song, was a hard sell. Even with Elmo working as his agent, no publisher was interested in selling a story about Chinese immigrants.

As a last resort, Elmo finally sent the book to an obscure art-house publishing company called Farrar, Straus and Cudahy. It was their only hope. "If they turn it down," she told Lee, "you should give up writing." The publishing house sent the manuscript to one of their test readers, a very old man who worked from his home. The next morning, he was found dead in his bed—next to the manuscript of The Flower Drum Song, on whose cover he had scribbled: "READ THIS." The publishers could hardly ignore the dying wish of an old man; they read it, and they knew they had to publish it. By 1857, The Flower Drum Song was on the New York Times best-seller list. The novel caught the eye of producer Joe Fields, who had been scrounging around for new material. It occurred to him that Lee's novel was perfectly suited to become a musical, and he knew just who he wanted to write the adaptation. Around the same time, Rodgers and Hammerstein found themselves in a bit of a rut.

Though they were enjoying boundless success with their movies and the CINDERELLA television special, R&H were also feeling the sting of two consecutive stage flops, ME & JULIET and PIPE DREAM. Seeking to explore new territory while staying true to their romantic roots, they were quick to team up with Fields on The Flower Drum Song, whose unusual setting and traditional love story appealed to their sensibilities. The hype began as soon as the news went public: FLOWER DRUM SONG was going to be a return to form for Rodgers and Hammerstein. The theatre world buzzed with talk about the gutsy, exciting choices R&H were making. Gene Kelly was chosen to direct, and the three of them decided that they wanted to cast real Asian actors, not white actors in yellowface and eye makeup. Unfortunately, in those days, real Asian actors were few and far between, forcing the show’s creators to cast in unexpected places. They attended Chinatown beauty pageants and stopped Asian strangers on the street. Kelly went to a Chinese comedy club in San Francisco and cast a comedian named Jack Soo; Hammerstein recruited the beautiful and sassy Pat Suzuki, whom he’d seen singing on a TV variety show.

A Hawaiian singer named Ed Kenney was chosen to play Ta, the romantic male lead. For the role of Mei-li, his shy immigrant bride, they cast the show’s only Asian celebrity: Miyoshi Umeki, who had won the Best Supporting Actress Oscar in 1957 for Sayonara. The talent hunt was an enormous success, and in the end, the cast included only two non-Asian performers: Larry Blyden, a white actor who played the assimilated Sammy; and Juanita Hall, an African-American actress who played Auntie Liang. (She had previously originated the role of Bloody Mary in SOUTH PACIFIC.) Opening night arrived at the St. James Theatre on December 1, 1958. Lee sat nervously in the audience, accompanied by his agent and his publisher. Would the show be any good? He needn’t have worried: it "bowled me over," he said later. "I shed tears because it was so good." FLOWER DRUM SONG received mixed reviews from critics at the time, so Rodgers and Hammerstein were surprised when it turned out to be not only one of the most popular shows of the season, but a bona fide national phenomenon.

Thanks to the show, Pat Suzuki even made history: that year, posing next to the Japanese-born Miyoshi Umeki, she became the first American-born Asian ever to appear on the cover of Time magazine. The movie version of FLOWER DRUM SONG was released two years later by Universal, bearing the distinction of being the first Hollywood movie about Asian-Americans, and the first to have an almost entirely Asian-American cast. Lee wrote the screenplay, and the film starred almost every famous Asian-American face in Hollywood. The movie was hugely popular in the Asian-American community: they wrote fan letters to the stars, started Flower Drum Song fan clubs, and even ate at Flower Drum Song theme restaurants. In San Francisco, Lee was given the key to the city. As the years passed, however, FLOWER DRUM SONG’s popularity waned. In light of the new racial sensitivities of the post-Civil Rights era, the very idea of a musical about Chinese-Americans written by the whitest of white men struck some people as outdated. Younger viewers saw some of the characters as stereotypes and were put off by their broken-English dialogue that occasionally verged on baby talk.

For over 40 years, the show enjoyed no revivals and faded into a second-tier Rodgers and Hammerstein reputation. But all this changed with David Henry Hwang’s revamped FLOWER DRUM SONG revival in 2002. Hwang rewrote the musical’s book to ring truer for contemporary audiences, while preserving the wonderful songs. In the process, he discovered that FLOWER DRUM SONG had never really gone away. Even back in the 1970s and 80s, when it was most vehemently protested, "people would in private admit they liked the show," he observed. "How could they not? For us boomers, it was our first opportunity as kids to see Asian Americans singing and dancing in a Broadway play." The original company of FLOWER DRUM SONG had stayed together as a family over the years, and was famous for its periodic reunions. On one October night in 2002, they had their most exciting reunion yet: they all attended a preview performance of the revival together. Pat Suzuki liked it so much, she returned to see it again multiple times.

Hwang’s revival brought new attention to FLOWER DRUM SONG, and now the show is as respected for its groundbreaking innovations as it is beloved for its old-fashioned entertainment value. One of its songs, "I Enjoy Being a Girl," has become a familiar standard; the rest of it is fondly remembered as good vintage Rodgers & Hammerstein. As AsianWeek.com recently declared, "Now is a great time for a new generation of people to see and support this unusual classic." The best way to view FLOWER DRUM SONG is through its Act I showstopper, "Chop Suey." While chop suey is a staple of your favorite Chinese restaurant, it isn’t really from China; it was invented right here in America. That doesn’t make it any less delicious. Tony Awards Read More *Promotional video rights can only be granted once a performance license for Flower Drum Song has been secured. Please contact customer service if you have any questions. If you have not yet applied for Flower Drum Song, you can do so here. LOG IN to learn more. Archival 1.

Subject to the information provided in Licensee’s application and payment of the fee as set forth in Paragraph 3 herein, Licensee shall have the right to create a single copy of the Video for internal archival, private viewing purposes at Licensee’s address only and shall not be re-copied, distributed or otherwise exploited, in whole or in part, in any media now known or hereafter developed without the prior written approval of R&H. Without limiting the generality of the foregoing, the Video shall not be (i) sold to anyone (ii) telecast by any television station or network, including, without limitation, any local cable station or (iii) distributed, exhibited or otherwise exploited over the Internet or as part of any online auction. 2. Licensee agrees to include the following language at the beginning of the Video: ©Year By R&H Theatricals. This production was videotaped by special arrangement with R&H Theatricals for archival purposes only. All Rights Reserved. WARNING: Federal law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures, videotapes or videodiscs.

Criminal copyright infringement is investigated by the FBI and may constitute a felony with a maximum penalty of up to five years in prison and/or a $250,000.00 fine. This Video is provided to you for private, organizational and home viewing purposes only. By accepting the Video, you agree not to authorize or permit the Video to be copied, distributed, broadcast, telecast or otherwise exploited, in whole or in part, in any media now known or hereafter developed. *You must be logged in and licensed to present Flower Drum Song in order to license Archival rights. Please contact customer service with any questions. Distribution 1. Licensee shall have the right to create the Video and to make up to one hundred (100) copies of the Video for sale at cost to its Members for internal archival, private viewing purpose at Licensee’s address and for private, home-viewing purpose by Members, and shall not be re-copied, distributed or otherwise exploited, in whole or in part, in any media now known or hereafter developed without the prior written approval of R&H.

Without limiting the generality of the foregoing, the Video shall not be (i) sold to anyone other than the Members (ii) telecast by any television station or network, including, without limitation, any local cable station or (iii) distributed, exhibited or otherwise exploited over the Internet or as part of any online auction. 2. Licensee agrees to include the following language at the beginning of the Video: ©Year By R&H Theatricals. This production was videotaped by special arrangement with R&H Theatricals for archival purposes only. All Rights Reserved. WARNING: Federal law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures, videotapes or videodiscs. Criminal copyright infringement is investigated by the FBI and may constitute a felony with a maximum penalty of up to five years in prison and/or a $250,000.00 fine. This Video is provided to you for private, organizational and home viewing purposes only. By accepting the Video, you agree not to authorize or permit the Video to be copied, distributed, broadcast, telecast or otherwise exploited, in whole or in part, in any media now known or hereafter developed.

Flower Drum Song Reviews & Ratings - IMDb IMDb 41 out of 41 people found the following review useful: My Very First Musical from Buffalo, New York 24 July 2005 Flower Drum Song holds a special place for me because it was the first Broadway show I ever saw. And I don't think it's been given the proper place in the pantheon of Rodgers&Hammerstein shows. Back then minority players had a hard time getting parts and Flower Drum Song certainly filled a need there in the same way Porgy and Bess has done for black people. This was the first time a Broadway show was completely cast with oriental players. A milestone not to be overlooked. Several of the Broadway cast made it to the film version. Juanita Hall, Patrick Adiarte, Keye Luke and most of all Miyoshi Umeki repeated their roles. Miyoshi was very big news then. When I saw the play she had just won her Best Supporting Actress Oscar for Sayonara. Also a significant milestone, very significant in the repair of Japanese- American relations from World War II. Jack Soo also made it from Broadway.

But on Broadway the future Detective Nick Yemana of the bad coffee, was the "Commodore" from the Chinese nightclub. Here he is one of the male leads in a part originated by Larry Blyden on Broadway. Soo's deadpan delivery that made him so popular on Barney Miller is working undertime here. If you liked him on Barney Miller, he's great here. James Shigeta took the place of one Ed Kenney from Broadway. Shigeta was at the start of a long career as probably THE Oriental leading man in American films for many years. The big hit song from Flower Drum Song is I Enjoy Being a Girl which was and is the anti-battle cry against feminism. Doris Day had a big hit record of it (she would), but today feminists would be picketing the show with the message that conveys. I mean, really, the goal of the American woman is to be barefoot and pregnant at the "home of a brave and free male." Gloria Steinem would have cardiac arrest. Nancy Kwan does wonderfully in the role of Linda Low who lip syncs those sentiments previously mentioned.

Right around this time, Kwan, France Nuyen, and Nobu McCarthy all came along at the same time and seemed to battle for the same parts. Two songs that are overlooked gems are You Are Beautiful which Johnny Mathis sang beautifully on record and Love Look Away. The latter is sung offscreen by Metropolitan Opera diva Marilyn Horne. That's not to be missed. And neither is Flower Drum Song. Was the above review useful to you? 35 out of 37 people found the following review useful: a feast for the eyes and ears from hollywood 14 July 2000 This is film making the likes of which will never be seen again. It gives romance, comedy, drama and a fantastic Rodgers and Hammerstein score. Ross Hunter pulled out all the stops making this film a feast for the eyes with fabulous technicolor, brilliant costumes and the great Hermes Pan doing some of the most original choreography of his career. It's escapism at its best. Miyoshi Umeki gives a fresh and fantastic oscar worthy performance totally topping her oscar winning role in Sayonara.

For some reason this film has always been overlooked and the score written off as forgettable maybe because it doesnt have a caucasian leading actor and the music isnt as instantly recognizable as The Sound Of Music. Of course you know its going to be a happy ending but you don't have any idea how the characters are going to overcome the obstacles. The music may take some people a closer listening but it is definately R&H in top form - from the ballads to the swing numbers - it's poetic clever and very melodic. This film like all big musicals is best seen on the big screen where it can be enjoyed as it was meant to be. It really is a secret gem. Was the above review useful to you? 36 out of 41 people found the following review useful: What my Chinese (PRC) wife thought of FDS from usa 7 April 2006 Speaking for myself, I have been a huge fan of FDS since the '70s when I bought the soundtrack album (on Decca) at a used record store for $7. I saw it on TV one new years day i think 1980 and it's been one of my favorites ever since.

Not only is it one of R and H's best scores, Alfred Newman's arrangements are simply lush and beautiful. The cast and the director are all top notch. The screen play is delightful, perhaps a bit long, but rather too long than eliminate one of the great songs, some of which were already edited down from the original Broadway version which was directed by the great Gene Kelly. I have often wondered what would have happened if he had directed the movie. On stage, I do like the full two versions of The Other Generation, for example. My wife is from the Peoples Rep. of China. Shes 28 and has been in the USA for 15 months as of this writing. I was going through my stuff recently in storage and came across of my heavily yellowed copy of CY Lee's novel FDS and thought my wife would enjoy it. She did. So i thought well now it's time to break out my old VHS copy which i hadn't seen since 1990. it was playable but storage hasn't been very kind to it. C'Mon DVD!!! Her final comment was "cute". Benson Fong's Mr. Wang reminded her of her own father.

Even though my wonderful father in law is a hard line communist, I see the obvious paternal, controlling similarities between them. He made her very nostalgic for her home land and her family. If we ever have any sons, he will probably be like Wang San in many ways and she could see the old man's reaction to his youngest son's could be very similar between her father and our son yet to be conceived. What she thought was laughably bad was "A Hundred Million Miracles" trying to be passed off as a real flower drum song. She said, "if they sung that in China as a flower drum song they would have been stoned to death." She almost lost interest in the movie at that point especially since the movie and original play deviate from the novel at that point. So she didn't buy that at all. Sammy Fong's lecherous behavior was also realistic for a Chinese businessman. My wife related to that too. She didn't buy some of the costuming especially young women wearing hats. Married women wore hats in the '50s but Mei Li apparently wouldn't. Speaking of Mei Li, she totally bought her character both in the book and the movie.

Very realistic portrayal and Miyoshi looked like a typical peasant girl albeit Miyoshi is Japanese not Chinese and that was evident immediately. Linda Low, though not a big part of the novel, if at all, (I have forgotten if that character appears in it), was another realistic character, even today in 2006!! She reminded both us of, well... shall we say... materialistic girls you could meet everyday in Shanghai, the ones that unsuspecting foreigners need to be careful of. In any event, Nancy Kwan has another fan in my wife. We have a copy of Suzie Wong - book and movie - in China. For myself, it was interesting seeing the movie after having lived three years in the PRC and what an admirable job the creators of the movie did in keeping with the culture. They missed a few things obviously, but for two Jewish boys from NYC, R and H as well as Joseph Fields libretto did an awesome job of keeping it real, much more so here than with the King and I which both play and movie are banned forever in Thailand because the Thai people find it so offensive.

As far as David Hwang's remake of FDS goes, I really can't comment on it because I haven't read it or seen it. I don't know if I really want to although I am curious just because I have been a supporter of FDS for so many years. If the idea for the remake is to resemble the novel more, than I am all for it. I love the novel and I think the original play and movie missed opportunities for beefing up the Helen Chao character better. She just kinds of disappears with no mention of her suicide after the hauntingly beautiful "Love Look Away" a show stopper if there ever was one. That is a flaw. I just love Sammy Fong. How can you have FDS without Sammy Fong? He is just so sleazy and brilliant and wonderful invention by the creative team. How can you do FDS without 'the other generation" in any version. That's the whole point of the both the novel and the original play as well as the movie - the generation gap and the cultural gap.

In portraying that, FDS, the original play and movie, succeed on pretty much every level If the idea to create a new version of FDS was because the movie and play portrayed negative stereotypes, my wife who is Chinese has to disagree. She loves the characters in this movie; in many ways, they brought China to life for her and what it is like living in a totally new culture, not understanding anything at all, or in her case thinking you know a foreign culture because you have worked with foreigners and finding it's completely different over here. Kudos and thank you to RandH, Ross Hunter and his team in creating a movie that has aged so gracefully, (as has Ms. Kwan) for the most part, and making serious cultural and generational issues that will probably never go away fun. This movie will be current in 100 years. Was the above review useful to you? 24 out of 24 people found the following review useful: Forget the PC and enjoy the movie, musical numbers, actors and film titles.

from United States 14 March 2005 The last time I saw Flower Drum Song on a big screen was at the Asian Pacific American Studies event at New York University, spurred on by David Henry Hwang's Broadway revival which received favorable reviews except for one paper. I was invited because my father created the film titles. Socialogical connotations at the event were discussed: cultural and generational conflicts, old and new set in the City on Golden Hill, the quest to achieve, etc. I have seen the original musical, the film many times, and the revival which deserved a longer run. Then the film began. I was impressed by Nancy Kwan's acting and others, memorable musical numbers and the opening and closing title paintings by my father, Dong Kingman. In many ways a beautiful film, and a case can be made, a pioneering one. Okay so it is a bit corny, a few young members of audience uneasily snickered at the stereotypes, scenes could have been cut, especially one fantasy sequence. Yet the Flower Drum Song endures and to enjoy. Rating is 7 1/2, plus half star more for dad. Was the above review useful to you?

21 out of 22 people found the following review useful: A Great Musical from the Early Sixties from western US 23 August 2005 This one takes me right back to the sixties when we were young and full of hope for the future. We saw it as a first run movie at Graumann's Chinese Theater in Hollywood and loved it. Even today, on the television set, it holds up well and the overture just jumps out at you. Soon, you hear "A Hundred Million Miracles, with doll-like Miyoshi Umeki, and other great songs like "Love Look Away," and "Sunday." The choreography is as impressive as the music, in particular the erotic dance sequence for "Love Look Away," with beautiful Reiko Sato as Helen. Her unrequited love for Ta (James Shigeta) is never neatly resolved, unlike the film's other romantic relationships, and unfortunately, she died in real life only twenty years later. Nancy Kwan as Linda Low, of course, looks great, sings well, and slinks around very nicely, as do the many other lovely Asian dancers who grace this testament to Chinese American culture and oriental beauty.

The funniest and best acting came from old man Wang, played by Benson Fong. He complained to his wife's sister (Juanita Hall) that after five long years of citizenship school, the only thing she could say about America was, "This isn't China!" And when asked to describe the mugger who had robbed him on his doorstep, he replied simply, "How should I know. All white men look alike." James Shigeta and Jack Soo handed in memorable performances, as well. The former became one of the most successful and consistently employed oriental actors in American film and television, while the latter went on to play Nick Yemana on "Barney Miller." Although there are some corny aspects to "Flower Drum Song," these are more than counterbalanced by the many interesting elements that occur throughout the movie. In short, it's a sort of "Joy Luck Club" of the early sixties, on a similar level and released about the same time as "South Pacific" and "West Side Story." A couple of years later, America was again impacted by the Orient. The beautiful song "Sukiyaki," an imported hit from Japan, went to number one on the American pop charts.

We had our problems in those days, but culturally speaking, it was a great time to be alive. Was the above review useful to you? 16 out of 16 people found the following review useful: New DVD Resuscitates Rodgers and Hammerstein's Quaintly Entertaining East-Meets-West Musical from San Francisco, CA, USA 7 November 2006 As a Japanese-American raised in the 1960's, I always had mixed feelings about the 1961 film version of Rodgers and Hammerstein's Chinese-American musical comedy. Although it was refreshing to see so many Asian faces in a mainstream studio movie (granted several Japanese-American actors in Chinese roles), the portrayals always struck me as trite and catering to pre-existing stereotypes. Now that it has finally come out on DVD forty-five years after its initial release, I can appreciate it much more without raising my eyebrows as much, perhaps because it now seems so much a nostalgic product of Eisenhower-era sensibilities. Another reason is that the DVD contains a pristine print that balances the saturated use of color throughout.

Moreover, there is the music, which while not grade-A material from the legendary team, has enough of their recognizably melodious style to make the whole affair quite entertaining now. Set in San Francisco's Chinatown in the late 1950's, the soufflé-light story, written by Joseph Fields, is a family-oriented, musical-chairs romantic comedy focused on East-West cultural differences primarily in the well-to-do Wang household headed by the ultra-traditional Master Wang. It starts with pretty Mei Li, who has stowed away on a Chinese steamer with her professor father to become a mail-order bride for nightclub owner Sammy Fong. En route, they end up staying in the Wang home where she develops a crush on eldest son Wang Ta. But he is infatuated with saucy showgirl Linda Low, who is intent on making Sammy jealous enough for him to propose after five years of non-commitment. Wang Ta and Linda turn out to be a mismatch, which would be good news if only Mei Li's marriage contract were not so binding. If that situation is not complicated enough, dressmaker Helen Chao has a lifelong crush on Wang Ta as well.

An all-Asian cast was assembled, a rarity in itself back then, and it helps that most perform within the constraints of the movie quite well. Looking like a porcelain doll brought to life, Miyoshi Umeki lends her uniquely plaintive quality to the role of Mei Li, and she sings with quiet clarity on her trademark song, "A Hundred Million Miracles". As Wang Ta, James Shigeta, also a pleasant singer, is sincere with the matinée idol looks to match, although his naïve character seems excessively dim when it comes to women. Both, however, are overshadowed by the shenanigans provided by Nancy Kwan, at her pin-up cutie peak, as Linda, and Jack Soo in full Dean Martin mode as the cynical Sammy. Even though their stormy relationship seems to be lifted completely from Nathan and Adelaide's in "Guys and Dolls", they provide the lion's share of the entertainment with the domestic fantasy, "Sunday" a particular highlight. While dubbed, Kwan performs the boudoir classic, "I Enjoy Being a Girl", with sexy flair, and she dances with graceful exuberance on "Fan Tan Fannie" and especially on "Grand Avenue" with a virtual battalion of dancers.

Benson Fong, who memorably played Charlie Chan's #3 son in his youth, brings the necessary bluster to Master Wang, while Juanita Hall, Bloody Mary from "South Pacific", stays mainly on the sidelines as the understanding Auntie Liang except when she solos on "Chop Suey". Of the supporting cast, two performers stand out - teenaged Patrick Adiarte dancing energetically as younger son Wang Tan, and as the lovelorn Helen, Reiko Sato leads a stunning ballet on the show's best song, "Love, Look Away" (her voice is dubbed by legendary soprano Marilyn Horne). The opening credits showcase a series of striking watercolor paintings from artist Dong Kingman, and Russell Metty's richly colorful cinematography can finally be appreciated with the DVD. The 2006 DVD extras are generous starting with a solid commentary track from Kwan and British film historian Nick Redman. Even though Kwan sometimes gets derailed by her life story, she and Redman partner well in bringing out intriguing aspects of the production and cast. There are five featurettes which feel like components of one feature-length documentary since the same participants show up in all five.

The first one talks about the story's transition from the original novel by C.Y. Lee to the Broadway musical directed by Gene Kelly to the 1961 movie to the 2002 Broadway revival developed by David Henry Hwang. The other shorts focus on the casting, the score, sets and costumes, and a more personal look at Rodgers and Hammerstein. It's interesting how veteran filmmaker Henry Koster is barely mentioned since he directed the film, though his pedestrian direction is truly the least impressive part of the movie. Was the above review useful to you? 14 out of 14 people found the following review useful: It caught me just right. from Midwest 24 March 2002 When I saw this movie, it caught me in the right mood to really enjoy this film. In fact, I was almost misty eyed when Helen turns to lament the song "Love Look Away". Only "Where is Love?" from OLIVER is a more moving emotional song that fits directly into the story and the movie. I think the acting is superb and can't understand why this R & H musical doesn't attract more attention. Was the above review useful to you?

11 out of 11 people found the following review useful: Fun film with lots of enjoyable songs from Sacramento CA 28 May 2001 Many of the songs are very well done and enjoyable, especially Nancy Kwan's "I Enjoy Being a Girl." Yowza! All the actors are fabulous and the lines are a ball. Not only is it a love story but a great tale of modern vs. traditional values and absolutely suitable for all ages. Was the above review useful to you? 10 out of 11 people found the following review useful: Worth the wait - director Henry Koster's Rodgers & Hammerstein's "Flower Drum Song" finally available on DVD as Special Edition from sf, usa 2 December 2006 The 1961 musical "Flower Drum Song" is a fabulous Ross Hunter [1] production (top-notch art direction, cinematography, costume design, set decoration, film editing and sound). I found myself enjoying it more and more. I do like "The King and I" "Oklahoma!" "Carousel", yet "Flower Drum Song" is culturally diverse, 'oriental USA' and very much San Franciscan.

Directed by Henry Koster [2], music and lyrics from the popular pair of Richard Rodgers and Oscar Hammerstein 2nd, with Alfred Newman supervised & conducted the music score which included a wide spectrum from Asian 'flower drum song' tune, to jazzy rhythm, strings orchestral for ballet/dance pieces, to montage songs and cabaret show numbers / big band melodies; associate vocal music arranger Ken Darby, and simply marvelous choreography by Hermes Pan. Such a stellar cast: Nancy Kwan as Linda Low and Jack Soo as Sammy, Miyoshi Umeki as Mei Li and James Shigeta as Ta, Juanita Hall (of "South Pacific" 1958 fame) as Madam Liang / 'my wife's sister,' Benson Fong as Ta's father / 'my sister's husband,' Reiko Sato as Helen Chao (the seamstress), and what an amazing, versatile dancer Patrick Adiarte is (his debut role was in "The King and I" 1956 as the eldest prince opposite Yul Brynner).

The musical numbers and songs are catchy and entertaining, matching key segments of the storyline: A Hundred Million Miracles; (What Are We Going To Do About) The Other Generation; Chop Suey; I Enjoy Being A Girl; Sunday (Sweet Sunday); Fan Tan Fannie; Grant Avenue; Love Look Away (sung by Marilyn Horne); Don't Marry Me; and more. Turning on the subtitles feature, one can see the lyrics and easy to sing along, too. Based on C.Y. Lee's novel of the same name, Joseph Fields (also associate producer) wrote an engaging screenplay, blended humor and 'coined' words of the times within the dialogs. Juanita Hall's grocery food order ("four pounds of seahorse, two pounds of dry snake meat, a box of longevity noodles") over the phone ending with "and a dozen thousand-year eggs, and be sure they're fresh" is an absolute gem. Imagine TV turned out to be a resource of solution to our heroines and their beaus romantic predicaments. Unforgettable: Mei Li said to Ta, "tomorrow we must go to Temple of Tin How and thank the Goddess of Heaven for television." Such quality produced films are rare these days.

If you don't usually watch musicals, give "Flower Drum Song" a try, it's drama and humor would provide an enjoyable time. [1] Memorables produced by Ross Hunter: "The Chalk Garden" 1964 (d: Ronald Neame; Hayley Mills, Deborah Kerr, John Mills); "Pillow Talk" 1959 (with Doris Day, Rock Hudson, Thelma Ritter, Tony Randall); "Imitation of Life" 1959 (d: Douglas Sirk; Lana Turner, Juanita Moore, Sandra Dee) [2] Favorites directed by Henry Koster: "Three Smart Girls" 1936 with Deanna Durbin; "The Singing Nun" 1966 with Debbie Reynolds. Highly recommend - intelligent drama with suspense (in B/W, not a musical): "No Highway in the Sky" 1951with James Stewart as an aeronautical engineer who's steadfast and persistent, Glynis Johns as the sensible and caring air hostess, and Marlene Dietrich as only Dietrich could. (VHS only as yet) Was the above review useful to you?

14 out of 19 people found the following review useful: LOVE IT !!!!!!!!!!! from MIAMI, USA 15 July 2004 What is the hold up with the DVD release of the fantastic film. It should be out on DVD ASAP. This Rodgers and Hammerstein at their best, it ranks up there with "THE SOUND OF MUSIC". Get on the ball Universal and release this on DVD. Outstanding cast, Magnificent sets, Stunning costumes, and a FANTASTIC soundtrack. Was the above review useful to you? Page 1 of 5:

Question: In which City is the Musical “The Flower Drum Song” set ?
Answer: SANFRANCISCO