![]() Musicals deal with big emotions, feelings so huge that characters have no choice but to sing and dance. The podcast Musicals With Cheese and the YouTube channel Musical Hell have gone into more detailed explanation of why certain tales work better as musicals, so I’ll make this brief. Many reviewers and I have been confused by this since the story doesn’t really lend itself well to being sung. Now, there’s the other and more obvious alteration: it’s a musical. I’m not bothered by these alterations because they don’t fundamentally change the plot. I suppose this was done to get straight to the point that Mr. Chips fully established at Brookfield as opposed to him starting out in the black-and-white version. I wouldn’t be shocked if this was made to update the story since it was released in 1969. In this adaptation, screenwriter Terence Rattigan shifts to between 1924 and the 1960s. In the novella and the 1939 film version, the story takes place between 18. When watching this version, one will notice three major changes to the story. Part 1 will focus on the 1969 movie musical starring Peter O’Toole as the title character and Petula Clark as Catherine. So starting today, I’ll begin my 4-part series of reviewing each of these subsequent interpretations and how they measure up to the definitive 1939 one. This piqued my curiosity of how each of these adaptations hold up to the black-and-white movie version. These are the 1969 movie musical, the 1984 television mini-series, and the 2002 Masterpiece Theater television film (there’s also a 2021 filmed opera, but that’s not accessible at the moment). ![]() Chips, I discovered that there were three other versions made of this story for the screen. ![]() After watching the 1939 version of and reading Goodbye, Mr. ![]()
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