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Every 4th of July I notice “1776,” the musical that has our Founding Fathers singing and dancing their draw to Independency, and every time John and Abagail Adams pronounce goodbye to each other (“Till Then” and “Yours, Yours, Yours”), I rep choked up. William Daniels has his role of a lifetime as John Adams, the detestable and disliked Massachusetts delegate to the Continental Congress who is the most alive to advocate of independence (“Piddle, Twiddle and Choose”) . Virginia Vestoff plays his wife Abigail, and their exchanges are based on the “Dearest Friend” correspondences they wrote to each other during the crucial summer of 1776. However, the most unforgettable performance in “1776″ comes from Howard Da Silva as Dr. Benjamin Franklin. The actor, who played movie villains for years, manages to impart not only Franklin’s wit but also his firm thought in the original run of “Americans.” Ken Howard plays Thomas Jefferson and joins with Adams and Franklin in the show’s two cutest numbers, “But, Mr. Adams” and “The Egg.” I have never cottoned “The Lees of Old-fashioned Virginia,” the song sung by Richard Henry Lee (Ron Holgate) and where every lyric line ends with “LY,” but at the other destroy of the spectrum is the chilling “Molasses to Rum to Slaves,” the song about the Triangle Trade sung by South Carolina’s Edward Rutledge (John Cullum) . The ensemble cast brings the Second Continental Congress alive, with Roy Poole as Stephen Hopkins, David Ford as John Hancock and William Hansen as Caesar Rodney standing out. Most of the cast members were in the Tony Award winning unusual Broadway cast, although Blythe Danner replaces Betty Buckley as Martha Jefferson (“He Plays the Violin”) .

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Peter Stone’s book is remarkably upright in relating the historical events; the biggest error a historian would point to is that John Dickinson (Donald Infuriate), did not expose up the day of the crucial vote so that Pennsylvania would not raze Independence. But Broadway and Hollywood must be allowed to accomplish things more dramatic. What makes “1776″ so amazing is how it teaches history while being so absorbing. The opening of the film, where the tirade by Mr. Adams against the do nothing Continental Congress is interrupted by the collective Founding Fathers jumping up and singing “Sit Down, John,” sets the tone and Peter H. Hunt’s film delivers throughout. The show’s best moment comes in “Is Anybody There? ” when John Adams, all alone in the unruffled chamber, dreams of the pomp and pageantry of a free America.

I also have the laserdisc version, which runs 176 minutes and includes 35 minutes of material originally slice from the film, including the song “Icy, Considerate Men” and alternative shots in several sequences. While the quality of the additional material is in very black shape, fans of “1776″ will remove what they can find. Hopefully the complete film can be restored before we accumulate to the DVD version (hint, hint, hint) . Granted, the concept of a musical about the Declaration of Independence seems bizarre; I once blew off a chance to gape “1776″ on stage because I belief the conception was unimaginative. But this is a respectable musical that makes the time and issues arrive alive, so that even conception we obviously know the outcome, we are enthralled because it looks like Mr. Adams will never obtain his Declaration adopted. If you are looking for a film to stare each 4th of July, “1776″ is the one.

First, let me say that I’m not a mammoth fan of movie musicals. However, I’ve always made an exception for 1776. I deliver it’s my abiding interest in history, and in the accepted presentation of history, that keeps me coming serve to this film. For the uninitiated, 1776 is the anecdote of the signing of the Declaration of Independence, and was first presented on Broadway in the slack 1960s. Spot in Philadelphia in June and early July of 1776, the action centers around John Adams’s attempt to net a reluctant Continental Congress to remark the 13 colonies independent of Colossal Britain. Adams, and his allies (including Ben Franklin and Thomas Jefferson), is opposed at every step by the conservatives in Congress, led by John Dickinson of Pennsylvania. Although we know the ending, it is to scriptwriter Peter Stone’s credit that we realize things may have turned out rather differently.

My first recorded version of this movie was taped off of a local television position that had drastically edited it for length and narrate. When I finally got around to buying the VHS version of 1776, I was amazed at what had been left out, particularly when it came to the earthier dialogue. Imagine my reaction to the modern DVD director’s prick edition of this musical; it was like watching a completely novel movie. Bridging scenes that had been edited out now provide a nearly seamless story slouch, and the musical number “Cold, Considerate Men” has been restored, providing for greater balance between the conservatives and radicals in Congress.

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The cast, a number of whom reprise their roles from the Broadway production, is nearly flawless. William Daniels IS John Adams, hard-headed, driven, passionate, “snide and disliked”. Howard da Silva is equally effective as Benjamin Franklin, elder statesman and earthy man-of-the-world, while the rest of the actors do very well by their characters. Of necessity, the film’s emphasis is on Congress, and therefore on the male of the species; women are petite to two roles–Martha Jefferson, played by Blythe Danner, and Abigail Adams, played by Virginia Vestoff. Of Danner’s role, there is exiguous to say beyond the fact that the actress is a incandescent shroud presence. Vestoff, on the other hand, has a rather more ample role as John Adams’s wife, confidant, and sounding board. The film effectively portrays the correspondence between John and Abigail, a partnership that was, in many ways, noteworthy in American history.

Director Peter Hunt keeps things gripping along at a fascinating budge, propelled by the music of Sherman Edwards, who also wrote the lyrics. It’s hard to purchase a well-liked song, but two stand out in my mind–the chilling “Molasses to Rum to Slaves” and the poignant “Mamma, Eye Provocative”. The archaic underlines the flawed nature of the American Experiment–that a modern nation established on the principle that “all men are created equal” would also retain hundreds of thousands of people in chains. The latter song brings home the fact that while Congress engages in endless debates, men (and boys) are dying on the field of battle.

I could dwell at some length on the historical inaccuracies embodied in this movie–the character of Reflect Wilson, for one, and that of Richard Henry Lee, for another. However, purism aside, what 1776 makes certain is unbiased what a cessation bustle thing independence really was, that there was, indeed, a primary proportion of Americans (and their representatives) who wished to remain true to the British crown. Better yet, the Founding Fathers are portrayed mot as marble men, but as the passionate, flawed, flesh-and-blood individuals they were.
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