Michael Ritchie’s ill-fated 1995 film adaptation of the Tom Jones-Harvey Schmidt Off-Broadway classic “The Fantasticks” deserves attention, if only to call out the perils of adapting an inherently theatrical work for the big screen.
The beauty of the theatrical version of “The Fantasticks” was the simplicity of its staging. A barebones set featuring a slightly elevated platform surrounded by four poles and two trunks, a score of light ballads and bouncy comic tunes, plus a minimalist two-piece musical accompaniment ensured this work could be easily produced in black box theaters and community playhouses with little fuss or expense.
But the essence of the work is its theatricality – specifically, its Off-Broadway theatricality, where an intimate setting and a decided lack of pizazz and flash gave the show a close relationship with its audience. In concept, filming “The Fantasticks” would’ve made more sense as a filmed play – a hybrid solution that most movie lovers abhor, but which could capture the vibrancy of the theatrical event if handled with imaginative direction and superlative performers. Think of the Laurence Olivier version of “Othello,” James Whitmore’s Oscar-nominated “Give ‘em Hell, Harry!” or even the Jonathan Demme-lensed Talking Heads concert film “Stop Making Sense” – all of these were theater-bound endeavors that made for memorable cinematic experiences thanks to intelligent adaptations.
Sadly, that didn’t happen with “The Fantasticks.” Ritchie’s decision to transplant the film into a wider environment and a specific era – the 1920s in rural America, complete with a gaudy carnival setting not in the stage version – immediately took away the timeless element of the story (the stage version is intentionally vague on where and when it takes place). Art direction, set design and costuming in this film version demanded equal attention with the score and story – and considering the wispy nature of “The Fantasticks,” these new visual elements overwhelmed the light source material.
Ritchie’s second mistake came in the casting. As the young lovers, Joey McIntyre (of New Kids on the Block fame) and Jean Louisa Kelly had zero chemistry and barely adequate vocal skills to bring the Jones-Schmidt ballads to life. As their scheming fathers who plot to bring the young lovers together, Joel Grey and Brad Sullivan came across like a pair of old men hamming it up for a Rotary Club talent show – they seem to be amusing themselves rather than filling the requirements of their roles.
Perhaps the biggest mistake was bringing in British television actor Jonathon Morris as El Gallo, the entertainer hired to concoct an abduction designed to unite the lovers. Morris lacked the droll humor and magnetic presence needed for the character. Even worse, his rendition of the score’s one classic tune, “Try to Remember,” was performed with utter indifference – Ritchie staged the number as Morris drives off in a truck, and the actor’s pale singing and blank gaze gave the impression of absent-mindedly humming along to a radio tune while studying the road for a gas station stop.
Oddly enough, MGM/United Artists had high hopes for “The Fantasticks” and planned to release the film in the fall of 1995 as one of its major holiday titles. But poor reaction from preview audiences gave the studio second thoughts. Lacking confidence in the work, the studio withdrew it from release and hoped to push it into a direct-to-video distribution. However, a contractual obligation with Jones and Schmidt required the work receive a theatrical release. Thus, the film was left in limbo for five years – and the longer it sat on the shelf, the worst its reputation grew.
Finally, in 2000, MGM/United Artists brought in Francis Ford Coppola (a filmmaker not celebrated for his gift with musicals – double-check “Finian’s Rainbow” for verification). Coppola took his editing scissors and cut 25 minutes out of “The Fantasticks.” This didn’t necessarily make the film better, but it did make it shorter. The leaner edition was dumped in a grand total of four theaters with barely any promotion. Thus, the studio fulfilled its contractual obligation and “The Fantasticks” wound up grossing less than $50,000 – making it the least commercially successful Hollywood movie musical of all time. Ritchie’s original, 109-minute version was finally seen in a 2015 Blu-ray release but received no great appreciation.