Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Kien Navarro Exactly the movie you think it is, but not the movie you want it to be.

Frances Chung Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

l_rawjalaurence First and foremost, CALAMITY JANE is a fun musical. The 29-year-old Doris Day thoroughly enjoys herself in the central role as a gun-totin' tomboy, the fastest draw in the city of Deadwood, South Dakota - apart from Wild Bill Hickok (Howard Keel). She demonstrates an apparently limitless capacity for telling tall stories, as well as a unique ability to ride a horse. She and Keel make a lovable double-act, especially in their song "I Can Do Without You" - which is of course completely ironic in tone. They clearly cannot do without one another, as proved at the end of the film when they celebrate their nuptials. Sammy Fain and Paul Francis Webster's score contains at least two classics, "The Deadwood Stage (Whip Crack-Away," which opens and closes the film, and "Secret Love," a typically schmaltzy Day song that topped the charts on its initial release. Yet perhaps the film's most interesting aspect today is the way in which it embodies early Fifties attitudes towards gender. Calamity Jane's decision to don male attire is perceived as something aberrant; she is tolerated by her fellow-citizens of Deadwood, but no one really takes her very seriously. It is only when she is 'educated' in feminine ways by visiting singer Katie Brown (Allyn McLerie) that she understands what her 'proper' role should be. She should accept that females (unlike males) are capricious in nature, apt to make spontaneous decisions without rhyme or reason. In a ball scene towards the end of the film, Calamity appears in a long gown, her blonde hair neatly tied at the back - the male guests stare at her in disbelief, as if they cannot believe they have a "true" woman within their midst. Calamity feels uncomfortable in the role, and returns briefly to her male attire; but when the citizens refuse to speak to her later on (punishing her for her decision to banish Katie from their town), she understands the "error" of her ways. At the film's end she wears a bridal gown and tosses her six-shooter away, in symbolic acknowledgment that she should no longer try to adopt masculine attitudes. Rather she should accept her designated role as wife and (probably) mother.

Armand music, West atmosphere, Doris Day and Howard Keel.slice of a period , nice, seductive, crazy, funny.and itself. this is basic point because, in a ocean of musicals, it has its individuality not exactly for story or for songs but for charming manner of Doris Day to create her character. it is a modern fairy tale, fascinating for innocence slices and joy who has it axis. for the spirit of a childish play and for the sweet feminism. maybe, it is far to be memorable but the link between Keel and Doris is so amusing than whole chain becomes, formally, credible. it is a sunshine film and best cure for cloudy days from every windy city.

Spikeopath Calamity Jane is directed by David Butler and written by James O'Hanlon. It stars Doris Day, Howard Keel, Allyn Ann McLerie, Phillip Carey & Dick Wesson. The score features music by Sammy Fain and lyrics by Paul Francis Webster. Out of Warner Brothers, the film is seen as a response to the success of MGM's production of Annie Get Your Gun in 1950, where Keel was also starring. Plot here is loosely based on the life of Wild West heroine Calamity Jane (Day) and explores the relationship between Wild Bill Hickok (Keel) and herself. I guess the first thing that should be said is that this is no biography of one Martha Jane Cannary Burke (AKA: Calamity Jane), In truth this is more a comedy musical romp built around the famous frontiers woman. And with it being very basic on narrative and direction, this really only appeals to the film fan with musical leanings. But on that score the film is delightful, with spirited lead performances from Day & Keel and a handful of truly great tunes headed by the Oscar winning "Secret Love". The film also earns some bonus points for giving Day the chance to play something other than the naive innocent girl next door type (it was a personal favourite role of hers). She gets to be spunky and brash without ever losing that adorable appeal that carried her throughout her career. The play on sexual stereotypes is rather humorous without being twee, something that you feel Butler was under appreciated for, and Wilfred M. Cline's colour photography enhances the playfulness of it all. Seen now as a feminist fantasy with a gay following thanks to "Secret Love", there's no denying the film is all very Hollywoodized; with characters so animated they could burst. But all told, if one is able to forgive and see past its flaws then it's a film guaranteed to light up the darkest of wintry days. 7/10

TheLittleSongbird This film is one of my favourites. It is funny and touching, has great songs and superb performances. The opening song, is probably the most rousing opening song in a musical. The other songs "Windy City", "Secret Love" "Woman's touch" and "Take Me To The Black Hills" are all outstanding and beautifully staged. The costumes and sets were fabulous too. The performances are fantastic.The always lovely Howard Keel is excellent as Wild Bill Hicock; maybe I'm biased because I can never get enough of Keel's wonderful singing voice. The scene where he dressed up as an Indian, cracked me up. But the main strength of the movie is the wonderful Doris Day, and I seriously can't imagine anyone else who can do Calamity better. She put great energy into "Windy City", and "Secret Love" was beautiful. Her change of heart at the end was so believable, and for the songs and Day, watch this musical! 10/10 Bethany Cox