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Brigadoon

Brigadoon

Music · Fantasy · Romance · 1954

Americans Jeff and Tommy, hunting in Scotland, stumble upon a village - Brigadoon. They soon learn that the town appears once every 100 years in order to preserve its peace and special beauty. The citizens go to bed at night and when they wake up, it's 100 years later. Tommy falls in love with a beautiful young woman, Fiona, and is torn between staying or going back to his hectic life in New York.

Movie details

Brigadoon

“The great Broadway stage musical hit is on the screen!”

1954 Music · Fantasy · Romance 1h 48m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

Americans Jeff and Tommy, hunting in Scotland, stumble upon a village - Brigadoon. They soon learn that the town appears once every 100 years in order to preserve its peace and special beauty. The citizens go to bed at night and when they wake up, it's 100 years later. Tommy falls in love with a beautiful young woman, Fiona, and is torn between staying or going back to his hectic life in New York.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Brigadoon?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Vincente Minnelli

Written by

Alan Jay Lerner

Gene Kelly

Gene Kelly

Tommy Albright

Van Johnson

Van Johnson

Jeff Douglas

Cyd Charisse

Cyd Charisse

Fiona Campbell

Elaine Stewart

Elaine Stewart

Jane Ashton

Barry Jones

Barry Jones

Mr. Lundie

Hugh Laing

Hugh Laing

Harry Beaton

Albert Sharpe

Albert Sharpe

Andrew Campbell

Court is in session

Put Brigadoon on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.