"I am determined that only the deepest love will induce me into matrimony." (Jane Austen, 1813)
Though expressed in the 19th century, this quote serves as a guiding principle for the independence and agency of young women featured in Part Three of The Search for Love in the Movie Musical. It encapsulates their sentiments as they pursue true love, emphasizing the importance of deep, meaningful connections over societal expectations.
Welcome to The Search for True Love in The Music Man, Singin' in The Rain, Fiddler on The Roof, and Meet Me in St. Louis
Marian, the librarian (The Music Man), and Kathy Seldon, a budding stage and screen actress (Singin' in the Rain), are portrayed as independent and career-minded women. Their dedication to their professions leaves them little time for romance, and they do not suffer fools.
Marian rebuffs his advances upon her first meeting with Harold Hill, The Music Man. ("At what college do they give a degree for annoying women on the street like a Saturday night rowdy at the public dance hall?") She also mocks his intentions to insinuate his "good-natured" advice into her family, saying, "Why don't you team up with a nice carnival man who sells gold-painted watches and glass-diamond rings?"
Kathy Seldon's reaction to Matinee-Idol Don Lockwood jumping into her car to escape a group of overzealous fans is as loud as Marian's, but with an element of fear. Believing he is a dangerous criminal, Kathy hails an officer to arrest him, only to discover he is, in fact, a famous actor.
As an apology for her outburst, Kathy offers to drive Don to the corner of Sunset and Camden. During the ride, she deflects his flirtatious advances with resilience and wit, deflating his ego. As the conversation turns to his films, she implies she doesn't 'go to the movies much,' 'I saw one once,' and that pantomime on the screen is 'just a lot of dumb show.' Demonstrating that it takes a lot more than star power to sway her feelings.
Marian and Kathy assert their independence by rebuffing unwanted advances. Teyve's daughters in Fiddler on the Roof and Esther and Rose in Meet Me in St. Louis embody a different yet equally assertive approach to romance and relationships. The daughters, particularly Tzeitel, yearn for the freedom to choose their partners, rejecting the notion of arranged marriages that stifle their agency. Similarly, while embracing love and companionship, the Smith sisters assert their desire to select suitors who genuinely resonate with their aspirations and dreams. Both sets of characters illustrate the evolving landscape of women's desires and their increasing agency in shaping their romantic destinies, as well as embracing the changing societal norms.
As each story unfolds, these four women find their romantic destinies in unlikely places. The rebukes set at Harold Hill's and Don Lockwood's feet only strengthen their resolve to "get the girl." Don does so by "looking for her in every cake in town" and romancing her on a moonlit soundstage with a beautiful rendition of You Were Meant For Me. On the other hand, Harold ingratiates himself with Marian by being kind to her shy little brother with the offer of a cornet, which allows Winthrop a place in the Boys' Band and Harold a place in Marian's heart.
Tevye's daughters, who have bravely rejected the tradition of a matchmaker, find love in a 'poor tailor' (Motel and Tzeitel), an independent radical (Perchik and Hodel), and a Christian (Fyedka and Chava). Their courage in choosing their partners, despite the threats to their unions posed by culture and tradition, is truly inspiring and a testament to the evolving societal norms.
Happiness at a cost.
For Harold, it is the threat of tar and feathers and being exposed as a fraud unless the town hears "some by-g-d tooting out of those horns" as the school board clamors for his credentials.
For Don, the threat of a lost career comes when Lena's performance in the talking picture The Dueling Cavalier is likely to end the onscreen partnership of Lamont and Lockwood.
For the men chosen by Tevye's daughters, culture and tradition threaten their prospective unions.
Motel fears reprisals regarding his fitness as a man who "has nothing" to offer Tzeitel.
Perchik has no fear because he is not asking permission; he informs Tevye of his impending engagement to Hodel.
Fyedka, who marries Chava and welcomes her to the Christian faith by eloping and saying their vows in a Christian church, permanently threatens Chava's relationship with her family.
John's relationship with Esther is threatened by her prospective move to Manhattan and by his love of basketball, each of which tarnishes the enjoyment of their "last dance in St. Louis." The thought of John not taking her to the dance because he was at basketball practice and missed the opportunity to pick up his tuxedo from the tailor leaves Esther in tears, while the thought of Esther leads John to consider asking her a big question.
Although the men in these films initially feel the cost of lost happiness, the independent women in their lives quell the threats and repay the cost. Their resilience in the face of threats to their relationships is not just empowering, it's a testament to their strength and the power of their agency.
Marian reminds the River City townspeople of the color, light, and musical magic Harold Hill brought to the town, as well as the pride that parents now have in their children.
Kathy sets out to help Don save Lockwood and Lamont by dubbing Lena's voice and singing for her in the Dueling Cavalier. Don returns the favor when he publicly humiliates Lena at the film's opening, when the curtain opens and reveals Kathy singing for Lena.
Tevye's daughters each find the courage to save their relationships by encouraging their men to propose, and in Chava's case, embracing a world that will accept her choice. (Tzeitel: "Even a poor tailor deserves some happiness!"
Hodel to Perchik: "It is our custom that a boy talks respectfully to a girl." "Papa, we aren't asking for your permission, but we would like your blessing."
Chava: "We want to be married, Fyedka and I - the world is changing."
After John Truitt's proposal, Esther is the voice of reason. ("Let's keep it between us for now." "I kept telling myself that even if I did move away, we would find a way to be together.") After Warren proposes to Rose, Lon Sr. sees the pain in Tootie as she struggles with leaving St. Louis (destroying her snow people) and decides the family is staying. ("St. Louis is headed for a boom!")
In each of these narratives, the journeys of Marian, Kathy, Tzeitel, Hodel, Chava, Esther, and Rose exemplify the spirit of autonomy and self-determination that Jane Austen so poignantly captured in her words. These women actively seek love that resonates with their values and dreams, refusing to settle for anything less than a profound connection. Their relationships are not merely products of chance or societal dictates; they result from their tenacity, choice, and unwavering belief in the power of true love grounded in mutual respect and understanding.
As they navigate the complexities of romance, it becomes clear that true love is not just about finding a partner but about forging relationships that uplift and empower. These women redefine societal conventions, asserting their right to choose their destinies while challenging the status quo. By embodying the essence of Austen's sentiment, they remind us that love, rooted in genuine affection and personal agency, can flourish beautifully on one's terms, illuminating the path to happiness that each deserves.
~~Lori
