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If you ask a musical theater purist about Rodgers and Hammerstein’s only film-original work, they’ll probably point you toward 1945. It’s the classic. It’s got Jeanne Crain. But honestly? The 1962 State Fair movie is where things get weird, colorful, and surprisingly modern in a way that the earlier versions just weren't. It’s a Technicolor fever dream set in Texas instead of Iowa, and it represents a very specific, pivot point in Hollywood history.
People forget that by 1962, the big-budget studio musical was already starting to look a little dusty. Rock and roll had arrived. The teenagers in the audience weren't exactly clamoring for wholesome 1940s barn dances. Twentieth Century Fox knew this. They tried to fix it by casting Pat Boone and Bobby Darin. Think about that for a second. That's like trying to bridge the gap between your parents' record collection and the stuff kids were actually playing on their car radios. It’s a fascinating, messy, and ultimately charming piece of cinema that deserves a lot more credit than it gets.
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Moving the Fair to Texas: A Risky Bet
Changing the setting was a massive deal. The original Phil Stong novel and the 1933 and 1945 films were rooted in the soil of Iowa. It was midwestern, modest, and rural. For the 1962 State Fair movie, director José Ferrer and producer Charles Brackett decided to move the entire Frake family to the Texas State Fair in Dallas.
Everything got bigger.
The scope of the fairgrounds—filmed on location at Fair Park—gave the movie a sense of scale that the previous versions lacked. You can actually see the Cotton Bowl. You see the massive "Big Tex" statue. This wasn't a backlot recreation; it was a sprawling, neon-lit spectacle. Some critics at the time thought it lost the "folk" charm of the original, but if you look at it now, it captures a very specific 1960s Americana. It’s the transition from the farm to the city, even if the farm is still the heart of the story.
The plot remains largely the same, though. Wayne and Margy Frake are still looking for love and excitement away from their parents, Abel and Melissa. Abel is still obsessed with his prize hog, Blue Boy. But the stakes feel different when you're in the middle of a Texas heatwave surrounded by mid-century modern architecture.
Pat Boone, Bobby Darin, and the Battle for the Youth
The casting of the 1962 State Fair movie is where the "New Hollywood" and "Old Hollywood" vibes really collide. Pat Boone was the safe bet. He was the wholesome, white-shoed king of pop who parents loved. He played Wayne. Then you had Bobby Darin as the cynical, fast-talking TV announcer Jerry Dundee.
Darin is the secret weapon of this movie.
He brings a sharp, slightly dangerous edge that doesn't really belong in a Rodgers and Hammerstein world, and that’s exactly why it works. When he interacts with Pamela Tiffin (playing Margy), there’s a genuine spark. It’s not just "aw shucks" romance. It feels like a girl from the country getting swept up by a guy who actually knows his way around a city.
And let’s talk about Ann-Margret.
This was her second big film role, and she basically walks away with the entire movie. As Emily Porter, the "bad girl" showgirl who catches Wayne's eye, she is electric. Her performance of "Isn't It Kinda Fun?" is a masterclass in screen presence. It’s sultry, it’s vibrant, and it’s a far cry from the more demure performances in the 1945 version. Honestly, the movie feels a little dull whenever she’s not on screen. She represented the changing tide of the 1960s—someone who wasn't afraid to be bold and expressive.
New Songs for a New Era
Because Oscar Hammerstein II had passed away in 1960, Richard Rodgers had to write both the music and the lyrics for five new songs added to this version. It was a tall order. Most people know the classics like "It Might as Well Be Spring" (which won an Oscar in '45), but the new additions in the 1962 State Fair movie have a different flavor.
- "More Than Just a Friend": A goofy, slightly bizarre ode to Abel's hog, Blue Boy. It’s the kind of song that only works in a musical, and even then, it’s a stretch. But it’s memorable.
- "Willing and Eager": A duet between Pat Boone and Ann-Margret. It’s surprisingly sensual for a 1962 family film.
- "The Next Time It Happens": This one feels like a classic Rodgers ballad, trying to capture that old-school magic.
- "This Isn't Heaven": A solo for Pat Boone that leans heavily into his crooner strengths.
While these songs aren't as iconic as the original score, they show Rodgers trying to adapt. He was experimenting with how to make a traditional musical sound contemporary. Sometimes it hits, sometimes it misses, but it’s never boring.
Production Troubles and the "Lost" Feel
It wasn't all fun and games at the fair. The production was actually kind of a nightmare. José Ferrer, an incredible actor, was relatively new to directing big musicals, and it showed. The budget ballooned. There were clashes over the tone—should it be a broad comedy or a sincere drama?
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The result is a movie that feels a bit disjointed. One minute you're watching a sincere romantic moment, and the next, there’s a slapstick sequence involving mincemeat spiked with brandy. But that disjointedness is part of its charm. It feels human. It feels like a real fair where things are loud, messy, and a little overwhelming.
The critics were brutal. Many of them compared it unfavorably to the 1945 version, calling it "vulgar" or "over-produced." They missed the simplicity. But looking back, those critics were often holding onto a version of America that was already disappearing. The 1962 State Fair movie didn't want to be a nostalgic look back at the 40s; it wanted to be a snapshot of the 60s.
The Blue Boy Legacy
You can’t talk about any version of State Fair without talking about the pig. In 1962, Blue Boy was a massive Hampshire boar. The scenes involving the hog judging are filmed with a surprising amount of tension. It’s a weirdly high-stakes subplot for a movie about teenage romance, but it grounds the story in something tangible.
It’s about pride. It’s about a man wanting to be the best at what he does, even if what he does is raise pigs. Tom Ewell, who played Abel Frake, brought a weary, comedic dignity to the role. He was famous for The Seven Year Itch, and here he provides the emotional anchor that keeps the movie from floating away into pure fluff.
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Why You Should Watch It Today
If you’re a fan of mid-century aesthetics, this movie is a goldmine. The costume design by Dorothy Jeakins is incredible. The saturated colors of the 70mm Grandeur de Luxe film process make every frame look like a vintage postcard.
But beyond the visuals, the 1962 State Fair movie is a fascinating study in star power. You're seeing Ann-Margret right before she became a superstar. You’re seeing Bobby Darin try to prove he’s more than just a "Splish Splash" singer. You're seeing the end of an era for the Hollywood musical.
Is it perfect? No way. It’s too long, and some of the humor hasn't aged perfectly. But it has a heart. It captures that universal feeling of being young, being at a fair, and feeling like anything could happen before the sun goes down.
Key Takeaways for Film Buffs
- Compare the versions: If you've only seen the 1945 version, watch the 1962 one just to see how the Texas setting changes the energy. The scale is completely different.
- Watch Ann-Margret: Seriously. Her performance is the highlight. It explains exactly why she became a cultural icon.
- Listen to the "New" Rodgers: Pay attention to the lyrics in the added songs. You can hear Rodgers trying to find his voice without Hammerstein. It's a bit melancholic if you're a theater nerd.
- Appreciate the Location: Fair Park in Dallas is a National Historic Landmark. The movie acts as a fantastic time capsule for what the grounds looked like in their prime.
If you want to dive deeper into this era of film, your next step should be looking into the transition of Fox Studios in the early 60s. This movie was released right around the time the studio was nearly bankrupted by Cleopatra. Understanding the financial desperation of the studio at the time puts the "everything-but-the-kitchen-sink" approach of State Fair into a whole new perspective. Go find a high-definition restoration—the colors alone make it worth the two-hour runtime.