"Brigadoon" is a fantasy. Author and scenarist Alan Jay Lerner hints that it is a "fairy tale"; but it is more. It uses the impossibility of a Scottish town as a plot device, one that reappears out of the highland mists for one day in a century, to examine any number of attitudes, urgencies, values and human questions--seriousness, trust, disbelief, belief, haste, reluctance, hate and love among others. To this unlikely town on the day of its second (1954) reappearance come two outsides, Tommy Albright and Jeff Douglas--hunters from America. The folk they encounter greet them incredulously, but after Tommy meets Fiona Campbell and is welcomed by groom to be Charlie Dalrymple, they begin to explore the strange place. Tommy is oddly relieved to learn that the Campbell Charlie is to marry is Fiona's sister, Jean and not she. The day wears on, with odd hints being dropped about "miracles" and a Mr. Forsythe. Jeff goes off with Meg Brockie, who immediately want him to marry her; Tommy spends hours with Fiona picking white heather for a bridal bouquet for Jean--and falling in love; something he had never done with his fiancée back home. At Tommy's insistence, Fiona takes him and Jeff to meet the Dominie, Mr. Lundy, who explains Brigadoon's magical situation. Pastor Mr. Forsyth had asked his god in 1754 for a miracle, to save the villagers he loved from nearby witches and other evil influences; but the bargain of near immortality and peace came with a price. Forsyth could not come along; and if any man leaves the village's narrow boundaries, all those in Brigadoon will melt away to nothing. That night at the wedding, Charlie's rival for Jean, the disappointed Harry Beaton, tries to stab him. and then runs away threatening to end Brigadoon's existence. The village men hunt him down but it is a drunken Jeff firing at a grouse who hits Harry instead. Tommy is so relieved to have helped save Fiona's life, he vows to stay forever. Then Jeff talks him out of it. It has been like a dream to him, wherein nothing counts. Tommy doubts and Fiona understands that he must go--but tells him she'll love him forever. Once back in New York, Jeff drinks more than ever, and Tommy keeps finding himself dreaming of Brigadoon and of Fiona. Finally, in a crowded bar, he breaks off his engagement and tells Jeff he has to go back to Scotland again. Jeff goes with him. And there the fairy tale is provided with a miraculous ending. Vincente Minnelli directed admirably. Gene Kelly as Tommy also choreographed this dance-heavy film very beautifully. L. Preston Ames and Cedric Gibbons provided the Art Direction; Joseph Ruttenberg the luminous cinematography. Arthur Freed produced, with sets by F. Keogh Gleason and Edwin Willis. Irene Sharaff provided colorful costumes. Johnny Green did the musical direction, Conrad Salinger the orchestrations and Robert Tucker the music arrangements for the many choral numbers. The production was staged indoors instead of outdoors, losing some power along the way; but it is a technical tour de force nevertheless. Cyd Charisse is lovely and believable as Fiona, Van Johnson very powerful as the hard-drinking cynical friend, and the cast from lovable Barry Jones as Mr. Lundy to Dody Heath as Meg all manage their accents and parts with skill. Among the standouts are Tudor Owen, Elaine Stewart as the fiancée, Albert Sharpe as the Campbell girls' father, and Jimmy Thompson as Charlie. Others in the cast include Hugh Laing as tragic Harry Beaton, Virginia Bosler as Jean, Owen Mcgiveney, and other familiar and unfamiliar faces in the background. Among the great songs that made it into the film, the best I suggest may be, "Waitin' For Ma Dearie", "The Heather On the Hill", "Harry Beaton" and "Brigadoon--the title song." Others include "It's Almost Like Being in Love", "Down at McConnaughty Square", and "I'll Go Home With Bonnie Jean". Look for the entry of the clans number before the wedding, led by torchbearers and with bagpipes skirling. This is to me a magical and often beautiful film, well-sustained by its skilled director; as a dance vehicle, it has few peers. And its unusual power has lasted half a century now, making it a fairy tale of unusual memorability. One may question the film's distrust and praise both of the modern world and of the Scottish village's simplicity; but I find it oddly compelling and believable due to the producers' intelligent and sincere attention to details.