Dear Sidney Sheldon, Herbert Fields, and Dorothy Fields,

As the writers of the screenplay and book for Annie Get Your Gun, I feel the need to point out to you an inconsistency in Annie’s character. The film’s ending suddenly transforms Annie into a meek and submissive partner to the man who usually makes her more stubborn than gum stuck to the bottom of a shoe. Instead of spitfire Annie who insists on having the last word in “Anything You Can Do,” the audience leaves with little orphan Annie, who wants nothing more than to be loved. Now, I understand that a good-looking fellow like Howard Keel can weaken a girl’s knees (especially if that girl has a weakness for tall dark men with deep singing voices), but the feminist in me is indignant. Outside the realm of technology, there are very few things that I like better about today than I do from the 1950s; the world’s attitude to women is one of them. Hutton’s sassiness was endearing, and Annie’s ability to outshoot any man put some serious cracks in that glass ceiling, but in the end, this movie strengthens my love of two things: musicals and being a woman in the 21st century.

Good night, Mun


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