Editing Musical film (section)

====Outside MGM====
The other Hollywood studios proved themselves equally adept at tackling the genre at this time, particularly in the 1950s. Four adaptations of [[Rodgers and Hammerstein]] shows - ''[[Oklahoma! (film)|Oklahoma!]]'', ''[[The King and I (1956 film)|The King and I]]'', ''[[Carousel (film)|Carousel]]'', and ''[[South Pacific (1958 film)|South Pacific]]'' - were all successes, while [[Paramount Pictures]] released ''[[White Christmas (film)|White Christmas]]'' and ''[[Funny Face]]'', two films which used previously written music by Irving Berlin and the Gershwins, respectively. [[Warner Bros.]] produced ''[[Calamity Jane (film)|Calamity Jane]]'' and ''[[A Star Is Born (1954 film)|A Star Is Born]]''; the former film was a vehicle for [[Doris Day]], while the latter provided a big-screen comeback for Judy Garland, who had been out of the spotlight since 1950. Meanwhile, director [[Otto Preminger]], better known for "message pictures", made ''[[Carmen Jones (film)|Carmen Jones]]'' and ''[[Porgy and Bess (film)|Porgy and Bess]]'', both starring [[Dorothy Dandridge]], who is considered the first African American A-list film star. Celebrated director [[Howard Hawks]] also ventured into the genre with ''[[Gentlemen Prefer Blondes (1953 film)|Gentlemen Prefer Blondes]]''.{{Original research section|date=October 2010}}
In the 1960s, 1970s, and continuing up to today, the musical film became less of a bankable genre that could be relied upon for sure-fire hits. Audiences for them lessened and fewer musical films were produced as the genre became less mainstream and more specialized.