Emile's music was transposed to fit Carreras's tenor voice. The recording also featured Sarah Vaughan as Bloody Mary and Mandy Patinkin as Cable. Stephen Holden reviewed the album in "The New York Times", "the star of this "South Pacific" isn't any individual, but rather the score itself". Kenrick calls the recording badly miscast "pretentious trash". Kenrick gives mixed praise to the 1988 London revival cast album. The 2001 Royal National Theatre's revival cast album was recorded in 2002 on First Night Records with Philip Quast as Emile, Lauren Kennedy as Nellie, Edward Baker-Duly as Cable, Sheila Francisco as Bloody Mary and Nick Holder as Billis. The album includes the cut song, "Now Is the Time". While Kenrick allows that most critics like the recording, he finds it a waste of money. The 2005 Carnegie Hall concert version was released on April 18, 2006 by Decca Broadway with Reba McEntire as Nellie, Brian Stokes Mitchell as Emile, Lillias White as Bloody Mary, Jason Danieley as Cable and Alec Baldwin as Billis. Kenrick describes this recording as "one of the most ravishing that this glorious Rodgers & Hammerstein classic has ever received" and "a show tune lover's dream come true." The 2008 Broadway revival cast album was released on May 27, 2008 by Masterworks Broadway. Kenrick finds it "very satisfying". "South Pacific" was made into a film of the same name in 1958, and it topped the box office that year. Joshua Logan directed the film, which starred Rossano Brazzi, Mitzi Gaynor, John Kerr, Ray Walston and Juanita Hall; all of their singing voices except Gaynor's and Walston's were dubbed. Thurl Ravenscroft, later television's Tony the Tiger, sang the basso profundo notes in "There Is Nothing Like a Dame". The film opened with Cable's flight to the island in a PBY, followed by the Seabees' beach scene, and added Billis' rescue and scenes from the mission to spy on the Japanese. The film won the Academy Award for Best Sound. It was also nominated for the Oscar for Best Scoring of a Musical Picture (Alfred Newman and Ken Darby), and the 65 mm Todd-AO cinematography by Leon Shamroy was also nominated. The film was widely criticized for its use of color to indicate mood, with actors changing color as they began to sing.