for the film. Several other differences from songs in the movie appear on the soundtrack, mainly in omitted verses and different orchestrations. One notable difference is that the Broadway version used only a jazz combo while the movie soundtrack use orchestrations that make ample use of full horn and string sections. Many of the songs have been shortened, sped-up, rearranged, or assigned to different characters to allow for the differences in plot. Ronny Dyson and Melba Moore, who were in the Broadway version of Hair, both sing on the song "Three Five Zero Zero." Charts Reception Hair grossed $15.3 million in the United States and Canada. By the end of 1979 it had grossed $38,290,492 worldwide. The film received generally favorable reviews from film critics at the time of its release; it currently holds an 82% "fresh" rating on review aggregate website Rotten Tomatoes from 60 reviews. The critical consensus reads, "Spiritedly performed by a groovy cast and imaginatively directed by Milos Forman, Hair transports audiences straight to the Age of Aquarius." Writing in The New York Times, Vincent Canby called it "a rollicking musical memoir.... [Michael] Weller's inventions make this Hair seem much funnier than I remember the show's having been. They also provide time and space for the development of characters who, on the stage, had to express themselves almost entirely in song.... The entire cast is superb.... Mostly... the film is a delight." Frank Rich said: "If ever a project looked doomed, it was this one" (referring to the "largely plotless" and dated musical upon which it was based, Forman's and Tharp's lack of movie musical experience, the "largely unproven cast" and the film's "grand budget"); but that in spite of these obstacles, "Hair succeeds at all levels—as lowdown fun, as affecting drama, as exhilarating spectacle and as provocative social observation. It achieves its goals by rigorously obeying the rules of classic American musical comedy: dialogue, plot, song and dance blend seamlessly to create a juggernaut of excitement. Though every cut and camera angle in Hair appears to have been carefully conceived, the total effect is spontaneous. Like the best movie musicals of the '50s (Singin' in the Rain) and the '60s (A Hard Day's Night), Hair leaps from one number to the next. Soon the audience is leaping too." Gene Siskel and Roger Ebert both placed Hair on their list of Top Films of 1979. Siskel