The Band Wagon (A or 4/4 stars)
Cheerful. Joy. These are words that come to mind when thinking about 'The Band Wagon' a classic MGM Musical from 60 years ago that I have only just seen now in 2013. I loved it - simple as that. It doesn't have an intricate plot. There aren't hand-wringing, hair-tugging romantic entanglements. And yet, it's not a "simple" film. There's SO much going on at all times. Credit legendary director Vincente Minnelli for making it all look & sound smooth & simple when it isn't. While we're talking "simple" ... simply put, 'The Band Wagon' sets out to entertain ... and boy does it ever.
The film stars Fred Astaire as Tony Hunter, a 'has been' Hollywood movie musical star circa age 50 who comes to NY to revive his career. Looking for a hit, Tony tries starring in a Broadway musical. Tony's good friends Lily & Lester Marton (Nanette Fabray, Oscar Levant) have written a show that they feel would be just right for him, & the 3 team up with current star Jeffrey Cordova (British Musical star, Jack Buchanan), who gets the idea to turn the play into a revisionist version of Faust. However, Cordova's pretentious ideas don't sit well with the Lily & Lester, and Tony isn't wild about his beautiful co-star, Gaby Gerard (Cyd Charisse), whom he believes is too tall (to make him feel bad, she tells him that she thinks he's too old). But when the self-serious Faust show proves to be a disaster, everyone in the company realizes they have to put aside their differences & put on a show that audiences will relish on Broadway; a lighthearted song-&-dance musical.
'The Band Wagon' is a movie dominated by magnificent musical numbers. The songs include: A Shine on your Shoes (where Fed Astaire mosies through a penny arcade in l one long take, dancing with a shoe shine man ... wonderful!), That's Entertainment (a song about the intangible power of entertainment. It is the film's anthem, and an anthem for all-time), Dancing in the Dark (one of the most romantic dance duets you're likely to see in any movie ever made), Triplets (a unique number where Astaire, Fabray & Buchanan pose as baby triplets who aren't fond of each other ... it's hysterical, and provides a "how did they DO that!?" moment).
There's also New Sun in the Sky (where Cyd Charisse bursts onto the stage in a vibrant yellow/orange outfit & sings/dances to our delight), I guess I'll Have to Change My Plans (where Astaire & Buchanan perform a soft-shoe duet), Louisiana Hayride (Nanette Fabray's big number), & the climax of the movie ... an 8-minute ballet dream number with Cyd Charisse showing off her long legs, 1st in a pale blue skirt and a blonde wig, and later in a fire engine red sequined dress as a femme fatale in a smoky bar room). In this sequence, Astaire plays a noir-like detective who dances seductively with Charisse.
Minnelli makes everything look so simple, when really, the film is anything BUT. Sure, the plot may seem thin (a Broadway company worries if they can keep their show going on the road). But the direction is masterful; with style & panache for days. There is elegance in its execution. The dialogue is witty. I like that Lily & Lester are based upon real life Broadway writers Comden & Green. The performances from all are simply wonderful; particularly Cyd Charisse, who is as sweet & lovely as can be. The staging of the routines (by 1st time film choreographer Michael Kidd!) are dynamic. And Vincent Minnelli's use of primary colors is exceptional; as evidenced in the sets & Mary Ann Nyberg's costumes (I'm reminded of a sensational shimmering black number that Cyd Charisse slinks around in).
And on a slightly deeper level, this film does a great job chronicling the various stages of writing a play, casting, producing, choreographing, rehearsing it, enduring failures, as well as celebrating triumphs. In other words, for as uplifting as this movie is (like Singin' in the Rain - another fantastic musical about show business) ... there's a melancholy that performers feel with both failure & success. They know that success won't last forever. Backstage friendships that are forged soon become splintered. Some artists go on to stardom. And some don't. You know, 'The Band Wagon' is considered one of the best movie musicals of all-time, & I can certainly see why. Like I said above, it is cheerful; joyous. It made me fall in love with movies all over again. It's got that power ... that movie magic.
The film stars Fred Astaire as Tony Hunter, a 'has been' Hollywood movie musical star circa age 50 who comes to NY to revive his career. Looking for a hit, Tony tries starring in a Broadway musical. Tony's good friends Lily & Lester Marton (Nanette Fabray, Oscar Levant) have written a show that they feel would be just right for him, & the 3 team up with current star Jeffrey Cordova (British Musical star, Jack Buchanan), who gets the idea to turn the play into a revisionist version of Faust. However, Cordova's pretentious ideas don't sit well with the Lily & Lester, and Tony isn't wild about his beautiful co-star, Gaby Gerard (Cyd Charisse), whom he believes is too tall (to make him feel bad, she tells him that she thinks he's too old). But when the self-serious Faust show proves to be a disaster, everyone in the company realizes they have to put aside their differences & put on a show that audiences will relish on Broadway; a lighthearted song-&-dance musical.
'The Band Wagon' is a movie dominated by magnificent musical numbers. The songs include: A Shine on your Shoes (where Fed Astaire mosies through a penny arcade in l one long take, dancing with a shoe shine man ... wonderful!), That's Entertainment (a song about the intangible power of entertainment. It is the film's anthem, and an anthem for all-time), Dancing in the Dark (one of the most romantic dance duets you're likely to see in any movie ever made), Triplets (a unique number where Astaire, Fabray & Buchanan pose as baby triplets who aren't fond of each other ... it's hysterical, and provides a "how did they DO that!?" moment).
There's also New Sun in the Sky (where Cyd Charisse bursts onto the stage in a vibrant yellow/orange outfit & sings/dances to our delight), I guess I'll Have to Change My Plans (where Astaire & Buchanan perform a soft-shoe duet), Louisiana Hayride (Nanette Fabray's big number), & the climax of the movie ... an 8-minute ballet dream number with Cyd Charisse showing off her long legs, 1st in a pale blue skirt and a blonde wig, and later in a fire engine red sequined dress as a femme fatale in a smoky bar room). In this sequence, Astaire plays a noir-like detective who dances seductively with Charisse.
Minnelli makes everything look so simple, when really, the film is anything BUT. Sure, the plot may seem thin (a Broadway company worries if they can keep their show going on the road). But the direction is masterful; with style & panache for days. There is elegance in its execution. The dialogue is witty. I like that Lily & Lester are based upon real life Broadway writers Comden & Green. The performances from all are simply wonderful; particularly Cyd Charisse, who is as sweet & lovely as can be. The staging of the routines (by 1st time film choreographer Michael Kidd!) are dynamic. And Vincent Minnelli's use of primary colors is exceptional; as evidenced in the sets & Mary Ann Nyberg's costumes (I'm reminded of a sensational shimmering black number that Cyd Charisse slinks around in).
And on a slightly deeper level, this film does a great job chronicling the various stages of writing a play, casting, producing, choreographing, rehearsing it, enduring failures, as well as celebrating triumphs. In other words, for as uplifting as this movie is (like Singin' in the Rain - another fantastic musical about show business) ... there's a melancholy that performers feel with both failure & success. They know that success won't last forever. Backstage friendships that are forged soon become splintered. Some artists go on to stardom. And some don't. You know, 'The Band Wagon' is considered one of the best movie musicals of all-time, & I can certainly see why. Like I said above, it is cheerful; joyous. It made me fall in love with movies all over again. It's got that power ... that movie magic.