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Yolanda and the Thief (1945)

Approved | | Fantasy, Musical, Romance | 23 April 1946 (Sweden)
Johnny Riggs, a con man on the lam, finds himself in a Latin-American country named Patria. There, he overhears a convent-bred rich girl praying to her guardian angel for help in managing ... See full summary »

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(story) (as Jacques Thery), (story) | 1 more credit »
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Cast

Complete credited cast:
...
Lucille Bremer ...
...
...
...
...
Mr. Candle
Ludwig Stössel ...
School Teacher (as Ludwig Stossel)
Jane Green ...
Mother Superior
Remo Bufano ...
Puppeteer
Francis Pierlot ...
Padre
Leon Belasco ...
Taxi Driver
...
Gigi (as Ghislaine Perreau)
Charles La Torre ...
Police Lieutenant
Michael Visaroff ...
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Storyline

Johnny Riggs, a con man on the lam, finds himself in a Latin-American country named Patria. There, he overhears a convent-bred rich girl praying to her guardian angel for help in managing her tangled business affairs. Riggs decides to materialize as the girl's "angel", gains her unquestioning confidence, and helps himself to the deluded girl's millions. Just as he and his partner are about to flee Patria with their booty, Riggs realizes he has fallen in love with the girl and returns the money, together with a note that is part confession and part love letter. But the larcenous duo's escape from Patria turns out to be more difficult than they could ever have imagined. Written by Dan Navarro <daneldorado@yahoo.com>

Plot Summary | Add Synopsis

Plot Keywords:

girl | love | angel | partner | money | See All (141) »

Taglines:

M.G.M.'s magic musical in Technicolor


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

23 April 1946 (Sweden)  »

Also Known As:

El ladrón y la bella  »

Box Office

Budget:

$2,443,322 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Color:

(Technicolor)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Originally planned to star Fred Astaire and Judy Garland. Plans were abandoned when Garland was cast in the big budget western musical The Harvey Girls (1946). The two would eventually be cast opposite each other in Easter Parade (1948). See more »

Goofs

During Johnny Parkson Riggs first dance / dream sequence, after the coins fall from the sky, the shadow of the camera dolly is clearly visible. See more »

Quotes

Johnny Parkson Riggs: This isn't a country. It's a cemetery with a train running through it.
See more »

Connections

Featured in That's Entertainment! III (1994) See more »

Soundtracks

Yolanda
(uncredited)
Music by Harry Warren
Lyrics by Arthur Freed
Performed by Fred Astaire and Lucille Bremer (dubbed by Trudy Erwin)
See more »

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User Reviews

Technicolor steals the show!
12 January 2005 | by (Portland, Oregon) – See all my reviews

I'd always been curious about this one, especially considering its rather unhappy reputation as a major disappointment in the Fred Astaire/Vincente Minnelli canon, and it's fairly easy to see why. Turner Classic Movies scheduled it recently and I tuned in to watch something that certainly made me glad Technicolor was invented but which fell somewhat short of its intended mark.

The story is absolute piffle, almost redeemed by Mildred Natwick's genuinely funny portrayal of a dotty aunt. (Check out the sequence where she welcomes Yolanda home from her years at a convent school.) M-G-M stalwarts Leon Ames and Frank Morgan (Was he in every single class "A" Metro production from the late Thirties through the early Fifties?) lend reliable support with the little they're given to do. And Fred Astaire and Lucille Bremer get (only) two opportunities to display their dancing compatibility. Astaire, of course, managed to complement all of his dancing partners with his patented style and grace (even the miscast Joan Fontaine in "A Damsel in Distress") but, as a matter of personal opinion, I think that Ms. Bremer runs a very close second to the gorgeous Cyd Charisse as one of his most elegant and beautiful co-stars. She's too old for her role in this one, admittedly, but she's nevertheless quite charming and a prime object for the luscious Technicolor cinematography of Charles Rosher.

The real star of this misbegotten show, however, is the opulence of the very artificial art direction, set decoration, and costuming. It's Hollywood at its most baroque and Minnelli keeps his cameras gliding through it all as if on angels' wings. If you're not looking for one of the Arthur Freed's unit's bona fide musical classics, this one will provide a phantasmagoria of color and motion that's rarely been equaled.


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