A musical remake of Ninotchka: After three bumbling Soviet agents fail in their mission to retrieve a straying Soviet composer from Paris, the beautiful, ultra-serious Ninotchka is sent to ... See full summary »
Tom and Ellen Bowen are a brother and sister dance act whose show closes in New York. Their agent books them in London for the same period as the Royal Wedding. They travel by ship where ... See full summary »
The Acunas, a rich Argentine family, have the tradition that the daughters have to get married in order, oldest first. When sister #1 gets married, sisters #3 and #4 put pressure on Maria, ... See full summary »
William A. Seiter
Donald Elwood meets after the war his former USO partner, Kitty McNeil, who is now a rich widow with a little child. She tries to evade her paternal grandmother, who wants her to live in a ... See full summary »
Tony Hunter, a famous singer/dancer movie star, is feeling washed up and old hat (old top hat, tie and tails to be exact). The reporters are out for Ava Gardner, not him. But his old friends Lily and Les Martin have an idea for a funny little Broadway show and he agrees to do it. But things begin to get out of hand, when bigshot "artistic" director/producer/star Jeffrey Cordova joins the production, proclaims it's a modernistic Faust and insists on hiring a prima ballerina, Gabrielle Gerard, to star opposite Tony, and it's hate at first sight. And her jealous choreographer isn't helping to ease the tension. The show is doomed by pretentiousness. But romance, a "let's put on a show" epiphany, and a triumphant opening are waiting in the wings. After all, this is a musical comedy! Written by
The film was originally titled "I Love Louisa", from one of the songs in the picture. This title was later scrapped in favor of "The Band Wagon" after the Broadway play. However, because 20th Century Fox owned the rights to that title, MGM had to pay a reported $10,000 for those three words. See more »
About halfway through "Louisiana Hayride", a crew member can be clearly seen for 2-3 seconds, creeping off to the left of screen See more »
She was bad. She was dangerous. I wouldn't trust her any farther than I could throw her. But... she was my kind of woman.
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Basically, the only competition for The Band Wagon (TBW) for the title of MGM's Uncontested Musical Champion is Singin' In The Rain (SITR). SITR is certainly the better-known of the two and features one of film's iconic dance sequences. That said, in an itemized comparison, TBW is the winner and by more than a nose.
Star: Astaire over Kelly. As usual. (Stop that. You know it's true. There's no point in contesting it.)
Co-star: Cyd Charisse slam-dunks the ever-annoying Debbie Reynolds (herself a major overall factor in SITR's loss to TBW), but herself gets trounced by Jean Hagen (best squeaky virago ever). A draw.
Supporting: Jack Buchanan, Oscar Levant, and Nanette Fabray triple-team Donald O'Connor (in his defining and best screen performance) and edge out a victory.
Choreography: Kelly and O'Connor (under Kelly's direction) hoof up a storm, just outdoing Astaire and Charisse. Kelly's title track number over Astaire/Charisse's Dancing In The Dark, although the latter is the best duet Astaire's done since Night and Day with Ginger Rogers, and is itself a textbook to economy, style, and subtlety in choreography.
Music: Dietz and Schwartz over Freed and Brown. Despite Louisiana Hayride being a kitsch feature almost unparalleled in MGM musical history.
Book: Comden and Green's TBW ties Comden and Green's SITR.
Finale: Girl Hunt Ballet over Broadway Rhythm Ballet. By a mile. The former is tongue-in-cheek, visually-engaging despite its smaller scale, and imaginatively-choreographed. The latter a bit obvious and, in typical Kelly style, a little heavy-handed in its inclusion of "serious", "dramatic" elements. Cyd Charisse too, too hot in both, of course.
Overall: SITR lights up in the Hagen-Kelly sparring and O'Connor's zinging bits, as well as in the "early days of talkies" bits and the proto-postmodernism of the Beautiful Girls sequence, but Debbie Reynolds and the love interest numbers cause the film to drag and buckle. TBW, by contrast, hums throughout, going from strength to strength: Buchanan's God of the The-ah-tuh role, Levant as Levant, Astaire's wistful By Myself, Triplets (why no Hoops?), the disaster that is the Damnation Scene, Astaire and Buchanan, signifiers for "class", soft-shoeing on I Guess I'll Have To Change My Plan. An uninterruptedly-enjoyable movie, from start to finish.
So, there you have it. See The Band Wagon. Become a TBW fanatic. It's that simple.
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