Three loosely connected love stories. The first story: Paula is a talented dancer who cannot truly live unless she dances. But has a heart condition, which means she cannot live if she does... See full summary »
Three loosely connected love stories. The first story: Paula is a talented dancer who cannot truly live unless she dances. But has a heart condition, which means she cannot live if she does. The second story: Tommy despises his French tutor, and hates being a child. He wants to be an adult so he can do what he wants. He gets his wish, being transformed into a handsome young man for one evening, and learns about whole new side of his French tutor. Third story: Pierre Narval is trapeze artist who gave it up when his partner died doing a dangerous stunt at his bidding. He rescues Nina, a beautiful young woman, after she throws herself into the Seine, and convinces her to become his new aerial partner. Her husband had been killed by the Nazis during the war, and she blames herself. They fall in love, which is tested when Nina must perform the stunt which killed Pierre's former partner. Written by
John Oswalt <firstname.lastname@example.org>
Mixed bag of good, poor and mediocre love story trio.
This is truly a mixed bag with three love stories (approximately 40 minutes each)in varying degrees of success. The first is essentially a two character drama of an aspiring ballerina who must not dance due to a fatal heart condition. She (Moira Shearer) haunts the ballet and meets the famous choreographer (James Mason) who after seeing her perform on what she thought was an empty stage, is enchanted and takes her home to dance for him. She dances her heart out (to Rachmaninov's 18th variation of the Paganini Rhapsody) He falls in love, now inspired to write his greatest ballet, she disappears somewhat like Cinderella at midnight, only to arrive home and expire. This is well done due to the brilliance of the leads. The second story presents child actor Ricky Nelson who is fed up with his governess (Leslie Caron) and wishes to be a man to escape her. An eccentric witch (well played by Ethel Barrymore) provides the means and for four magical hours he becomes Farley Granger, who of course meets the governess and, as an adult, falls in love, only to part before the stroke of midnight (again like Cinderella) and return to his childhood. (Interesting to note that Caron twice bids Granger to "be gay" - in light of his recent coming out as a gay man, this is a bit of unexpected tongue in cheek humor). The episode is inventive but fails ultimately due to Caron's overacting and Nelson's peevishness. It needed better casting and direction. The third piece involves a near suicide (Pier Angeli) who is rescued from the Seine by haunted former arealist Kirk Douglas, whose carelessness caused the death of his former partner. He prods her into joining him as she cares not to cling to life. She has a dark secret also involving a similar "accident" which caused her husband's death. This is an interminably dull and boring piece and is quite below the quality or intended quality of the former two. All in all, romantic and watchable with gorgeous and lush Oscar-nominated Art Direction.
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