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 »
Two Americans on a hunting trip in Scotland become lost. They encounter a small village, not on the map, called Brigadoon, in which people harbor a mysterious secret, and behave as if they were still living two hundred years in the past.
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 full-skirted white dress worn by Cyd Charisse in "Dancing In The Dark" was actually copied from a dress worn by the film's costume designer Mary Ann Nyberg. Director Vincente Minnelli tried to buy it off the rack (it originally cost about $25), but no store carried exactly that type of frock. It was finally created from scratch for about $1,000. See more »
During the "I Love Louisa" number, at 1:16:35 into the movie, as Lester is accompanying Tony on the piano, he plays a two-handed chord on the piano, but also raises one hand in gesture at the same time. See more »
Perhaps the finest hour of Fred Astaire and Cyd Charisse together (although Silk Stockings comes a close second); the 'Dancing in the Dark' sequence says it all about both this film, and the two impeccably classy stars.
There are, of course, other highlights - Oscar Levant and Nanette Fabray's acidic writers; Jack Buchanan's overblown producer; Fred's dance with the shoeshine boy, Le Roy Daniels; anything featuring Cyd Charisse - and those wonderful musical numbers, ranging from the anthem 'That's Entertainment' to the hilarious 'Triplets'.
'The Band Wagon' sends up the old film staple plot "putting on a show" and does it brilliantly, thanks to the crackling Comden/Green script. One of MGM's best musical efforts, hugely enjoyable.
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