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The Band Wagon (1953) Plus avec IMDbPro »

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73 commentaires au total

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31 utilisateurs sur 33 ont trouvé ce commentaire utile :
Last of the great Hollywood musicals, 22 décembre 1998

Auteur : latics de kent, uk

Just saw this again, for the first time in 10 years. What a show! This is unquestionably the last of the great line of MGM – and, therefore, Hollywood – musicals . . . the last real flowering of Arthur Freed's genius at holding together a team of top production talents which had produced such a fine string of musicals. Not a dull spot in the entire movie and tremendous style in Minnelli's direction. Nice to see Jack Buchanan getting a last chance in the spotlight – his top hat routine with Astaire is one of the highlights of the movie. Astaire himself, playing the fading musical star which he was by 1953, has a magnificent opening with two contrasting numbers – the wistful By Myself and the exuberant Shine on your Shoes – tailored to set up his character perfectly. The Girl Hunt ballet is, of course, the dancing highlight of the movie and it is here that the utterly wonderful Cyd Charisse comes into her own. Apart from being arguably the best female dancer in Hollywood history, she was certainly the most beautiful: the scene in the ballet in which she appears on a bar stool and slips off her coat to reveal a dramatic red dress oozes with as much sex appeal as any movie moment I've ever seen.

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25 utilisateurs sur 25 ont trouvé ce commentaire utile :
Fred and Cyd dance in the dark - perfection!, 6 juillet 2003
Auteur : didi-5 de Royaume-Uni

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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17 utilisateurs sur 20 ont trouvé ce commentaire utile :
Lots of Fun and Finally on DVD!, 29 mars 2005

Auteur : jacksflicks de Hollywood

MGM, Arthur Freed, Vincent Minelli, Betty Comden and Adolph Green, Fred Astaire, Cyd Charisse, Oscar Levant, Nanette Fabray, Jack Buchanan and that wonderful company behind them. Wow! The Broadway musical is one of America's great contributions to the performing arts, and the Band Wagon delightfully turns its clichés on their heads, with the story of a plucky group of troopers who put all their heart and talent into...a turkey.

Great dancing includes one of Fred Astaire's classic ballet duos, "Dancing in the Dark," with Cyd Charise. She does this spin ending in a semi-kneel, with the mid-calf hem of her dress landing mid-thigh, in order to display one of those spectacular gams of hers...'tis a wonder to behold! Also, there's a number with Astaire and Jack Buchanan, one of the great British variety stars. It's a delight to see this all-too-short exhibition of contrasting dance styles by two master hoofers.

And there's the added treat of Nanette Fabray and Oscar Levant (Levant being one those, like Robert Benchley, who entertains by playing himself) standing in for Comden and Green, who happened to write The Band Wagon (as well as Singin' in the Rain and Bells are Ringing). What I like about Comden and Green is, that while most all American musicals come out of New York, the sound of Comden and Green IS New York. They once said, "New York is the ongoing background of our lives - Brooklyn girl, Bronx boy - and whether we have been conscious of it or not, it is the background..."

Yes, there's the music - five numbers, part of the great repertory of American Standards: That's Entertainment, By Myself, You and the Night and the Music, Something to Remember You By, and of course Dancing in the Dark. My favorite dance number after DITD is Shine on My Shoes, surely an under-appreciated classic. All in all, a pretty good score (no pun intended), wouldn't you say?

The story is classified as a "backstage musical," and certainly it is. But there's a scene in Band Wagon with a truly documentary feel. After the show's premier, there's a dress-down cast party. The underpaid company singers and dancers really are in it for the love, and when they want to wind down, they go somewhere cozy, get their drinks and wind down with a lovely, subdued song, Something To Remember You By. (Of course, after Astaire joins them, the volume goes up, and it's a miracle they aren't evicted. I guess New Haven is used to it by now.) When I was a kid I was a gofer for the Metropolitan Opera when it hit my town on its spring tours, and it's why this scene in The Band Wagon rings so true: as a fly on the wall, I lived it a couple of times.

One more element of realism (or life imitating art imitating life): according to the trivia, Buchanan had to have triple root canal work and was in pain for most of the production, and Fabray gashed her knee in "Louisiana Hayride," then had to dance on her knees for the "Triplets" number. Ouch! Talk about plucky troopers!

This was smart and sophisticated musical comedy of the 50s, an era when New York adults still set pop trends and before American culture became corrupted and dumbed down by television. It's not just nostalgia to say they don't make them like they used to.

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15 utilisateurs sur 17 ont trouvé ce commentaire utile :
When there's a shine on your shoes, there's a melody in your heart!, 22 septembre 2005

Auteur : jotix100 de New York

Vincente Minnelli was a director that worked well in different genres, as his distinguished career shows. He excelled in the musicals he directed. In "The Band Wagon", Mr. Minnelli gave us one of the perhaps, most satisfactory musicals of all times. In fact, this is a film that doesn't have many original songs like some other MGM musicals, but still shows the talented Betty Comden and Adolph Green at their best.

Some of the criticism directed to "The Band Wagon" in this forum has to do with the perception that Fred Astaire, the star of the film, was finished, but as he brilliantly demonstrates, he still had a lot left in him. One of the most brilliant numbers of the film involves Mr. Astaire dancing with Leroy Daniels "Shine on my Shoes" at an arcade on 42 Street. Both Mr. Astaire and Mr. Daniels do amazing dancing in a number that will remain one of the classics of the American musicals in film.

The pairing of Fred Astaire and Cyd Charisse proves to be one of the most felicitous things in the movie. Ms. Charisse and Mr. Astaire are seen dancing beautifully in "Dancing in the Dark" and in the ballet sequence. Ms. Charisse was one of the most talented dancing stars at MGM and it's a shame she didn't get more opportunities in which to shine, as she does in "The Band Wagon".

Oscar Levant and Nannette Fabray are excellent playing Adolph Green and Betty Comden, that in the film they are named Lester and Lily Marton. Jack Buchanan plays Jeffrey Cordova, the classical actor that turns all shows into hits. Mr. Buchanan is hysterical with his approach to turn the show the Martons have written into a variation of "Faust", with disastrous consequences.

Among the other great numbers in the film, "The Triplets", in which Jeff, Lily and Tony, are seen as dancing and singing babies in a delightful turn. Also Nannette Fabray in "Louisiana Hayride" shows her best qualities. Other songs heard are "By Myself", "Change my Plan", and that hymn about show business, "That's Entertainment".

"The Band Wagon" is a film to cherish because all the right elements were put together by the genius of Vincente Minnelli.

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16 utilisateurs sur 20 ont trouvé ce commentaire utile :
Cyd Charisse rules, 27 septembre 2003
Auteur : hipthornton50 (hipthornton50@webtv.net)

Stunning musical about fading star Fred Astaire making stage comeback with the help of friends Oscar Levant and Nanette Fabares. Jack Buchanon is fun as hammy stage actor who teams up with the group. Cyd joins in as haughty ballerina. The songs are first rate. Fred's solos and the girl hunt ballet are good but I prefer the romantic Dancing in the Dark number. The other highlight is Fred cheering up the cast after the first night flops.This was the film that introduced That's Entertainment. It is given a joyous presentation as Jack Buchanon explains what the job of show business is all about.The color is stunning,costumes great,set design good.Surprisingly Cyd's big solo "Two-faced Woman" was cut. It was shown on TCM.

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11 utilisateurs sur 11 ont trouvé ce commentaire utile :
Now *this* is entertainment!, 10 octobre 2002

Auteur : gaityr de Royaume-Uni

THE BAND WAGON tells the story of faded movie star Tony Hunter (Fred Astaire) as he attempts to restart his stage career with the help of his two pals Lester (Oscar Levant) and Lily (Nanette Fabray) Marton. The Martons have written Tony a surefire hit... or so they think, until they fall under the charms of writer/director/producer/actor du jour, Jeffrey Cordova (Jack Buchanan) and their lighthearted musical comedy is turned into some kind of freaky Faustian opera. Jeffrey also ropes the famous French ballet-dancer Gabrielle Gerard (Cyd Charisse) and her choreographer boyfriend Paul Byrd (James Mitchell) into the production, but Tony and Gabrielle start off with each other on the wrong foot--almost literally so, since Tony is primarily a hoofer feeling his age, and Gabrielle a ballet star in her prime. They don't seem to match at all, from age to temperament, right down to dancing style. When Tony and Gabrielle finally come to an understanding, however, it's evident their musical is headed for a critical drubbing, and their hint of a romantic relationship thrown into doubt by Paul's annoyance that Gaby doesn't want to leave the show with him. The rest of the film works at resolving this double impasse.

It's probably hard to avoid comparing this film to SINGIN' IN THE RAIN, since they were made just a year apart and were both written by Betty Comden and Adolph Green. Moreover, the themes are even vaguely similar--THE BAND WAGON is a gentle, sharp satire on theatrical goings-on; SINGIN' IN THE RAIN a wicked parody of Hollywood and movie-making. Both films list Cyd Charisse as one of the characters; both films have a ballet section towards the end of the film. And of course, both films star (separately, unfortunately) the two greatest dancing talents of any and every Hollywood generation--Fred Astaire (TBW) and Gene Kelly (SITR). So certainly, comparisons are rife... the films seem to *beg* one to make them! Personally, the chips fall on the side of SITR for me: it's got a tighter story line, it's less talky, the chemistry between the leads is impeccable, and the songs and dances are simply wonderful.

That is, however, an entirely personal preference. There are people--there are in fact several other IMDB reviewers--who prefer THE BAND WAGON, and with good reason. Entirely on its own merits and not in comparison to SITR (as it should be judged), this film is exactly what it sets out to be: a cracking two hours worth of sheer entertainment. It's cleverly written, while the songs and dances are charming and some even mind-blowing. Vincente Minelli does an excellent job of directing; he is, after all, justly known as the master of musical films. Astaire couldn't be bad if he tried, and he's quite ably supported by his cast of Charisse, Levant, Fabray and Buchanan. The numbers range from the heartbreakingly romantic and simple (Charisse and Astaire falling in love to 'Dancing In The Dark'); through to the clever and amusing (most of the brief numbers attributed to 'The Band Wagon', the play within the movie, but most especially the 'Triplets' number with Astaire, Fabray and Buchanan); on to the rousing and hilarious (Astaire's German accent midway through 'I Love Louisa); and finally to those that are simply stunning in their sheer technical mastery (without a doubt the 'Girl Hunt' ballet). And of course, that's forgetting to mention the song that best sums up the entire spirit of THE BAND WAGON: 'That's Entertainment!'. Joyously performed by Astaire, Fabray, Buchanan and Levant (and in a finale reprisal also featuring Charisse), you really get the feeling that *this* is what Hollywood, and more specifically, the MGM musical, is about. And at the game of entertainment, THE BAND WAGON succeeds handsomely.

I think the only problem I have with THE BAND WAGON is that it just doesn't come together as perfectly and as seamlessly as I'd like. There are moments when my attention drifts, and the acting is frequently uneven. (An exception would be Fabray, who simply radiates exuberance with her big voice and great moves in relatively little screen time.) I've said that Astaire couldn't be bad if he tried. True, he *isn't* bad... just a little listless, it seems to me, particularly in the first half of the film. His dancing, however, is faultless as usual, just as you'd expect from Astaire. And he definitely seems to warm up considerably in the second half of the film. It's rather a shame that there's a spark missing from Charisse's performance as well--as a dancer she is visually *and* emotionally arresting, but she's quite frankly not as much an actress as she is a dancer. (She had the same problem in BRIGADOON, and she didn't have to act in SINGIN' IN THE RAIN except through her dancing.) Most of the time her performance is passable, reaching 'good' and occasionally 'great' at the most naturalistic parts--for example, when she's laughing or pretending to smoke with Tony. Astaire and Charisse are fantastic in their two main numbers together though--'Dancing In The Dark' is one of the best, simplest and most romantic film dances I've ever seen, and 'Girl Hunt' is so inventive and perfectly executed that you can't help thinking these two dancers really *do* match somehow.

Simply put, you just couldn't go wrong with THE BAND WAGON. You'll laugh, you'll marvel, you'll sing along... but most of all, you'll be well-entertained. And if *that's* the point the film is trying to make... point surely very well-taken! 8/10

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10 utilisateurs sur 10 ont trouvé ce commentaire utile :
One sequence is gorgeous in its silence., 22 octobre 2002
Auteur : movibuf1962 de Washington, DC

There are many shimmering moments in Bandwagon: Fred Astaire (playing a role close to his own life story; he was 53 at the time), the acidic wit of Oscar Levant ('that'll keep 'em laughing!!') tempered by the sunny Nanette Fabray and musical numbers including "Shine on Your Shoes," "I Guess I'll Have To Change My Plan," and a clever novelty trio called "Triplets." But the musical sequence that stands out the most is the one which has no vocal, no dialog, and gently advances the movie's plot of whether or not oil-and-water dancers Astaire and Cyd Charisse can actually perform together (when he thinks she's too tall and she thinks he's too old). Against a Central Park twilight, the film shows its heroes enjoy a hushed walk through a park (only an instrumental refrain of 'High and Low' is heard), after which they step into an empty courtyard (he in a pastel linen suit and spectator shoes, she in a flared white dress and ballet flats; a necessity to keep her from being taller than him on film) and into the pas-de-deux of "Dancing In The Dark." It's an exquisite sequence, which at times resembles courtship, foreplay, and ultimately a romantic climax- all done in dance. It ends, just as smoothly as it began, with the two leads spinning up a short flight of stairs and mounting a hansom cab, without a single hair out of place. Now THAT's entertainment.

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13 utilisateurs sur 16 ont trouvé ce commentaire utile :
Obvious candidate for best Hollywood musical of all., 26 juillet 2000

Auteur : mpag de London

Ignore some rather dim comments above about the film's supposed failings, "The Bandwagon" is one of the definitive products of the MGM Freed unit, the last wholly great musical of its era. The score is outstanding, the pace brisk, the numbers - "By Myself", "Shine On Your Shoes", "Triplets", "I Guess I'll Have To Change My Plan" and the marvelous "Girl Hunt Ballet" - a delight. Don't quibble people, it was all downhill from here!

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7 utilisateurs sur 7 ont trouvé ce commentaire utile :
Now that's entertainment!..., 28 mars 2005

Auteur : Neil Doyle de U.S.A.

Last night's viewing changed my mind...this really is one of the great MGM musicals.

Strangely, this never held the same appeal for me as some of the other technicolor musicals of the period, but watching it last night for the first time in years, I appreciated what a really fine actor/dancer FRED ASTAIRE was and what a gorgeous dancer and woman CYD CHARISSE always was.

Mix in the great supporting cast--JACK BUCHANAN who does a neat tap routine matching Astaire every step of the way and hamming it up appropriately, and those two devils--NANETTE FABRAY with her quick smile and Oscar LEVANT with his quick wit and you realize that Comden and Greene were two of the best comedy writers the screen had, this side of Dorothy Parker.

The two musical highlights for me were "Triplets" (smashing good job by Astaire, Fabray and Buchanan) and the Astaire/Charisse Central Park dance sequence that flows to the music of "Dancing in the Dark".

Summing up: If you love MGM musicals, you owe it to yourself to see this one for the magic of Astaire and Charisse together, not to mention all the other plus factors--costumes, scenery, backstage plot and those marvelous songs that come one after another to delight eye and ear! And give Jack Buchanan a hand for squeezing every bit of ham from a role that calls for it, in spades!

Almost forgot: the opening "Shine on Your Shoes" number set in Times Square is a howl! The only black seen anywhere is the shoeshine man himself.

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13 utilisateurs sur 20 ont trouvé ce commentaire utile :
The best of the lot (MGM lot, that is...), 28 mars 2005

Auteur : thesobsister de Etats-Unis

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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