Synopsis:
An aging performer (Fred Astaire) is invited by his songwriting friends (Nanette Fabray and Oscar Levant) to stage a comeback in a new musical they’ve written, to be directed by a pretentious new auteur (Jack Buchanan). Tensions soon arise, however, when Buchanan’s vision for the show saps it of any humor, and Astaire clashes with his balletic co-star (Cyd Charisse).
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Genres, Themes, Actors, and Directors:
- Cyd Charisse Films
- Fred Astaire Films
- Has-Beens
- “Let’s Put On a Show”
- Musicals
- Oscar Levant Films
- Vincente Minnelli Films
Response to Peary’s Review:
Peary argues that this “extravagant MGM musical, directed with much flair by Vincente Minnelli”, co-written by Betty Comden and Adolph Green, and featuring “impressive set design[s] for [the] musical numbers”, “starts out slowly but keeps getting better and better as great musical numbers keep piling up.” He notes that “musical highlights include ‘Dancing in the Dark’, ‘That’s Entertainment’, ‘Triplets’… and the lavish, episodic ‘Girl Hunt’ dance sequence, spoofing Mickey Spillane”. In his short review, Peary doesn’t provide much critique of either the film’s occasionally hokey “let’s put on a show!” storyline or the central performances, which perhaps speaks to how dominant the musical numbers really are; with that said, the narrative is guaranteed to tickle both fans of Astaire (who gamely pokes fun at his own waning popularity as an aging star) and theater insiders, who will surely appreciate its merciless skewering of artistic pretentiousness run amok.
In terms of the performances, I’m a big fan of Nanette Fabray’s turn as a character loosely based on Comden herself. She’s relentlessly cheerful, yet in a way that comes across as infectious rather than annoying (and film fanatics will be glad to have seen this big-name musical actress in at least one movie). Her musical number with Astaire and Buchanan (“Triplets”) remains my personal favorite in the film — though it’s a bit sad to know how painful it was for Fabray to film it. Equally memorable — in a film filled with memorable sequences — is Astaire’s early shoeshine number, danced with real-life shoe shiner Leroy Daniels. And naturally, all film fanatics will want to see the film where the infinitely hummable “That’s Entertainment!” was first showcased; it’s performed here with plenty of flair and creative choreography.
The Band Wagon is frequently compared with its predecessor, Singin’ In the Rain (also co-written by Comden and Green, and produced by Arthur Freed), with fans endlessly debating the merits of one versus the other, and many taking a decisive “side”. In truth, while I’ll admit to being a more devoted fan of SITR, both films remain vibrantly colorful, cheerily escapist, masterfully danced musicals in their own right. My primary complaint with The Band Wagon lies with the lackluster romantic subplot between Astaire and Charisse, whose “rivalry” never really poses much of a narrative threat — then again, when those two dance together, all such concerns melt away, and we remember why we’re sitting down to watch a film like this in the first place.
Redeeming Qualities and Moments:
- Many enjoyable, creatively choreographed, wonderfully danced musical numbers
- Fine use of Technicolor
- Nanette Fabray as Lily
- A clever skewering of artistic pretensions in the theatrical world
Must See?
Yes, as a classic mid-century musical. Voted into the National Film Registry in 1995.
Categories
(Listed in 1001 Movies You Must See Before You Die)
Links:
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