Review: Swing Time (1936)

Posted on January 13, 2016 by 4 Star Films

I wondered to myself, after watching Swing Time once again, if anyone else might have easily taken Fred Astaire and Ginger Rogers’ places as films greatest dancing couple, and then I quickly discarded this heretical idea. They appeared in 10 films together with this film directed by George Stevens being there six pairing. By now they’re a well-oiled, beautifully elegant dancing machine.

As with many of their films the genre is a hybrid of a screwball comedy and a musical which of course most importantly showcases their legendary dancing prowess.

Astaire is the carefree gambler and hoofer “Lucky” Garnett who gets duped out of his marriage by his buddies and must head to New York to prove himself to his fiancees’ father. He goes off with his faithful friend “Pop” (Victor Moore), who also has a penchant for card tricks. They have nary a penny in their pockets and he meets a pretty young dance teacher (Ginger Rogers) over a stolen quarter.

From her point of view, he just won’t stop leaving her alone and he just wants to get the chance to dance with her. Astaire and Rogers’ first number together, “Pick Yourself Up,” is a peppy piece that sets the bar for the rest of the film. They swivel, glide, and sway, perfectly in sync, orbiting one another. And for the rest of the film whenever they dance together they never seem to lose that innate connection.

As far as the screwball aspect goes, Lucky is tight on money resorting to gambling for some new duds, but his chance to dance with Penny is his big break. They just need an orchestra to accompany them. The only problem is someone else owns the orchestra and the orchestra leader Ricardo is also madly in love with Penny. In a shady set-up all across the board they draw cards for the contract and “Lucky” wins. He and Penny have a growing connection, but he still feels guilt based on his attachment to his fiancee Margaret. And of course his life catches up with him and Penny finds out while simultaneously the orchestra is taken away from him.

It must happen this way so they can realize how much they mean to each other and share one final dance together. Out of all the misunderstandings comes a lot of big laughs and in the end, everybody thinks it’s funny. Since Ricardo loses his pants, Penny decides to marry Lucky after all and everything is right in the world of Astaire and Rogers.

You don’t necessarily watch a film like this for the acting, but thanks undoubtedly to the studio system we have a colorful supporting cast including the two-timing but lovable Pop, Mabel is a wisecracking riot in her own right, and although his screen time is short, Eric Blore is enjoyable as the hissy dance studio boss Mr. Gordon.

“The Way You Look Tonight” is an absolute crooner classic and aside from the initial number it can be heard throughout the film in refrains. The same goes for “A Fine Romance” which feels antiquated, but it still manages to be thoroughly enjoyable in all of its reprises. But the main attraction is, of course, the dancing, from the personified joy of “Waltz in Swing Time” to the graceful gliding of “Never Gonna Dance.” If you set aside the unfortunate blackface for a moment the Bojangles shadow dance is a stroke of creative genius that gives off an amazing result while showcasing Astaire’s individual skill.

From someone with two left feet, this film makes me want to at least attempt to dance because Fred Astaire and Ginger Rogers turn dancing into an almost mystical experience. How does he prance and twirl so effortless on the floor? How does she do it equally as beautifully and in heels no less? It looks like they’re having so much fun and yet, in reality, they practiced for hours upon hours to get it right. Amazing stuff.

4.5/5 Stars

Once (2007)

Posted on January 9, 2016 by 4 Star Films

Only sometime after the film ended did I come to the realization that we never learn the names of our two protagonists. And yet we build such a connection with them through music, through their bits of humanity, and from being a part of their lives for a short time. Because Once really does feel like a documentary. It feels like we’re meeting these people and peering into their lives for an hour an a half of sheer delight.

The guy (Glen Hansard) is an Irish street performer who can be found on the street corners, guitar case open, strumming away, hoping to get a buck or two. He’s good but nobody much seems to notice him. It’s as if people see you doing such a gig and think you must not be very important. I must admit I’m guilty of such a fallacy myself many a time.

But there is one person who does come up to him. It’s a girl (Marketa Irglova), very straightforward and direct, and we learn she is Czech. What could two such people have in common? Music. Of course. The universal language even more so than English. Because she obviously has an accent and he does too, to my American ears, but their music transcends cultures.

It’s easy to forget Once technically functions as a modern-day musical because more often than not the genre seems like a dying breed. The songs in this film are beautifully melodic, with wonderfully earnest lyrics, and equally well-wrought instrumentation. But it fits into the narrative and nothing feels like a forced plug to get our respect.

They’re laying it out there. Letting us into their homes and keeping all their feelings out in the open. Really they both have a humble existence, and each has had their own romantic pasts. He has memories of a love who now lives in London and despite her young age, the girl has a husband she left behind in her home country. It’s a surprise to him and the audience both.

Their ride on a motorcycle, for a brief instant, brought to mind the Vespa ride in Roman Holiday, although their excursion is a little less chaotic. There’s still an innate playfulness of people with wonderful chemistry and whether they are acting or not is anyone’s guess.

Everything goes back to the music though since that acts as the heart and soul of this story. When the pair of them are able to get a recording studio it looks like he might get his big chance. He invites her to sing because he really wants her to be a part of it. He rounds up a few more street musicians and they’re set. When they get to the recording studio and the tape starts rolling what follows is a performance bursting with passion and energy. You can feel the electricity.

It feels as if we’re on the ground floor of something special, unwinding right before our eyes and yet we don’t know exactly what is going to happen. He’s about to head off to London to show off his sample and perhaps catch up with an old flame. She is preparing to make amends with her husband. But before leaving the guy drops a very big present on her doorstep to thank her for all she’s done for him.

Their tune “Falling Slowly” plays in refrain summing up this music-infused love story. The question is, is this an actual love story? I would answer in the affirmative. There is no sex in the contemporary sense, but this film does most certainly have love, whether or not it becomes physical. And it acknowledges the clear distinction between sex and love. These are two people who deeply care about each other and share a connection more intimate than most people can manage.

4/5 Stars

Review: A Night at the Opera (1935)

Posted on December 29, 2015 by 4 Star Films

“That’s in every contract, that’s what you call a sanity clause.” – Groucho

“You can’t a fool a me there ain’t no sanity clause” – Chico

The Marx Brothers had a set formula, where everyone else played the drama straight and they did whatever they wanted. So essentially there is no formula, lending itself to the anarchic comedy that they will be forever known for. However, if you put A Night at the Opera up against there earlier work at Paramount (this was their first film with MGM), you can see some important changes. Wunderkind Irving Thalberg wanted to give their films a more concrete plot line and in an effort to make them more sympathetic figures, all their antics were aimed at obvious “villains,” while they helped those who needed help. In this case, it was the aspiring opera star Rosa (Kitty Carlisle) and her beau Ricardo (Allan Jones), who get a helping hand from the boys.

This restructuring worked out because although the film plays out dramatically under the direction of Sam Wood, the Marx Brothers are still up to their old tricks, pulling off the same stunts that they used to. In fact, A Night at the Opera would be a very boring operatic drama by itself. Some of the interludes including song and dance are rather dull even in their extravagance. But Chico, Harpo, and Groucho inject the film with their brand of comedy that is difficult to top.

Groucho’s quips are aimed once more at the oft-abused Margaret Dumont. And then Harpo and Chico help befuddle the conceited opera star Lasparri, an Opera Company magnate (Sig Ruman), and the police among others.

The film borrows the stowaway storyline from Monkey Business (1931) so the brothers and their friend Ricardo can follow the opera to New York. This lends itself to the now iconic stateroom scene where a total of 15 individuals are crammed together into Groucho’s tiny ocean liner abode.

Earlier on Chico and Groucho have fun drawing up and ripping apart a contract for their new partnership (including the famed Sanity Clause at the end). It ends up that the three fugitives are on the run from the authorities and Groucho is thrown out of his job finally.

But everything culminates at the opening performance at the opera and the Brothers are in high form. Chico and Harpo invade the orchestra pit, insert “Take Me Out the Ballgame” into the arrangement, and join the cast as a pair of gypsies. Meanwhile, Groucho delivers his usual quips from the box above, much to the dismay of all the patrons. To top it off, Harpo goes swinging up above the performance making a shambles of Lasparri’s big night, and Rosa and Ricardo are able to win over the audience. But it goes without saying, it’s the Marx Brother’s who steal the show. Groucho is as rude as ever. Harpo is always ready to knock someone out, and Chico is just waiting to join in on the ruckus. It’s comic mayhem at its apex.

4.5/5 Stars

The Young Girls of Rochefort (1967)

Posted on November 17, 2015 by 4 Star Films

If the Umbrellas of Cherbourg is a piercing operatic drama, The Young Girls of Rochefort is pure, unadulterated escapism at its finest.

Directed by Jacques Demy and starring an ensemble cast including Catherine Deneuve, Francois Dorleac, Gene Kelly, Michel Piccoli, George Chakiris, Grover Paul, and Danielle Darrieux, this is a whimsical French musical that has no equal.

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The film opens with a group of performers coming into the town of Rochefort to get ready for a big outdoor show. They become acquainted with the local hangout that includes a kindly matron (Darrieux) and many locals including an idealistic artist and sailor who is searching for his ideal lover. Nearby her two adult twin daughters hold piano and ballet lessons as they too get their little prodigies ready for the big show. Delphine (Deneuve) is fed up with her suitor and desires a new love, while Solange (Dorleac) on her part hopes to advance her career as a pianist. She goes to the proprietor of a local music store to see if he can introduce her to a prestigious American Friend.

A great deal of dramatic irony sets in and the plot is constantly moved forward through song. Yvonne at the café is still depressed over a split with a lover 10 years prior, because he had an unfortunate name. Solange has a chance encounter while stopping to pick up her kid brother Booboo, and Delphine becomes curious about an artist who painted a portrait that looks strikingly like her. All of these events reach their apex on the Sunday of the big performance, and in need of some performer, the carnies enlist the help of the twins. They are a huge success and things wind down.

The next morning the performers get ready to leave for Paris and the girls decide to follow suit. However, Solange has another encounter that changes her plans and then Yvonne is united with her love. That leaves only Delphine to go with the boys to Paris, but not to worry, she would be united with her painter soon enough.

The light and very French-sounding tunes are hard not to like, but that is only the very beginning. Demy pays homage to Hollywood musicals of old going so far as casting Gene Kelly (Singin’ in the Rain) and George Chakiris (West Side Story) in his film. He undoubtedly owes a debt to Vincente Minnelli and Stanley Donen with some striking moments reminiscent of An American in Paris (1951). It makes sense. Demy uses the pastels and costumes of a Hollywood musical extravaganza while also including dashes of French style.

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Rochefort takes place in a real location, but it truly is a fantasy world that the characters inhabit, full of perpetual dancing and dialogue that is delivered through song. The real-life sisters do a wonderful job in this film and there is something reassuring about seeing Gene Kelly. Rather like an old friend who gives comfort in a whimsical, but altogether new experience. The story arc of dashed, renewed, and ultimately newfound love allows Demy to once more explore the issues of fate and chance that always seem to enchant him. His partnership with Michel Legrand is once again bountiful including the enduringly memorable “Chanson Des Jumelles,” an infectiously bouncy, trumpet-laden number performed by the sisters.

There’s nothing much else for me to say except The Young Girls of Rochefort is one of those underappreciated gems that is thoroughly enjoyable and chock full of all sorts of fun. It delivers a serving of something with a familiar flavor while giving it a little extra panache. It’s about as playful and fluffy as you can get which in this case is not a bad thing at all.

4.5/5 Stars

Love & Mercy (2015)

Posted on July 18, 2015 by 4 Star Films

It’s a tough one. How do you do justice and even begin to scratch the surface of a living legend like Brian Wilson? His songs have brought joy to countless millions and numerous generations of music lovers. And yet out of all the joy he gave people, his life was steeped in so much pain and suffering. If anything became all too clear, it was the harsh reality of his life back then, but thankfully not now. At first, I didn’t understand the significance of the title (It’s the lead track of one of his albums back in 1988), but the words it hoists up are so perfect in describing his character.

I must say that I was a little skeptical of two actors playing Wilson. For those who don’t know, Paul Dano plays a young Wilson in the ’60s during his creative peak and familial turmoil. Then John Cusack picks his portrayal up in the ’80s when a messed up Wilson is being controlled by his quack psychiatrist Eugene Landi. They seem like two starkly different touch points, displaying two very different actors. Again, how could a director, in this case, Bill Pohlad, find cohesion out of this narrative chaos? But it works and ironically, that’s exactly what Brian Wilson did in his lifetime. That’s why he was such a mastermind.

As a young man his father abused him — hounded him to death. He suffered panic attacks, stopped touring, and embarked on some of the greatest musical odysseys anyone could ever hope to imagine. We are thrown headlong into his genius during the Pet Sounds and Smile sessions. It might be a reenactment, but it feels like I am watching an artist at work. He’s on a different level, and it makes me appreciate each one of his songs even more. On a side note, I recently saw the documentary The Wrecking Crew, about the famed group of session musicians. And while they brought the skill in their craft, Wilson did truly bring artistic genius that was unique to him. That’s what, in many ways, caused a rift between him and his bandmate cousin Mike Love.

We are tossed back and forth from earlier past to later past as Wilson meets cars saleswoman Melinda Ledbetter (Elizabeth Banks) and embarks on a new journey as the manipulative Landi continues to drag him deeper and deeper into hell. In fact, sometimes it’s hard to imagine that this is the same Wilson and that is helped by Cusack’s performance. He is jumpy, helpless, muted, almost in a haze. But in him, you can see there is an immense vulnerability and capacity for love. That’s what Melinda sees as the layers get peeled back and that’s why it tears her apart seeing Brian suffer so.

As it turns out, Brian Wilson’s mind is not only a place of musical creation, but of fear, pain, and confusion. He was stuck between an antagonistic father and Landi’s manipulating presence. Whether it was the abuse, the drugs, the hallucinations, or a little bit of each, his story is one with a happy ending, and the film plays out that way. Isn’t it fitting that his immortal tune “Wouldn’t It Be Nice” closes the gates on this chapter of his story? It certainly is not over, still going, forever hopeful, and continuing to soar ever higher on a wave of positivity.

His genius astounds and now his resilience amazes me. He finally has found the Love & Mercy he deserved. Thank you Brian Wilson for gifting us such immortal tunes.

4/5 Stars

Seven Brides for Seven Brothers (1954)

Posted on March 19, 2015 by 4 Star Films

The title gives a clear indication of what this Stanley Donen musical will be about, but it does not tell us how we will arrive at that conclusion. It all begins when a woodsman named Adam (Howard Keel) comes to town intent on finding himself a cute and handy bride. That he does in Milly (Jane Powell) and soon enough, in a whirlwind, they are married and heading back to his home. There she is greatly surprised to meet his rambunctious and rough-edged younger brothers. Six to be exact, but you already guessed that.

Once she accepts her new life, it becomes Milly’s mission to straighten them out and find them girls to court. It isn’t easy but soon they learn table manners and proper etiquette before the big barn raising takes place. There the boys make quite the impression and the audience is given quite the show complete with bright colors and inventive-foot-tapping choreography. It’s an understatement to say that the Pontipee brothers are not popular with the locals, and not only is there a barn-raising but some hell-raising as well.

Adam is proud of their showing, but the rest of the lads are lovesick as the long cold winter begins, separating them indefinitely from their girls. With Adam’s encouragement, they decide to do as the Romans and kidnap their sweets, but they fail to think about the consequences. The town’s in an uproar, the girls are frightened, and a man-made avalanche means there is no contact with the outside world for at least 5 months!

Milly is appalled by their actions, especially Adam’s part, and the lads are made to sleep in the barn as she dotes over the scared group of girls. Not liking what he’s seeing, Adam heads off on his own for a while. Spring brings a fresh start as young love flourishes and the boys are forgiven. Milly gives birth to a baby girl, and Adam finally returns home with a new perspective. But what about the town folk you ask? They do come after the Pontipees, and they don’t like what they see when they ride in. Needless to say, it is a happy ending with each boy getting his girl, thanks to a few shotguns.

With catchy songs, beautiful color cinematography, lively dance numbers, and an amusing premise, this is a very strong MGM musical, even if it is not the best of the lot. That is not saying much because the studio could hardly go wrong with such previous titles as On the Town, An American in Paris, Singin’ in the Rain and The Band Wagon. Seven Brides is a nice addition although I will say it vaguely reminded me of Oklahoma. However, it is different enough to be well worth it. The only question left to ask is, “Are Adam, Benjamin, Caleb, Daniel, “Frank,” and Gideon natural red-heads? I’m not sure I know the answer but I could wager a guess.

4/5 Stars

The Umbrellas of Cherbourg (1964)

Posted on February 18, 2015 by 4 Star Films

It is hard to remember a time when I was so devastatingly sad due to a film, and it does not leave a deep hurt but a more wistful despondency that is far more real. However, that’s enough misery for the time being. Directed by Jacques Demy and starring an exquisitely young Catherine Deneuve, this cinematic opera is a moving musical piece that looks to be conventional and turns out to be quite the opposite.

The story begins in November of 1957 with a young mechanic named Guy (Nino Castelnuovo) who is deeply in love with the beautiful 16-year-old Genevieve (Deneuve). Guy cares a great deal for his godmother Elise who has a caregiver to look after her. Genevieve helps out her mother in running a small umbrellas shop in Cherbourg which allows them to scrape by. They must sell some family heirlooms to a kindly jeweler who is smitten with Genevieve. However, Genevieve and Guy have plans of marriage until Guy learns suddenly that he has been drafted for the war in Algeria. They spend their last hours together, and she vows to wait for his return.

In the following months, it becomes evident that Genevieve is pregnant, but her mother tells her that Guy has probably forgotten her already. The jeweler, Roland Cassard (Marc Michel), professes his love for Genevieve and agrees to adopt her unborn child. Thus, partially on the urging of her mother Genevieve accepts his proposal and they are soon married leaving Cherbourg for good.

Finally, Guy returns from the war and things have changed. He now has a limp and is fed up with his old work at the garage. Furthermore, the Umbrellas shop is sold and Genevieve is wed and gone. Adding insult to injury his godmother soon passes away. With no one else to turn to, he looks to the caretaker Madeleine, and he realizes her love for him. They get married and he turns his life around with her help.

The years pass, and now during Christmas of 1963, a car pulls into Guy’s new gas station. After many years, the two former lovers come face to face once more. Now they have marriages and children, and their interactions are painfully aloof. They have moved on with their lives and they have moved on from their passionate romance.

True, their lives have become sensible, but in this opera that Demy has constructed, this conclusion is sad and bittersweet. And yet if this were the only painful moment that would be one thing, but there are so many that touch the heart and move the viewer. When Guy goes off to the army and takes off on the train we can feel the great weight of anguish. More often than not, you can read the sadness on the face of these characters which complement the beautiful ballads they utter. In other words, it’s one thing to recount the plot and quite another to watch the events unfold.

I have to say that I had never seen a film that played out entirely through song, and even in the opening sequence, Demy consciously melds the diverse forms of film and opera. Umbrellas has the vibrancy and color of movies and takes the dramatic story line and songs of opera, to create a unique piece of musical artistry complete with acts and all. Its colors are bright and vibrant–utterly distinct in their composition. Everything from the bikes to the umbrellas and even back alleyways are beautiful. Although there are many magnificent melodies, rather surprisingly there is not one specific song that stands out (Well, maybe the theme), but instead, it plays rather like one continuous song with different sections and overtures that complement while not overshadowing each other.

Demy’s earlier film Lola also gives an interesting insight into the character of Roland Cassard who once again becomes acquainted with a mother and her daughter in a shop. This time around he has accomplished his dream of traveling the world as a diamond merchant, however, Lola is still heavy on his heart. Another thing that is remarkable about the film is the weather which in many ways plays as another character. The varying degrees of rain and snow dictate the mood and shift with the changing seasons. There’s no doubt that Jacques Demy and his collaborator Michel Legrand created something special here that elevates the musical to a heartfelt tragedy of romance. That’s something many men would not be brave enough to do.

4.5/5 Stars

Cover Girl (1944)

Posted on January 20, 2015 by 4 Star Films

Rusty Parker (Rita Hayworth) is a chorus girl at Danny McGuire’s place (Gene Kelly), however she has the chance of a lifetime to be the cover girl of a major magazine. She is going places with a rich suitor who wants to hire her and then propose marriage. Rusty neglects her old job and it leaves Danny dejected and angry. He knows that Rusty has a great future in front of her but he cannot stand to break up their team that includes their mutual friend Genius (Phil Silvers). At first Rusty does not understand her true feelings and rashly decides to get married. However, much like her grandmother before her, Rusty realizes in the nick of time how she feels.

This Technicolor film has one or two decent numbers and I was surprised how nimble Phil Silvers is on his toes. He dances well with Kelly and Hayworth. As always Eve Arden is as humorous as ever and Gene Kelly used his artistic control fairly well.

3.5/5 Stars

White Christmas (1954)

Posted on December 24, 2014 by 4 Star Films

Many times I feel like a broken record (this time playing a Christmas tune), but White Christmas is one of those classics that I never get tired of. It is so ingrained, so integral to my childhood memories, that I have difficulty analyzing it or finding fault.

Wonderful, visceral films stop being something that must be thought about and simply become an all out experience. That’s what White Christmas is for me. A full blown Christmas experience courtesy of Bing Crosby, Danny Kaye, Rosemary Clooney Vera-Ellen, Dean Jagger, director Michael Curtiz and of course Irving Berlin.

I mean this as a compliment, but at a basic level, I always thought of White Christmas as a Christmas-like version of Singin’ in the Rain. We have a talented and dashing leading man in Crosby (Bing Crosby) and his mischievous and hilarious partner in crime (Danny Kaye). They are never better than during their parody of the sister’s act (It’s a priceless gem of a moment). Although, there is constant chemistry throughout the film thanks to the bickering and back and forth between two buddies. Similarly to Singin’ in the Rain, you also have big spectacles, lavish sets, great songs, dancing, and constant quotability. It brings out the most reluctant of crooners and even the guys with two left feet. But what about the story?

White Christmas follows those two war buddies as they make it big as a boffo double act. Along the way, they help out a pair of sisters as well as their washed-up former commander General Waverly (Dean Jagger), who owns an inn in snow-less Vermont. Although, it’s lacking in business, it’s the perfect locale for matchmaking, acts of kindness, and misunderstandings courtesy of local innkeeper and resident eavesdropper Emma (Mary Wickes). But what we end up receiving is a joyous romance with plenty of Christmas cheer and sentiment to go around.

Bing Crosby’s pipes are as good as ever (“Count Your Blessings”) and Danny Kaye can make his voice crack like no other. Vera-Ella has a talented pair of legs and Rosemary Clooney can carry a tune in her own right opposite Crosby. Whether it’s “Snow,” “Sisters,” or the eponymous track, there’s so much to offer. Weather any slow sections and you will be rewarded thanks to the even-handed direction of Michael Curtiz (Casablanca), paired with the ever memorable compositions of Irving Berlin. Now go spend the holidays with your kith and kin. Vermont must be nice this time of year, all that snow.

4/5 Stars

The Band Wagon (1953)

Posted on August 7, 2014 by 4 Star Films

Going into this film I must admit that despite hearing good things, I had zero expectations. I must say I was pleasantly surprised by this Minnelli musical because it was a deft and often beautiful production. Channeling the same vein as Singin’ in the Rain and The Red Shoes, this film is a spectacle in its own right. You have headliners Fred Astaire and Cyd Charisse matched nicely. Oscar Levant and Nanette Fabray act as wonderful comic relief as the wedded playwrights, who also do some song and dance. Finally, there is Jack Buchanan, as the stereotypical theater maestro Jeffrey Cordova.

It all begins with Tony Hunter (Astaire) a washed up has-been who is headed to New York for some relaxation. There is little fanfare during his arrival except coming from his friends the Martons, who have a new production for him to star in. They get the famed Cordova on board and next comes an up and coming choreographer and his girlfriend, who is none other than the young starlet Gabrielle Gerard (Charisse)

Following an initial misunderstanding, the leads finally clear up their differences and push forward to make The Band Wagon the smash hit it is destined to be. However, Cordova has turned it into a modern-day Faust and when opening night comes the after party is more like a wake.

All the players seem strangely nonchalant and then the idea hits! Make The Band Wagon over again and take it on the road. Everyone in the cast from the bottom up is excited for the second chance with Hunter at the helm. All that is except choreographer Paul Byrd.

Despite Paul’s departure, Gaby is still enthusiastic and they turn the Band Wagon into the production that the Martons had envisioned from the beginning. Tony is a success once again, and he receives a round of rousing cheers from his new family. Gaby speaks for all of them (and herself) when she says they love him and believe that the show will go forever.

I immensely enjoyed many of the numbers including: “Shine Your Shoes,” with the camera following Astaire as he frolics around at an arcade with a shoeshine man. The extras, the exquisite set, and Astaire himself all culminate in an often comical and always upbeat number that is great fun to watch. Then, of course, there is the ever memorable “That’s Entertainment,” which even spawned a series of musical documentaries, and for good reason. The words and melody are quite a catchy ode to the stage. Perhaps the most beautiful sequence in the film involves Astaire and Charisse in “Dancing in the Dark” where they positively glide through Central Park together in perfect cadence. They move not as individuals but as a poetic unit in motion. It is fitting that it was their first dance together in the film.

For never seeing Cyd Charisse in another film (except briefly in Singin’ in the Rain), I must say that I really did enjoy her performance opposite the always likable Fred Astaire. Furthermore, I am in complete agreement with her character, “I don’t think a dancer should smoke,” it’s bad for the lungs.

The cameo of Ava Garner was an odd surprise (especially due to her resemblance to Charisse). Furthermore, I never thought it could exist, but this film proved me wrong. There is such a thing as a film-noir musical! That’s The Band Wagon for you folks! That’s Entertainment!

4.5/5 Stars