Rating: 
Summary: ISN'T FRED ASTAIRE THE QUINTESSENCE OF JOY!!
Review: In this age of angst (to say the least), what better elixir than Fred Astaire, who is pure joy himself. Sure, he had problems professionally and in life like the rest of us, but you know what? The essence of this man transcended all of that, and I believe that is why we are all so drawn to his films today. Not only that, but this film takes place when the movies were leaving hoofers (tap dancing) behind, and moving into the realm of modern dance and ballet. Even in those territories, Fred holds his own. It is my belief that the decline in the producing and popularity of musicals from the late 40's and 50's to this day is because we left tap dancing (primal rhythm) behind for a mode that was too effete for most people to be affected by. As for the film, great!!! Have to admit the last production bored me, but is was worth the rest of the film. Shall we cherish Ms. Charrise now or later. I say always!!
Rating:
Summary: "MGM has got a Leo, but mama has got a trio"...pure genius!
Review: No movie musical comes close to []the Band Wagon. The film is physically stunning and varied in terms of musical numbers. In fact, it's fantastic in every department. This is []the ultimate Vincente Minnelli musical. His brilliant use of sets in such numbers as A SHINE ON YOUR SHOES, DANCING IN THE DARK, and THE GIRL HUNT make the film one of the most atmospheric musicals to hit the screen. The quality of musical numbers in THE BAND WAGON is far more consistent than in SINGIN' IN THE RAIN. For instance, TRIPLETS is funnier, and more original than MAKE 'EM LAUGH. In A SHINE ON YOUR SHOES, Minnelli treats the "breaking into song and dance" concept literally. In a 1930s musical, extras would stand around the action with a fake smile. Here the people in the background react realistically to Astaire's routine (everything from walking by to screaming from fright). The blending of real and unreal adds an entire dimension to the number. THE GIRL HUNT BALLET manages to be dream-like, humourous, and structured. It has a magical quality without being as lasse faire as the ballets in SINGIN' IN THE RAIN or AN AMERICAN IN PARIS. It's my candidate for the greatest musical number ever filmed...a close race with everything else in THE BAND WAGON. Oh, yeah. Many consider this film to include Fred Astaire's finest performance. He's a fabulous performer, in a semi-autobiographical role.
Rating:
Summary: One of the Best
Review: The American musical genre is one of our contributions to the performing arts canon. The musicals below are Broadway musicals adapted to the screen. As such, they all get bonus stars. Singing in the Rain, Showboat, King and I, Bells are Ringing, The Band Wagon, Oliver!, Bye Bye Birdie. The Band Wagon delightfully turns the Broadway musical cliché on its head with the story of a spunky group of troopers putting their heart into a big flop. Great dancing, with one of Astaire's classics ballets: "Dancing in the Dark," with Cyd Charise. And the added treat of Oscar Levant and Nanette Fabray as Comden and Green characters, who happened to write The Band Wagon (as well as Bells are Ringing). This was smart and sophisticated comedy of the 50s, an era where New York adults still set pop trends and before American culture became corrupted by television.
Rating:
Summary: And You Say As You Go On Your Way--That's Entertainment!
Review: THE BAND WAGON is a unique film which gently mocks the conventions of the "backstage musical" genre by piling stereotype upon stereotype to comic effect. While some viewers see the film as purely cliche and dismiss it as such, those in tune with its covert satire often rank it as one of Hollywood's finest musicals. But however you look at it, THE BAND WAGON offers two of Hollywood's greatest dancers, three memorable character actors, fabulous music, and some of the finest musical set pieces ever created for film. The story is slight but contains unexpected twists. Fred Astaire is a has-been movie musical star (much of the film actually parodies his own history) who decides to return to Broadway--and unexpectedly finds himself trapped in a musical adaptation of Faust with a neurotic director (Jack Buchanan), two irate writers (Oscar Levant and Nanette Fabray) and a decidedly icy leading lady (Cyd Charisse.) Needless to say, disaster follows disaster until every one concerned decides to junk the Faust element and do something purely entertaining instead. As with most Vincent Minnelli films, THE BAND WAGON is visually stunning in virtually every manner possible, and the loose plot offers plenty of room for one dazzling musical number after another. Astaire literally defies time with his work in this film and Charisse makes an exceptional partner; at the same time, Buchanan, Fabray, and Levant lend a touch of acid humor that adds considerably to the fun. The musical numbers are everything here, and they are all--including the disasterous Faust rehearsal--beautifully and memorably staged: the opening shoe shine number, the simple beauty of 'Dancing in the Dark,' the brief turns by Buchanan, Fabray and Levant are all charmers... and 'That's Entertainment' sums up the intent of the film. Although some find it extremely slight, THE BAND WAGON remains one of the few truly great movie musicals of the 1950s--and easily one of the truly great movie musicals of Hollywood's golden age. Recommended.
Rating:
Summary: All Aboard!
Review: The Band Wagon is a very good movie!
It's list of musical numbers include, That's Entertainment!, The Girl Hunt, and Triplets.
It's a must see for any musical movie fans,or anyone else for that matter!
I realy wish I could rate it with 10 Stars!
Rating: 
Summary: End of an era Bill Haley just around the corner
Review: The Band Wagon shows its age, no new themes just the usual, "the show must go on." Who went to see this type of film, it wasn't the kids, they had Roy Rogers? Perhaps the World War II veterans grabbing on to nostalgia, and maybe Grandpa and Grandma. Anyway 1953 wasn't far from 1955 and although not a musical, The Blackboard Jungle that features Bill Haley's Rock Around the Clock, turned films similar to The Band Wagon into relics. Despite this observation the film itself is pleasant enough and doesn't offend anyone and the colors used are very cheery. The film stock used is warm giving the actors and actresses a very healthy glow, and throughout the movie plenty of "hot" colors such as red, orange and yellow can be seen in the costumes, as well as Cyd Charisse's dresses, and the elegant room decorations. Fred Astaire looking very cool and conservative compliments the warmth. He does like to use his hands, they never keep still, and he is forever puffing away like a chimney. Those hands they are huge, when observing him full length his hands are very dominant. In a scene towards the end, he is in his dressing room putting on his jacket and pulls his shirt cuffs down intending them to show under his jacket sleeves, but I noticed he didn't pull his left cuff down far enough so in fact he looked lopsided. Cut, next scene as he appears coming out of the dressing room, all is corrected, and he is back to his dignified self. Fred is so elegant when he dances, so effortlessly despite being an "old man" at 54. You know what they say, "You don't lose it if you use it," look at Jack La Lanne he is 85, in Fred's case he must have been even healthier, with smoky lungs he reached 88. Fred had a knack when dancing to step forward and move his leg side to side. This I find amusing because being part of the establishment and dancing to A shine on Your Shoes, this movement is quite acceptable, but if we step just a few years into the future, Elvis was considered obscene for doing the same thing. Now if Presley had sung By Myself instead of Hound Dog, would the TV network allowed him to appear on the Ed Sullivan Show full length? We also see in the film that Band Wagon represents a former age, when Tony Hunter in a fit of temper (careful Fred you're spoiling your image,) smashes the 78s but cannot destroy the new vinyl records, another preview into the future? On a another note Band Wagon is also saying let bygones be bygones when Fred and the crew burst into a Bavarian beer festival type song, Fred knows his German and only seven years after WWII, the movie plays its part in healing the wounds. The director Jeffrey Cordova is also a cliche', first we see him in a light blue safari suit, (how many films do we see a director in a safari suit?). More than enough times, and then the overcoat slung over the shoulders instead of wearing it properly, more Benny Hill material. No, The Band Wagon does not have anything new to offer, on the other hand we have the immortal dancing shots of Astaire and Charisse, and a few good tunes, at least Dancing in the Dark is a favorite with Mel Brooks and of course the song that sums it all up That's Entertainment.
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Summary: FRED ASTAIRE'S BEST MUSICAL OF THE FIFTIES
Review: The least we can say about FRED ASTAIRE is that he certainly didn't forget the musicals that he starred in on the stage.THE BAND WAGON like FUNNY FACE is a wonderful musical filled with great songs,brilliant choregraphies and this one includes a terrific gangster pastiche.One of those few films you can watch many times(take a few months in between).Some cynics may find it corny at times.Director MINNELLI had a strange way of directing;sometimes he had a tendacy to overdo it a little in the dialogue department.Still, there are so many delightful scenes in this movie,that you should overcome the few downers.Without a doubt,this is one of the best musical ever made.
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Summary: MY VERY FAVORITE MUSICAL!
Review: This has been called the greatest musical film about the stage ever made and it's not hard to see why! This was not meant to be an imitation of "Singin' in the Rain" - as everyone knows, it really was sort of a bio of Astaire's career (washed up star makes a come-back, etc). Cyd Charisse is one of the most feminine and beautiful dancers to ever have appeared on screen. "Dancing in the Dark" is "Classic Astaire" - NOBODY had such grace and class as he when he danced! The "Girl Hunt Ballet" is another show stopper that Cyd and Fred grace the screen with. The "Shine On Your Shoes" number is fun and Astaire, as always, looks fabulous throughout. Not only are the dances great, the music is fantastic and Fred and Cyd are stunning together. Works for me!
Rating:
Summary: Sublime dancing!
Review: This is surely one of the best movie musicals. The backstage trials and tribulations of producing a broadway version of Faust with a frenetic director at the helm and two dancers whose egos and styles clash provide the basis for this delightful film. The dances are wonderful, especially the smooth and romantic "dancing in the dark" number. Astaire, as always, brings a freshness and improvisation to all his numbers and Cyd Charisse is lovely. The Girl Hunt ballet is one of the better long dance sequences created for a movie musical and it is a less self-conscious than the ballets Kelly created in his movies. Micheal Kidd's choreography manages to capture a wryness and tongue in cheek quality that wears well. The costumes for Cyd are stunning. Get this video. You won't be sorry.
Rating:
Summary: One of the great film musicals
Review: This movie begins with a phenomenal if misleading shot. It shows a top hat and cane belonging to former dancing legend Tony Hunter being auctioned, with no takers. Of course, if you see a top hat and cane, you think "Fred Astaire." But despite the implication and reference, Fred Astaire was, at the time this film was being made, still very much the greatest dancer in the movies (with apologies to Gene Kelly). Unlike Tony Hunter, he had never ceased to make "A" pictures. But no one could have played this role with more authority than Astaire. The plot is simple: washed-out and used-up former dance legend Tony Hunter is returning to Broadway in an attempt to revive his sagging career. That provides the pretext that is needed for a nearly perfect musical. THE BAND WAGON is a magnificent blend of great songs, great music, great dancer numbers, great actors, and great comedy. The cast is perfect. You get not only the greatest song and dance man in movie history but also a magnificent partner in the elegant and leggy Cyd Charise. You get great comic relief with Oscar Levant and Nanette Fabray. And you get one of the few musical comedy performers who could rival Fred Astaire for elegance and charm in Jack Buchanan. The musical numbers are both marvelous and apparently never ending. The film begins with Fred performing "By Myself" and then soon shifts to a thoroughly rousing version of "Shine on My Shoes." Later in the film, two enormously debonair song and dance men (Fred and Jack) perform "I Guess I'll Have to Change My Plan's." And that doesn't even come close to exhausting the list. Perhaps the highpoint of the film, however, comes when Tony and Gabrielle, the ballet performer the producers want to partner him with, uncertain that they will be able to dance with each other at all, take a carriage ride through Central Park to try to get to know each other. As they drive, they come upon an outdoor dance floor, with an orchestra playing the haunting Dietz and Schwartz classic "Dancing in the Dark" (which lyricist Dietz intended to be a meditation about the nature of human existence; Schwartz's music matched the mood of the lyrics perfectly). Tony and Gabrielle get out and begin to walk together in rhythm, gradually and tentatively attempting a few dance steps. Eventually, they discover each other's rhythm, and they begin to dance together marvelously and magnificently, matching the mood of the music precisely. It is one of the greatest moments in either Astaire or Charisse's career. This is a must see film for any fan of the movie musical. I have to confess that I am not, by and large, a big fan of the MGM musical. I prefer the kookiness of the older RKO musicals, or even the stylized musicals of Warners or even Fox. MGM musicals were, to me, too often overproduced and dominated by the art directors. This film, however, is a magnificent exception.
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