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Rating: 
Summary: Fred's answer to Singing in the Rain
Review: "The Bandwagon" gets my vote for best-ever movie musical. It tells a story within a story within a story (much like Cole Porter's "Kiss Me, Kate!") in which Fred Astaire pretty much plays himself as a maturing, but not yet over-the-hill song and dance star. He gets improbably teamed up with the magnificent Cyd Charisse in Jack Buchanan's send-up of the theater business -- an avant-garde redo of "Faust." (No doubt this is where Mel Brooks found at least a part of the inspiration for "The Producers"). Oscar Levant and Nanette Fabray are equally contributing co-stars, and the ensemble puts on an entire film that is a virtual non-stop high-light reel. Astaire and Charisse have the classic "Dancing In The Dark" duet which is so graceful and fluid you are reminded of Torrville and Dean, except Astaire and Charisse are not wearing skates.There are so many great tunes and dances in this film that it would take a couple inches of space just to list them; "That's Entertainment" and "The Girl Hunt," to mention just two. I believe MGM dubbed Ms. Charisse's singing, but it is done well and does not adversly affect the music. (I wish I knew the name of the singer to give credit for her voice.) Even if this rankles the purist, her dancing more than compensates. This movie is a joy to watch and listen to, and it never gets tired. It will definitely leave a shine on your shoes and a melody in your heart that never wear out.
Rating: 
Summary: Hop on the Bandwagon With This Smash Hit!
Review: A muddled Fred Astaire musical, which starts out with a brilliant opening sequence wherein Tony Hunter, a thinly-veiled Astaire stand-in, returns to a modern, new, 1950s New York, which has adopted a brash, gritty form of glitz which feels foreign to the debonaire star of 'Thirties film and stage. Broadway has been overrun with garish and pretentiously lofty Big Concept plays, and the good clean fun of Fred and Ginger's era seems hokey and out-of-date. Still, his loyal pals, a successful playwright and librettist, hustle him up some work, which turns out to be with the most pompous of the new theatre elite. Astaire's outsider-looking-in view of Broadway in transition -- the sort of big city symphony that director Vincente Minnelli excelled at -- is fascinating (while Fred's visit to an old Times Square theatre that's been renovated into a penny arcade is amusing in retrospect, considering that the neighborhood soon became overrun with porno parlours...) Teaming Astaire up with Cyd Charisse is a joy to behold as well... Apparently he is quoted as saying she was his favorite dance partner (Ginger Rogers fans, all gasp now...) but you can kinda see what he means... Where the graceful Rogers was a perfect partner to Astaire, the statuesque Charisse is more of counterpoint, an equal presence, if not as intuitive and inventive a dancer. There's a much greater physical charge between them, and it's a very different viewing experience. Anyway, long story short: this film has a great premise, but falls apart when they actually find a barn and start to put on a show. The highbrow producer stages a flop, and Astaire and company decide they can't quit now, so they're just going to put on some good, old-fashioned singing and dancing revue, like folks loved in the old days. That's all very well and fine, but the big old, sockaroony extravaganza that takes up the last quarter of the film simply makes no sense. It's a bizarre Technicolor pastiche of old routines: a hick skit, a terrible old Vaudeville routine (Triplets), and a fun (but overlong) parody of then-contemporary film noir craze, featuring Astaire in the tough-guy role. It just doesn't hang together, which is a pity, since the film ultimately doesn't deliver on its promise to give the "new" theatre its comeuppance... Maybe with a little more delicacy or stronger writing, they would have, but the Really Big Show is kind of half-baked. Stiil, Astaire & Charisse... what's not to like?
Rating: 
Summary: Throwback to Vaudeville
Review: Astaire & buddies decide to put on a travelling show. This somewhat defiant response to Gene Kelly's forward looking & somewhat cynical Singin in the Rain, provided a big screen platform for an odd combination of small stage entertainment and Astaire's signature tap dancing mixed with ballroom dancing. The movie adopts a cheerful & innocent entertain the masses approach. Old fashioned on purpose. His dancing is wonderful and the film suffers in the scenes and numbers where he isn't front and center. Corny old songs like "Triplets" and "Louisiana Hayride" are dragged out & dusted off. Was Astaire really this devoted to his vaudeville roots or was it all he knew how to do? Astaire may not have born wearing a top hat and tails but he might as well have been. I wonder if it got to the point where someone he trusted had to sit down with Fred and convince him to let it go. Obviously, Singin in the Rain resonated more deeply with public. Astaire finally gave up on these throwback movies & took on dramatic roles in the late 50's. Big budget modernized musicals dominated the 50's & 60's.
Rating:
Summary: For Many of Us, the Best Musical
Review: I'm not prepared to be objective about "The Band Wagon." To me it has the artistry of "An American in Paris" and the rollicking fun of "Singing in the Rain." Fred Astaire and Cyd Charisse have never danced better before or since and this backstage musical with plenty of tunes by Dietz and Schwartz gives them plenty of opportunity to strut their stuff. To me the "Dancing in the Dark" sequence is the most sublime dance number ever recorded on film. "The Band Wagon" is not just a musical, but a musical about musicals. Fred Astaire plays a slightly down-and-out version of himself, "Tony Hunter," who was "in all those singing and dancing pictures ten or twelve years ago, but the critics say he's washed up." Against his better judgment Tony gets teamed up with Cyd in an arty version of "Faust" that has disaster written all over it. But you know show people . . . and musicals . . . This movie really gets a split response. Nobody hates it but for some it's "just okay" and then there are the ones like me who LOOVE it. It's my favorite musical and one of my favorite movies, period. I'm very glad Amazon is stocking it again. If you're a fan of Astaire, director Vincente Minnelli, or the MGM films of the early fifties, I doubt you'll be disappointed if you take a chance on "The Band Wagon."
Rating:
Summary: Hop on "The Band Wagon"
Review: If you like movie musicals, then "The Band Wagon" is a must-have for your collection. Released in 1953, this Vincente Minnelli film was one of the finest musicals produced by the legendary Arthur Freed Unit at Metro-Goldwyn-Mayer. It stars Fred Astaire, Cyd Charisse, Oscar Levant, Nanette Fabray and Jack Buchanan in a musical skewering of the sometimes aloof Broadway "theatah" scene. This is the film which introduced "That's Entertainment", a song which has become as much a trademark for MGM as Leo the Lion. My favorite scene is "Dancing in the Dark", a simple-but-elegant dance number featuring Fred & Cyd and set in a Culver City rendition of New York's Central Park. But there are many other sensationsal numbers as well. Among them: "By Myself" and "Shine on Your Shoes" (Astaire), "Girl Hunt Ballet" (Astaire and Charisse) and "Triplets" (Astaire, Fabray, Buchanan). With a sharp and witty screenplay by Betty Comden and Adolph Green ("Singin' in the Rain") and fabulous songs by Howard Dietz and Arthur Schwartz, "The Band Wagon" is a quality musical your are sure to love.
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: 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.
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.
Rating:
Summary: One of the all-time greats finally comes to DVD!
Review: To me, THE BAND WAGON is virtually equal to SINGIN' IN THE RAIN in its greatness not only as an MGM musical, but as one of the greatest films of all time.
Astaire and Charisse are magical together. Minnelli's direction is perfection. The Schwartz/Dietz score is sublime, and the wonderful, personal screenplay by the legendary Comden & Green is priceless.
It is not noted here, but this is another one of Warner Bros.' ULTRA-RESOLUTION restorations, which brings incredible sharpness and luster to films originally shot in 3-strip Technicolor (GWTW, SINGIN' IN THE RAIN, MEET ME IN ST. LOUIS and ADV. of ROBIN HOOD previously used this new process that only WB has).
(For those who are confused as to why Warner Bros. is releasing an MGM movie, that relates to WB buying Ted Turner's company, and Ted Turner bought the entire MGM library up through 1986)
What isn't noted here on Amazon, is this DVD has a commentary by a lady who was on the set with wide eyes and a photographic memory: The director's daughter...an Oscar winner named Liza Minnelli. With her is one of her best friends, and aside from being a popular entertainer, he is also an astute historian, and that is Michael Feinstein.
Added to this (according to the WB press release I read online) there is a documentary on the making of the film, plus a docu on Vincente Minnelli, and even a deleted musical number.
This (like EASTER PARADE, being released concurrently) is a must-have for anyone who loves great entertainment, whether you are 8 or 80!
Given their track record, I'm quite certain WB will give us a phenomenal presentation, similar to the pulling-out-all-the-stops treatment they gave the equally sublime Minnelli/Arthur Freed classic MEET ME IN ST. LOUIS.
How can I possibly wait until March 15th? Agony!!!!!! :)
Rating:
Summary: Make Room on "The Band Wagon" for Me!
Review: Yes, this is one of the best MGM musicals for sure. You'll read some reviews that say the romance is wearisome or that the plot is thin, but I don't think any of that holds water. I will grant you, though, that it gets a tad long, but I think you'll find that true of almost every single musical anyway, my gosh how many hours long is "Carousel"? Fred Astaire just got better as he got older, and that's pretty darn hard to do as a dancer--I remember that all the cast in "A Chorus Line" are dreading turning thirty because they'd be has-beens. Well, here our Fred is a spry 54 and dancing up a storm, even in a new style. While every number is great, I'd have to say that the standout for me is "Dancing in the Dark", where he and Cyd Charisse begin by walking through a mock Central Park and by bits and pieces go into a beautifully smooth dance number. Look at it closely--there's only one camera cut in the whole number, and I think that's just that they moved out of range. Which is to say, that you're almost watching a live performance in one take--incredible! Like one of the previous reviewers, I will also single out Jack Buchanan's great performance as the hambone director of the Faust play. What a pity that there doesn't seem to be anything else of his around to keep viewing his significant persona. When he and Fred do a number together towards the end, "I Guess I'll Have to Change My Plans", gotta admit, most of the time I was watching Jack not Fred. Such aplomb! I wish I knew him! And of course, there are plenty of other classic routines, not the least of which is "That's Entertainment", well put over by Fred, Jack, and Oscar Levant and Nanette Fabray. Yep, that's entertainment all right! So to sum up, scurry aboard "The Band Wagon" and ride on out to wherever with these great stars--hot time in the old town tonight.
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