The Band Wagon

by Ari

The musical is practically non-existent in contemporary film, with only occasional ventures such as the vibrant Moulin Rouge or the under-whelming best picture winner Chicago slightly reinvigorating the genre for a brief period, but nothing as jovial, theatrical, or classical to fully reestablish its pleasures for audiences today. There’s no question that times have changed, audiences have changed, and the demand for classical entertainment is the lowest it’s ever been. The musical and the western seem to be unsatisfying or unappealing to major studios, and with the limited support each genre receives, it’s not likely anything will change anytime soon.

The musical is now a Hollywood relic, a form of escapist entertainment that once enchanted audiences looking for more theatrical productions, over-the-top emotions, and lively, even outrageous song and dance performances. Like any genre, the musical had its highs and lows, with the very worst offerings being unbearable and the very best offerings being truly sensational. The films notable for Busby Berkeley’s astonishing choreography represent some of the best, as do many of actor Fred Astaire’s and director Vincente Minnelli’s offerings.

Astaire and Minnelli’s collaboration on The Band Wagon is one of the finest examples of the Hollywood musical, even with its generic story and characters. The musical was never meant to challenge audiences with emotional complexity. This was a genre created for predictable character motions and simple, easy-to-follow storytelling devices that allow for an overabundance of songs and dances. The Band Wagon follows this formula while working its way into a class of its own with inventive and amusing set-pieces and charming leads by Fred Astaire and the incomparable Cyd Charisse. After all, the main attraction of the musical is the singing and dancing, something The Band Wagon does effortlessly well. When you have an iconic figure like Fred Astaire starring alongside arguably the greatest female dancer to ever grace the silver-screen, the results will be something special.

Vincent Minnelli and his choreographers thankfully understood just how amazing an opportunity it was to showcase these talents together, providing a sweet and delicate story to accompany the many impressive songs and dances, including the infamous and rousing conclusion. The Band Wagon goes out of its way to inspire excitement, a movie with the sole purpose of providing quality entertainment. What Minnelli accomplished was something rather profound, a musical that be enjoyed regardless of how appealing you find the genre. This is a transcendent work that even the most cynical viewer would be hard-pressed to dislike, a perfect showcase for why musicals are such a satisfying form of cinematic storytelling.

The Band Wagon opens with an auction of a top hat worn by Hollywood star Tony Hunter (Astaire) from one of his famous movies. Problem is nobody will buy it, not even for the bare minimum. Hunter is a washed-out Hollywood star looking for a comeback, a once beloved actor now looked upon with respect, but not a great deal of interest. The idea was derived from Astaire’s own life in 1953, when he was approaching the end of his career and looking for one last hurrah. Hunter takes a train to New York hoping to make one last splash on Broadway with his two writer friends who have a new and exciting script. His friends, Lester and Lily Marton, played with equal enthusiasm by actors Oscar Levant and Nanette Fabray, have a connection to famous and visionary theater director/writer/actor Jeffrey Cordova (Jack Buchanan), an Orson Welles inspired figure who’s plays are the pinnacle of Broadway excellence. Cordova envisions Hunter making a triumphant return in one of his shows, something the old Hollywood star can hardly see himself accomplishing. The Marton’s pitch their story of song, dance, laughs, and excitement to Cordova, who in his infinite wisdom rearranges it into a new version of Faust. Cordova wants darkness and despair and earns the trust of Tony and his friends with his commanding direction and seemingly deep vision.

The first number has Astaire and a shoe-shiner played by Leroy Daniels singing and dancing around a penny-arcade on Broadway. It’s a fun and well choreographed bit of musical entertainment with lots of flashy moves and high-spirited amusements. The story is, after all, a formulaic excuse for Astaire to sing and dance, especially when his character of Tony Hunter meets his co-star of Faust, the lovely and talented dancer Gabrielle Gerard (Charisse). Tony and Gabrielle initially despise each other, but that of course changes as the story progresses, especially after Cordova’s Faust tanks on first showing and is reorganized back into its original version. Tony of course falls in love with Gabrielle, they discover how to passionately dance together, yadda yadda, so on and so forth. The plot is a simple, easy, relatively effective excuse for some incredible performances.

The number “shine your shoes” starts things off extremely well, and it’s not until later in the film where it's exceeded. Things take off again with “dancing in the dark” a quiet, intimate number between Astaire and Charisse during a beautiful night in Central Park. It’s an elegant and romantic number performed with grace and beauty. Astaire simply exudes cool, an obviously great performer who dances with charm and class. He’s matched by Cyd Charisse’s absolutely stunning movement. Her dancing is fluid and sensual, an astonishing sight for anyone who spends most of their time sitting in chairs and typing reviews. After “dancing in the dark”, Cordova’s show premieres and flops. It’s rewritten into a series of lively performances which are presented in order as the cast and crew tour across the country and make their way back to Broadway. Among these numbers is the amusing, if strange “Triplets”, a comedic number starring Astaire, Fabray, and Buchanan, and the famous “I Guess I’ll Have to Change My Plan” with Buchanan and Astaire. There’s plenty of entertainment before the final number is unveiled, but nothing really prepares you for how extraordinary the finale truly is. They saved the best for last and created one of the finest musical numbers in movie history.

“Girl Hunt” is the musical version of a Mickey Spillane pulp noir adventure featuring Astaire as the private eye and Charisse as the dangerous and seductive dame. The number includes expertly choreographed dancing fist-fights, shoot-outs, and the unforgettable nightclub duet between the two magnetic stars. “Girl Hunt” just oozes cool. Astaire is as slick as ever, and Charisse demonstrates the full capacity of her talents. She’s radiant in this number, as exquisite as she is sexual. The rich and vibrant technicolor photography gives The Band Wagon the stamp of vintage 50’s cinema - easily among Minnelli’s best looking films.

They don’t make them like this anymore.