Forget about AN AMERICAN IN PARIS or GIGI, this is “the” genuine chef d’oeuvre of a Minnelli musical.
Forget about AN AMERICAN IN PARIS (1951) or GIGI (1958), this is“the” genuine chef d’oeuvre of aMinnellimusical, THE BAND WAGON is a glittering meta-pomp jauntily fights its corner for the middlebrow fluff over the highbrow pretension, not to mention it is where THAT’S ENTERTAINMENT! standard derives from.
An over-the-hill screen star, is given an opportunity to headline a Broadway musical to resuscitate his ebbing career, if the protagonist were a woman, the film would be Billy Wilder’s downbeat elegy SUNSET BLVD. (1950), but thanks to the showbiz’s ingrained double-standard, for a nimble-footed Tony Hunter (a 54-year-old Astaire), everything is rosy and eventually he is able to have his cake and eat it too! (actualizing a consequential comeback and simultaneously winning over the heart of his much younger leading lady.) However, enveloped in his aw-shucks and avuncular bonhomie, he is fortuitously accorded with a laissez-passer.
Creative license is put into comical use through the character of an omnipotent triple-threat Jeffrey Cordova (Buchanan, flip but nevertheless, an able hoofer), a very persuasive producer, a conceited director and a grandiloquent luvvie, who has been on a tear in Broadway and idiosyncratically decides to transpose the show's fluffy original material into a boundary breaker, viz. a musical reinterpretation of Faust. Everyone has to humor him on the strength of his clout, only a disastrous tryout can drench him out of his airy-fairy excess. Thankfully he ekes out enough alacrity to let theself-knowledge-savvy Tony resumes the rein henceforward, and the movie's money shots transpire in a stringof pluperfect musical numbers, including the ingenious, knee-dancing ditty “Triplets” (Astaire, Buchanan and a sparkling, corn-fed Nanette Febray, who is particularly reminiscent of Astaire’s quondam partner Ginger Rogers), and is topped off by the entrancing“GIRL HUNT” ballet pas-de-deux between Astaire and a voluptuous Cyd Charisse in her crimson sheath dress, against a modern noir-ish scenography.
Endowed with a game and nimble cast (themonkey wrench in the works is a stooped Oscar Levant, often looks uncooperative and miffed on the sideline), THE BAND WAGON is a passé romance, lukewarm comedy but a sterling musical production, beaming with gems composed by Arthur Schwartz and Howard Dietz, choreographed by Michael Kidd, both ocularly and aurally, this first-time reviewer is stock-still bewitched with a waxing smile at the corner of his mouth.
companion pieces: Minnelli’s AN AMERICAN IN PARIS (1951, 6.2/10);Stanley Donen and Gene Kelly’s SINGIN’ IN THE RAIN (1952, 8.1/10); Mark Sandrich’s HOLIDAY INN (1942, 7.1/10).Forget about AN AMERICAN IN PARIS (1951) or GIGI (1958), this is“the” genuine chef d’oeuvre of aMinnellimusical/
浮士德不爱看,还是枪战美女男欢女爱能赚钱。
三星半。舞蹈部分很有想象力,故事部分就差强人意。
上映之时阿斯泰尔年过半百,可你知与之共舞两段演导演的杰克·布查楠多大岁数?六十二!影片主题承接一年前的玉女奇男,魔鬼导演好像柯克道格拉斯的狂人制片,初始印象甚至更为不佳,没认出舞王,对歌舞不敬,自我为中心。可很快褒贬转向:新老明星台上幕后各种性格缺陷,比个头,没自信,被激将,自我专业设限,无法与时俱进……要克服这些刚好需要导演的野心爆棚大胆探索。尽管途中“浮士德音乐剧”以失败告终,老舞王新女神接管影片上扬势头,但观众已接收到重要讯息:没有导演就没有后面这一切。包括可能深刻影响杰克逊的黑色犯罪歌舞剧——不过那显然非剧是影,因为剧场里不可能看到蒙太奇大特写。换言之,明奈利并没把习惯思维居于反位的制片人彻底否定,相反他会凸显其立项创意艺术整合商业运作等层面上的重要性。甚至还包括知错就改的性格魅力!
男女主角没化学反应,歌舞也没啥特别亮点,戏都被那个神经病导演抢掉了。。我觉着导演之前被设定为荒谬可笑的浮士德文艺歌舞主意挺好的。。改为永远的王道歌舞太保守无趣了。。男主在on the beach里面很可爱的,这里角色所限略扁平。。
太精彩了!和《西区故事》《红男绿女》并列我最喜欢的三大歌舞片。弗雷德.阿斯泰尔 当之无愧的舞王
相比较琴逑,Cyd以更为宽广的舞技在为女星获得了更为主动的地位,那双野性、有力的双腿让人叹为观止。前败后胜的演出似乎是好莱坞的创作宣言。和黑色电影的结合虽然还只是歌舞不参与叙事,但无疑为后来的歌舞片讲述复杂和不那么欢乐的故事打开了一扇门。
能与《雨中曲》比肩的歌舞片,很多时候真想身处拍片现场,看看如此精妙的场景是如何拍出来的,摄影机的移动让人叹为观止,布景也是想象力爆棚了,高潮戏居然将歌舞片与黑色电影结合,无疑宣告了好莱坞要告别战后的阴影走向新时代的欢歌燕舞,剧情和歌舞场面也结合得极好,歌唱中进行叙事
明奈利不算顶高明的导演,可他令人愉悦。
歌舞片 × 黑色电影 太惊艳了吧,如果不是段落而是一整部电影就好了!
文森特·明奈利代表作,毫不逊色于[雨中曲]。1.阿斯泰尔本色出演,戏中戏,呈现百老汇歌舞剧的台前幕后。2.流畅摇臂运动长镜:Shine on Your Shoes. 3.叙事与歌舞完美交融,仿黑色电影舞剧[Girl Hunt]惊艳到难以形容。4.中央公园双人舞[Dancing in the Dark]。5.[Triplets]用了装在膝盖的假腿。(9.5/10)
爱乐之城的原版,色调迷人,故事饱满。
是一个很有意思的文本,松散,拼贴,自我指涉,后经典好莱坞时期的文本,印象深刻的不是歌舞,而是男女主人公无言地穿过夜晚公园的那一段,无情节意义却很有氛围的一场戏,有点现代电影的意思,还有一个地方有意思的是,雨中曲和这部片子都用歌舞片的形式戏仿了黑色电影。
http://v.youku.com/v_show/id_XMzE0NTQ4MzY=.html
大多数时候,《篷车队》都只达到了米高梅歌舞片的平均水准,这意味着影片的编舞、服化道、情节、摄影等都做得十分扎实,虽然不出错但也没有让观众眼前一亮的创意。但结尾处的悬疑“戏中戏”则将影片拉到了经典作品的水平。这段“戏中戏”的出彩不只在于其巧妙的编舞、风格化的布景,更在于其充满灵感的构思:它通过戏仿好莱坞经典黑色电影的方式,解构了歌舞片甚至是好莱坞类型片一贯的夸张风格,也就是用荒诞解构了荒诞,由此呈现出的机敏与幽默可谓力量十足。 PS:片中男女主角的公园舞蹈显然是《爱乐之城》的灵感源之一。
惊艳。擦皮鞋和夜晚公园的长镜头,赛德·查里斯那野性有力的双腿,还有女演员们的裙子。
歌舞片要的就是迷人,戏中戏更是厉害,如《雨中曲》一样以幕后为背景,场景设计再次继承表现主义的遗风。剧本大赞,男女主角初遇一幕的巧妙的双线对位,实在有意思,本作关于“娱乐”和“严肃”艺术之间关系的探讨也很深刻,艺术不在于刻意追求,中央公园那场曼妙的双人舞告诉观众艺术之美处处存在。
阿斯泰尔扮演的过气老歌曲明星,和本片拍摄时代1953年,也就是制片厂制度崩溃,歌舞剧在消亡年代重叠,在文本内外形成了完美互文关系。老明星东山再起的happyending,却无法挽回歌舞剧从电影史舞台退出(看了原片才知道,《爱乐之城》在公园里双舞的模仿致敬,简直就是不堪入目。
MJ的某只MV就是抄袭的Band Wagon
FredAstaire身上散发出的古典优雅太有派了,而片子抖落演艺界无常的那点儿私货,也是正统的好莱坞腔。歌舞部分挑不出瑕疵,特别是最后的纽约巡演,竟然用歌舞重构了一场黑色电影。
超好看,既有传统温馨系的歌舞场景,又有前卫的压轴大戏(Girl Hunt Ballet真是看得人热血沸腾)。歌舞场景与剧情推动结合紧密,编舞和拍摄都没得挑。原来我喜欢的歌舞片都是以幕后制作为背景的: 雨中曲,All that Jazz...