The Band Wagon

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Jeff
Joined: Tue Nov 02, 2004 9:49 pm
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#1 Post by Jeff » Sun Mar 06, 2005 2:29 pm

Scheduled for release March 15, 2005. Available individually, or as part of the Classic Musicals Collection.

Features:
* Commentary by Liza Minnelli and Michael Feinstein
* New digital transfer from restored picture and audio elements
* New making-of documentary: "Get Aboard! The Band Wagon"
* Vintage documentary: "The Men Who Made the Movies: Vincente Minnelli"
* Outtake musical number: Two Faced Woman, plus dailies
* Musical short: Jack Buchanan with the Glee Quartet
* Astaire trailer gallery

unclehulot
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#2 Post by unclehulot » Mon Mar 14, 2005 10:48 am

flixyflox wrote:Review up at DVDTimes. Savant isn't exactly glowing about the color transfer. It seems like this hasn't been given the ultra-res. treatment. Also my hoped-for inclusion of Joan in Blackface from TORCH SONG is not part of the package! (Like they would??)
My own copy is en route. Can''t wait.
It's a pretty glowing review, don't you think? I'm confused about something though. The Ultra-resolution process is only used on 3 strip technicolor films, right? There's no point, or possibility even, of using it for a such a film as The Bandwagon, which was NOT filmed in three strip, right?

unclehulot
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#3 Post by unclehulot » Tue Mar 15, 2005 10:42 am

So who's got it right, reviewer-wise? From Barrie Maxwell's column at thedigitalbits.com:

http://www.thedigitalbits.com/articles/ ... 1505b.html


Warners has applied its Ultra-Resolution process to the restoration and the results are equivalent if not superior to its efforts on the likes of Singin' in the Rain, Adventures of Robin Hood, and Gone with the Wind. The image is sharp and vibrant with sparkling colour, deep blacks, clean whites, and excellent image detail. There are no edge effects and with a slight amount of grain in evidence, the overall effect is very film-like indeed.

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reaky
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#4 Post by reaky » Tue Mar 15, 2005 6:49 pm

The layman's view: I think it looks gorgeous. On a par with the Meet Me In St Louis transfer of last year.

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reaky
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#5 Post by reaky » Sat Mar 19, 2005 5:25 am

A review from the HTF with screenshots here for you, Flixy. Didn't I tell you it looked good?

http://www.hometheaterforum.com/htforum ... did=228479

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Michael
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#6 Post by Michael » Fri Jun 15, 2007 9:35 am

I have a question for you fans of Band Wagon (those who have expressed love for this film - davidhare, zedz and devlinn). What was your initial response to Band Wagon when you first saw it? Did it grow on you over the years? Senses of Cinema covers this film more than any other Vincente Minnelli films. One of them says to get the "richness" of Band Wagon, it has to be experienced a few times at least and even goes on how emotionally complex it is. Maybe I didn't read the film correctly but I saw it more like a formulaic "boy meets girl then put on a show" musical. What I love the most about Band Wagon is its completely stunning and original choreography.. and of course, Cyd Charisse. All oozes pure class and elegance. Do you find the first half (between Shoeshine and Dancing in the Dark) entertaining at all with the folks buzzing nonstop surrounding the extremely slow build up of the Faust musical? To me it felt like an hour went by without anything memorable (except for that astonishing eye-melting black-green dress Charisse had on after the ballet).

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Belmondo
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#7 Post by Belmondo » Fri Jun 15, 2007 10:46 am

I first saw THE BAND WAGON quite a few years ago on Turner Classic Movies. The host assumed we were not too familiar with it and spent a good five minutes convincing us that this is "the OTHER great musical from the 1950's".

Upon first viewing, I thought each musical number was superb, but the plot conflicts and the Faust issue was borderline goofy. The "Senses of Cinema" article certainly explains all that and adds a level of understanding and richness to what may have been a deeper experience than I ever realized.

However, I remain only partly convinced and think it is entirely possible to read too much into the plot of what is, after all, a musical comedy. Are we really meant to conclude that we are watching Minnelli's subtext that he is a "slave" to the studio? I think the best conclusion, as stated in the article, is that Minnelli did a wonderful job of combining elite and popular culture, and sent a wonderful signal in the title "The Girl Hunt Ballet".

As always, we hear the names Betty Comden and Adolph Green, and as always, they fail to get the artistic credit they deserve. This team delivered exactly what was needed every time they were asked. When Leonard Bernstein wanted beautiful, meaningful lyrics for "On the Town", he teamed with them. When Hollywood insisted that all this be dumbed down for the movie version, they swallowed their pride and did both music and lyrics - looks like everyone was a slave to the studio.

THE BAND WAGON; SINGIN' IN THE RAIN - just which one is the OTHER great musical from the 1950's?

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zedz
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#8 Post by zedz » Fri Jun 15, 2007 7:34 pm

In response to Michael, I loved it from the start, but I was aware of its reputation and initially I felt it wasn't quite up to Singin' in the Rain. But it gets better and better for me, and is now my favourite 50s musical. Singin' remains marvellous, but there are some numbers that seem to mark time (and am I the only person unmoved by the title number?), and sometimes I think it's real strength is as a great comedy (take a bow, Jean Hagen). I think every musical number in Band Wagon hits its target dead-on (even the fragmentary ones representing the final performance) and the basic storyline gains strength from its self-reflexivity.

This conversation is doing some serious thread-hopping, but I was reminded of another musical that had a tone as unique and complex as your 40s favourite Meet Me in St Louis: It's Always Fair Weather. Check it out, if you haven't already. It's worth it for Kelly's rollerskate number alone.

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Michael
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#9 Post by Michael » Fri Jun 15, 2007 9:22 pm

I'm going to revaluate Band Wagon over the weekend. I hope this ongoing discussion will encourage many other members to hunt down the film before turning in their 50s list for the Lists Project.

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Michael
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#10 Post by Michael » Sat Jun 16, 2007 8:43 pm

All I have to say to those who are planning to watch The Band Wagon: watch it then once again two days later. I just did that and the movie was totally different the second time, I just can't even explain it. Something hit me that I never expected it, I ended up weeping through the whole damn movie. There was something sad simmering underneath the bright Technicolor gloss that I didn't get the first time I watched it. I'm not saying that it's a depressing movie, it's a joy - an absolute euphoria! but there's definitely something going on behind what you see on the surface and it's so breathtakingly subtle which is not a normal thing to say about just about every musical movie made in that magical era. It also feels very "grown up" ... no cheese, no corn. Just pure class.

I had the same experience with 8 1/2 (my all time fave) ten years ago and I can't even believe to this day that I once hated that movie.

And that Cyd Charisse refuses to dance out of my head. There's no woman more beautiful than her in all cinema.

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Jean-Luc Garbo
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#11 Post by Jean-Luc Garbo » Wed Jun 20, 2007 11:39 am

I recently saw Scorsese's BFI doc on American film and it featured this film. I was immediately intrigued. The colors were something I'd never seen before in a musical. Actually, it reminded me of Mishima to be honest. Then the camera moved over to Cyd Charisse and that woman's red dress and black hair sold me immediately. I just ordered a copy. Is this a good Minelli to start with or should I go for Some Came Running, too?

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Belmondo
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#12 Post by Belmondo » Wed Jun 20, 2007 12:28 pm

SOME CAME RUNNING is a damn good movie. Always loved the young Shirley MacLaine and Sinatra and Dean Martin are surprisingly good. It is generally accepted that this is one of only three movies (along with YOUNG LIONS and RIO BRAVO) in which Dino turned in a real performance.

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Michael
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#13 Post by Michael » Wed Jun 20, 2007 12:37 pm

Jean-Luc, please take my advice. Like I said previously here, watch Band Wagon and if you end up feeling uncertain about it - don't dimiss it immediately like I regretfully did, then wait a couple of days and then rewatch it. It worked its weird spell on me that I'm not able to watch anything with a clear mind these days. I hope the spell will wear off sooner so I can start focusing on new movies.

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zedz
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#14 Post by zedz » Wed Jun 20, 2007 6:02 pm

Michael wrote:Jean-Luc, please take my advice. Like I said previously here, watch Band Wagon and if you end up feeling uncertain about it - don't dimiss it immediately like I regretfully did, then wait a couple of days and then rewatch it. It worked its weird spell on me that I'm not able to watch anything with a clear mind these days. I hope the spell will wear off sooner so I can start focusing on new movies.
If you don't get over it soon, we can always send in the deprogrammers with their Sound of Music DVDs!

Panda
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#15 Post by Panda » Wed Jun 20, 2007 8:03 pm

For fans of "The Bandwagon" (I count myself as one), a 35 mm print will be screened in Boston, MA July 25th 7 PM at Harvard Film Archive.

Panda

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Jean-Luc Garbo
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#16 Post by Jean-Luc Garbo » Sun Jun 24, 2007 7:00 pm

I saw this yesterday and loved it. I'm still dreaming about Charisse's gams, but the whole thing has me feeling like I'd seen it before - cue Fonda's speech to Stanwyck but pretend it's Bandwagon and not her that he saw - and now it's like all I could imagine in a musical is contained in this one movie. I'm quite impressed.
So who'd win the fight? Red Shoes or Bandwagon? I'd like to know who'd get Scorsese's bet. :)

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malcolm1980
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#17 Post by malcolm1980 » Sun Jun 24, 2007 11:10 pm

This is one of my favorite musicals ever. I know Singin' in the Rain gets all of the attention these days but The Band Wagon is equally (if not more) magical.

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Michael
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#18 Post by Michael » Mon Jun 25, 2007 1:38 pm

Can someone please explain why Singin' in the Rain's being recognized as the greatest Hollywood musical or at least, an icon by most critics? And The Band Wagon gets much less recognization, how come? Is it because the latter was released a year later or perhaps it's too subtle and complex for the mainstream? I mean Singin' in the Rain is a fine film that still holds up perfecltly well - it's funny and energetic (probably the reason that's appeal more to most) but I think The Band Wagon is better written, scored, directed, etc. I know it's the matter of taste but if I"m not mistaken, The Band Wagon seems to be falling through the crack to the land of forgotten, I hope not. I talk to people around me - home, work, etc and every single person has never heard of The Band Wagon, but everyone's familiar with Singin' in the Rain whether he has seen it or not.

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souvenir
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#19 Post by souvenir » Mon Jun 25, 2007 2:09 pm

This may be too simplistic of an answer, but, as someone who doesn't generally enjoy musicals (gasp, I know!), I love Singin' in the Rain much more. I think it's funnier, has better, livelier songs and overall doesn't feel like a musical. The Broadway setting of The Band Wagon doesn't interest me much while the transition between silent and talking pictures does. I also like Gene Kelly better than Fred Astaire, which doesn't seem to be a popular choice in this thread.

Cyd Charisse is stunning though and the Girl Hunt Ballet sequence is fantastic.

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Michael
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#20 Post by Michael » Mon Jun 25, 2007 2:26 pm

I also like Gene Kelly better than Fred Astaire, which doesn't seem to be a popular choice in this thread.
True that Singin' in the Rain is livelier, funnier, and more energetic but the "old soul" feeling of Band Wagon punches me much harder (Astaire nursing his wife dying from cancer, Minnelli divorcing Garland, etc.. I felt all that - their quiet desperation and melancholy seeping through the Technicolored surface before I learned anything about their heartaches at home.

It's impossible for me to decide between Astaire and Kelly.. I love them both the same but for different reasons. But Kelly can ruin a musical number for me, he seems to love having the camera sliding quickly close up to his face as his smile splash across the whole screen right after some numbers, such as the Broadway Melody and It's Always Fair Weather 's rollerstaking number. I've heard folks calling him a "stagehog" - stepping over others to keep the spotlight fixated on him, only him. I'm not sure about that but I think he's phenomenal in his pairing with Judy - For Me and My Gal and Summer Stock and in An American in Paris, he's simply stunning. Astaire, on the other hand, is more humble and a bit more soulful.

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hearthesilence
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Re: The Band Wagon

#21 Post by hearthesilence » Wed Jul 04, 2012 2:52 pm

The Museum of Modern Art is screening this today, tomorrow and Friday at 1:30 p.m. (plus I Vitelloni and The Life of Oharu on various days - check their listings, everything's in 35mm and one ticket gets you into every screening of that day). Kicking myself for missing this today, because it's a holiday and I can't see this tomorrow or Friday.

To address a few old questions posted here, Singin' in the Rain is also my favorite musical, but I still consider it on equal footing with The Band Wagon. FWIW, the former was the first musical I ever saw - my brother taped it off a TV broadcast and I saw it when I was about 10 - and I loved all of it instantly. I didn't see The Band Wagon until late high school or early college, and the experience was a little different. I was stunned by the musical sequences, and they still look absolutely amazing, especially since my appreciation for Minnelli has only grown over the years. But Charisse's dramatic scenes were a little disappointing. I don't feel that way anymore, at least not in a way that brings down the movie for me, but there is a huge disparity in what she delivers as an actor in the non-musical sequences and as a dancer. I don't think I ever liked her as a dramatic actor until I saw Nicholas Ray's Party Girl.

Also, I'm a little confused by an old post here that says this was not shot in Technicolor. I thought it was three-strip Technicolor?

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hearthesilence
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Re: The Band Wagon

#22 Post by hearthesilence » Wed Jul 04, 2012 8:09 pm

I didn't realize the term was used so loosely. One reviewer claimed it was one of the last MGM musicals to use three-strip Technicolor before the studio switched to Ansco, but Daniel Eagan's authoritative book, America's Film Legacy (i.e. the reference guide to every film in the National Registry) clearly lists Ansco as the color process used for The Band Wagon.

Shame, but I have to say, on home video the color does look gorgeous, but I guess I shouldn't expect it to "pop" on the big screen the way an archival Tech print would.

felipe
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Re:

#23 Post by felipe » Wed Jul 04, 2012 10:45 pm

Michael wrote:Can someone please explain why Singin' in the Rain's being recognized as the greatest Hollywood musical or at least, an icon by most critics? And The Band Wagon gets much less recognization, how come? Is it because the latter was released a year later or perhaps it's too subtle and complex for the mainstream? I mean Singin' in the Rain is a fine film that still holds up perfecltly well - it's funny and energetic (probably the reason that's appeal more to most) but I think The Band Wagon is better written, scored, directed, etc. I know it's the matter of taste but if I"m not mistaken, The Band Wagon seems to be falling through the crack to the land of forgotten, I hope not. I talk to people around me - home, work, etc and every single person has never heard of The Band Wagon, but everyone's familiar with Singin' in the Rain whether he has seen it or not.
That really bugs me. I'm from Brazil and everyone here, I mean everyone knows Singin' in the rain (even though most haven't seen it). On the other hand I know of many movie buffs who have never heard of The band wagon! And that's sad because it's as good as Singin', if not better.

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Tommaso
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Re: The Band Wagon

#24 Post by Tommaso » Thu Jul 05, 2012 5:16 am

"The Band Wagon" quite simply is the best Hollywood musical of the 1950s. Full stop. That "Singin' in the rain" gets more attention has probably got to do with Kelly's more 'modern' style and with the film's take on the Hollywood industry which probably caused more scholars to write about it. Astaire in "The Band Wagon", on the other hand, was close to the end of his dancing career, even though he still looks youthful and does a perfect job here. "The Band Wagon" is in many ways a summing-up of the old tradition of the backstage musical, whereas "Singin' in the rain" with its more 'integrated' style is easier to enjoy perhaps by people who are not necessarily fans of musicals. But the way in which Minnelli handles the 'old' form seems completely unsurpassed to me (and not just in the famous final dance sequence), and Astaire and Charisse have a chemistry that works at least as well as his pairing with Rogers in the 30s. In this respect, also check out Mamoulian's 1957 "Silk Stockings", which is indeed an underrated film and which again couples Astaire and Charisse to marvellous effect.

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Tommaso
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Re: The Band Wagon

#25 Post by Tommaso » Thu Jul 05, 2012 5:39 am

It's really too bad, but unfortunately I again won't be able to make it to this next September meeting, as I have a commitment to extol the virtues of the three different versions of "The Student of Prague" to some audience on that particular weekend. Dammit. I really think I missed something from what I heard about your adventures the last time you were in Berlin.

Oh, and I have nothing at all against "Funny Face". I love it. But probably I'm just more into Cyd than into Audrey. Especially, as you put it, her gams. One of the reasons for my just-mentioned liking for "Silk Stockings"...

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