Director Vincente Minnelli is probably the most important star of the visually stunning film "The Bandwagon". Betty Comden and Adolph Green supplied the book and most of the songs, aided by Arthur Schwartz and Alan Jay Lerner. And the relationships, as anyone who has worked in theater can attest, are unusually understated and true. The primary story-line concerns Tony Hunter, a man who has had failures in film and has now returned to Broadway looking for a good project. His old friend portrayed by Nanette Fabray and Oscar Levant have a project in mind. But they make the mistake of hiring an ambitious director who sees in their tale a vehicle for a Faustian allegory filled with deep meanings, fire, brimstone, explosions and necrophiliac lighting. Of course the musical they produce is a total failure; and Tony has been compelled to dance with a hired ballerina, with whom he finds himself falling hopelessly in love. In desperation, he suggests they go back to the original show and not disband. As a result they craft a success, Tony gets his girl and everything ends happily. This I find to be a first-rate MGM production, using its top personnel: cinematography by Henry Jackson, art direction by Preston Ames and Cedric Gibbons, sets by Edwin Willis and Keogh Gleason, Sydney Guilaroff's hairstyles and William Tuttle's makeup, and costumes by Mary Ann Nyberg. The stars of the film are all very professional and likable. Fred Astaire is Tony, Cyd Charisse the ballerina, Nanette Fabray andOscar Levant as ilmic Comden and Green stand-ins, Jack Gardner, James Mitchell, Robert Gist, and many others in small or uncredited roles including familiar faces such as Herb Vigran, Barbara Ruick, Julie Newmar, et al. Some have complained that the musical numbers here seemed a bit static or curiously cold; but this is a musical for once where the numbers look as if they could have been musical numbers onstage; and after chasing this film for decades, when I saw it I was delighted by its stunning visual qualities; and as a theatrical veteran I was also gratified that its human relationships seemed to work, as theatrical portraits by Comden and Green and in the personages who people this very enjoyable entertainment.
