Review of The Band Wagon (1953) by Marie M — 17 Jan 2010

It's a case of teaching an old dog new tricks - Astaire steps out of his comfort zone and mixes Charisse's strict ballet and Michael Kidd's distinctive choreography with his own style. Yet he pulls it off so seamlessly and with such grace that his RKO years with Ginger Rogers appear like a stale, distant era, a rusty anchor that only weighed him down in his own magnificence (it seems in the case of the film's story, as is the case with Comden and Green's best work, art imitates life). Easter Parade may be credited for pulling Astaire out of "retirement," but The Band Wagon showcased this aging dog's ability to evolve all the while retaining his charm and presence, proving that longevity is possible in a youth-obsessed business.

Apart from Astaire, the rest of the film shines under finely tuned, practiced hands. The story follows in the tradition of Singin' in the Rain, showing writers Comden and Green to be at their best when taking a jab at the entertainment industry with their tongues planted firmly in cheek (see also: The Barkleys of Broadway). Minnelli's direction is lush and pitch perfect, right in step with Astaire's uncanny sense of rhythm. Charisse performs marvelously as the upstart ingenue and brings out a latent but subtle sensuality in Astaire, which may just be a reflection of her own screen persona but is nevertheless something Astaire rarely, if ever, achieved with previous partners. Levant, Fabray, and Buchanan steal their scenes. And with the exception of Charisse's introductory ballet, all the numbers are entertaining and enjoyable, particularly "A Shine on Your Shoes," the anthemic "That's Entertainment," "I Love Louisa," "Triplets," and the noir-spoofing Girl Hunt ballet; I could watch Charisse and Astaire dance in that smoky lounge ad nauseum. All in all, a close second, if not a certainly well-matched tie, to the preeminent Singin' in the Rain.