
A classical musician from the slums is sidetracked by his love for a wealthy, neurotic socialite.Read More »
A classical musician from the slums is sidetracked by his love for a wealthy, neurotic socialite.Read More »
A moment of personal tragedy prompts concert violinist Paul Boray (John Garfield) to re-evaluate his life. He recalls happier times when, as a small boy, his mother gave him a violin for his birthday. After years of dedicated study, Paul becomes an accomplished violinist, but he finds it impossible to work so he can pay his way. One day, his pianist friend Sid Jeffers (Oscar Levant) takes him along to a party hosted by the wealthy socialite Helen Wright (Joan Crawford). The latter is trapped in a loveless marriage with an older man and finds the headstrong young violin player a tempting proposition. She decides to act as Paul’s patron, financing his debut concert and providing him with a manager. Through Helen’s money and contacts, Paul soon becomes an established musician, and he shows his gratitutde in just the way Helen hoped he might. But just when Helen thinks she has won her man, she realizes that she will never be able to compete with his one true love: his music…Read More »
Synopsis:
Jerry Mulligan, a struggling American painter in Paris, is “discovered” by an influential heiress with an interest in more than Jerry’s art. Jerry in turn falls for Lise, a young French girl already engaged to a cabaret singer. Jerry jokes, sings and dances with his best friend, an acerbic would-be concert pianist, while romantic complications abound.Read More »
“In Sight and Sound’s 2002 poll of the ten best films ever made, one musical made the list: Stanley Donen and Gene Kelly’s Singin’ in the Rain (1952). Without denying that film’s considerable charm, a musical released a year later (which failed to receive a single vote in Sight and Sound’s survey) may be worthier of similar hyperbolic citations: The Band Wagon. The films share several points of contact: both are backstage musicals built around songbook catalogues and produced for MGM by Arthur Freed; both have witty screenplays by Betty Comden and Adolph Green; and both feature important roles for Cyd Charisse. One may also see both films as primary examples of what André Bazin called the “genius” of the Hollywood system, in which great films are produced less through a single auteur than through a group of talented individuals working collectively with the sophisticated technical resources of a major studio while simultaneously drawing upon the rich traditions and forms of American popular culture.”Read More »