A pretentiously artistic director is hired for a new Broadway musical and changes it beyond recognition.A pretentiously artistic director is hired for a new Broadway musical and changes it beyond recognition.A pretentiously artistic director is hired for a new Broadway musical and changes it beyond recognition.
- Nominated for 3 Oscars
- 2 wins & 4 nominations total
India Adams
- Gabrielle Gerard
- (singing voice)
- (uncredited)
Fred Aldrich
- Hot Dog Vendor
- (uncredited)
Richard Alexander
- Stagehand
- (uncredited)
Ernest Anderson
- Train Porter
- (uncredited)
Barbara Bailey
- Dancer
- (uncredited)
Patsy Bangs
- Dancer
- (uncredited)
Lysa Baugher
- Dancer in Troupe
- (uncredited)
Mary Bayless
- Theatre Patron
- (uncredited)
Brandon Beach
- Auction Guest
- (uncredited)
Ralph Beaumont
- Dancer in Troupe
- (uncredited)
Don Beddoe
- Producer
- (uncredited)
Storyline
Did you know
- TriviaIn the DVD bonus features, Nanette Fabray stated that Oscar Levant was difficult to work with. Whenever something would go wrong or he would make a mistake, he would blame whoever was around. This included stage hands, other actors, lighting technicians, or whoever was handy. She said that, since she was usually closest, she caught the brunt of it. Following a botched take, he again blamed her for something. She lost her temper and told him off using unladylike language. Everyone on the set applauded. After that, he was much easier to work with.
- GoofsAt the New York opening night, the theater name on the marquee is Alcott Theatre, but the program cover has Stratton Theatre.
- Quotes
Gabrielle Gerard: Oh, that's a very early Degas, isn't it?
[examines painting]
Gabrielle Gerard: 1877.
Tony Hunter: [playing up their age difference] Yeah, I swiped it from his desk in school. Was he sore.
- Alternate versionsThere is an Italian edition of this film on DVD, distributed by DNA srl, "THE BAND WAGON (Spettacolo di varietà, 1953) - New Widescreen Edition + IL SIGNORE IN MARSINA (1943)" (2 Films on a single DVD, with "The Band Wagon" in double version 1.33:1 and 1.78:1), re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.
- ConnectionsEdited into Hollywood: The Dream Factory (1972)
- SoundtracksBy Myself
(1937) (uncredited)
Music by Arthur Schwartz
Lyrics by Howard Dietz
Performed by Fred Astaire twice
Featured review
Lots of Fun and Finally on DVD!
MGM, Arthur Freed, Vincent Minelli, Betty Comden and Adolph Green, Fred Astaire, Cyd Charisse, Oscar Levant, Nanette Fabray, Jack Buchanan and that wonderful company behind them. Wow! The Broadway musical is one of America's great contributions to the performing arts, and the Band Wagon delightfully turns its clichés on their heads, with the story of a plucky group of troopers who put all their heart and talent into...a turkey.
Great dancing includes one of Fred Astaire's classic ballet duos, "Dancing in the Dark," with Cyd Charise. She does this spin ending in a semi-kneel, with the mid-calf hem of her dress landing mid-thigh, in order to display one of those spectacular gams of hers...'tis a wonder to behold! Also, there's a number with Astaire and Jack Buchanan, one of the great British variety stars. It's a delight to see this all-too-short exhibition of contrasting dance styles by two master hoofers.
And there's the added treat of Nanette Fabray and Oscar Levant (Levant being one those, like Robert Benchley, who entertains by playing himself) standing in for Comden and Green, who happened to write The Band Wagon (as well as Singin' in the Rain and Bells are Ringing). What I like about Comden and Green is, that while most all American musicals come out of New York, the sound of Comden and Green IS New York. They once said, "New York is the ongoing background of our lives - Brooklyn girl, Bronx boy - and whether we have been conscious of it or not, it is the background..."
Yes, there's the music - five numbers, part of the great repertory of American Standards: That's Entertainment, By Myself, You and the Night and the Music, Something to Remember You By, and of course Dancing in the Dark. My favorite dance number after DITD is Shine on My Shoes, surely an under-appreciated classic. All in all, a pretty good score (no pun intended), wouldn't you say?
The story is classified as a "backstage musical," and certainly it is. But there's a scene in Band Wagon with a truly documentary feel. After the show's premier, there's a dress-down cast party. The underpaid company singers and dancers really are in it for the love, and when they want to wind down, they go somewhere cozy, get their drinks and sing a lovely, subdued song, Something To Remember You By. (Of course, after Astaire joins them, the volume goes up, and it's a miracle they aren't evicted. I guess New Haven is used to it by now.) When I was a kid I was a gofer for the Metropolitan Opera when it hit my town on its spring tours, and it's why this scene in The Band Wagon rings so true: as a fly on the wall, I saw the Met company unwinding just this way.
One more element of realism (or life imitating art imitating life): according to the trivia, Buchanan had to have triple root canal work and was in pain for most of the production, and Fabray gashed her knee in "Louisiana Hayride," then had to dance on her knees for the "Triplets" number. Ouch! Talk about plucky troopers!
This was smart and sophisticated musical comedy of the 50s, an era when New York adults still set pop trends and before American culture became corrupted and dumbed down by television. It's not just nostalgia to say they don't make them like they used to.
Great dancing includes one of Fred Astaire's classic ballet duos, "Dancing in the Dark," with Cyd Charise. She does this spin ending in a semi-kneel, with the mid-calf hem of her dress landing mid-thigh, in order to display one of those spectacular gams of hers...'tis a wonder to behold! Also, there's a number with Astaire and Jack Buchanan, one of the great British variety stars. It's a delight to see this all-too-short exhibition of contrasting dance styles by two master hoofers.
And there's the added treat of Nanette Fabray and Oscar Levant (Levant being one those, like Robert Benchley, who entertains by playing himself) standing in for Comden and Green, who happened to write The Band Wagon (as well as Singin' in the Rain and Bells are Ringing). What I like about Comden and Green is, that while most all American musicals come out of New York, the sound of Comden and Green IS New York. They once said, "New York is the ongoing background of our lives - Brooklyn girl, Bronx boy - and whether we have been conscious of it or not, it is the background..."
Yes, there's the music - five numbers, part of the great repertory of American Standards: That's Entertainment, By Myself, You and the Night and the Music, Something to Remember You By, and of course Dancing in the Dark. My favorite dance number after DITD is Shine on My Shoes, surely an under-appreciated classic. All in all, a pretty good score (no pun intended), wouldn't you say?
The story is classified as a "backstage musical," and certainly it is. But there's a scene in Band Wagon with a truly documentary feel. After the show's premier, there's a dress-down cast party. The underpaid company singers and dancers really are in it for the love, and when they want to wind down, they go somewhere cozy, get their drinks and sing a lovely, subdued song, Something To Remember You By. (Of course, after Astaire joins them, the volume goes up, and it's a miracle they aren't evicted. I guess New Haven is used to it by now.) When I was a kid I was a gofer for the Metropolitan Opera when it hit my town on its spring tours, and it's why this scene in The Band Wagon rings so true: as a fly on the wall, I saw the Met company unwinding just this way.
One more element of realism (or life imitating art imitating life): according to the trivia, Buchanan had to have triple root canal work and was in pain for most of the production, and Fabray gashed her knee in "Louisiana Hayride," then had to dance on her knees for the "Triplets" number. Ouch! Talk about plucky troopers!
This was smart and sophisticated musical comedy of the 50s, an era when New York adults still set pop trends and before American culture became corrupted and dumbed down by television. It's not just nostalgia to say they don't make them like they used to.
helpful•488
- jacksflicks
- Mar 29, 2005
Details
- Release date
- Country of origin
- Languages
- Also known as
- I Love Louisa
- Filming locations
- 214 West 42nd Street, Manhattan, New York City, New York, USA(establishing shot showing the New Amsterdam Theatre)
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $2,169,120 (estimated)
- Gross worldwide
- $14,889
- Runtime1 hour 52 minutes
- Aspect ratio
- 1.37 : 1
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