Not How It Seems: ‘The Band Wagon’ (1953)
When I was younger, hearing “band wagon” made me think of an old-fashioned covered wagon. At first, I avoided watching this classic, because I was in a mood for a musical, and I thought it was a Western. But when I got old enough to realize it was actually a film about “jumping on the bandwagon,” it quickly became a favorite.
Starring Fred Astaire and Cyd Charisse (along with many others), Band Wagon hit theaters about a year and a half after Singin’ in the Rain and tackles a somewhat similar premise of actors trying to retain their stardom while dysfunctional producers struggle to have a hit. Though it wasn’t as commercially successful as its predecessor, it was obviously inspired by it as well as sharing of its darker overtones.
The film begins with scenes showing that noted singer, dancer, and film star Tony Hunter’s career is in decline. He hasn’t made a film in three years, and no one seems to care about his old films much. Men discussing him on a train don’t even recognize him when he’s sitting right between them. Tony is somewhat depressed about his position, but tries to accept it with dignity.
He meets with his old friends who’ve written a stage show they want him to be a part of. They think it will be perfect for his comeback — if only they can get the right people attached. The director, once onboard, changes the production from a lighthearted musical to a dark, Faust-style piece, because he’s seen the Faust narrative make successes out of other shows. Tony is reluctant to work with a darker piece, but they convince him that no matter what the genre, it will be entertaining.
They also get the great ballerina Gaby Gerard to co-star, so all seems to be going well. However, Tony continues to clash with the director’s over-the-top choices and direction style, eventually quitting the show. Gaby visits him at home and the two work out their creative and personal differences and begin to have feelings for one another despite Gaby’s relationship with the choreographer.
The show opens, and it’s a complete disaster. No one enjoys the reimagining of Faust, and no one enjoys the show, period. Tony convinces the director to allow them to rework the show closer to the original plan. The play becomes lighthearted, but with the backers out, the choreographer also leaves, and Tony is forced to fund the show himself.
The reworking includes one of the most iconic pieces from a movie musical: the scene Michael Jackson attempted to recreate in “Smooth Criminal.”
After the show reopens, Tony fears that it has once again flopped. But it instead becomes a booming success, and the rest of the cast happily thanks him for his work.
Band Wagon is definitely one of the more underrated musicals, yet the number of elements in common with Singin’ in the Rain are also often missed. I’m not saying it was a thievery, but the similarities between the two films really paint a picture of how two pieces can complement each other.
Glaringly obvious is the fact that they’re both films about show business. Singin’ in the Rain is about films and set in the late-1920s, whereas Band Wagon is set in present day 1953 and concerns itself primarily with the stage. Tony Hunter is a fading star, whereas Don Lockwood is the world’s most successful leading man. However, both men feel isolated and mainly seek solace in their few friends.
Without both men’s creative influence recognized, the initial productions fail gloriously. With creative license granted by a higher-up at the end of his rope, the leading men are able to transform the production into a smash hit. They both clash with their leading ladies, but end up finding love in someone they had formerly clashed with. (Which, yeah, is a romantic comedy trope. Still…)
The “That’s Entertainment” number is very reminiscent of “Make ‘Em Laugh,” which, in turn was even more similar in melody to Cole Porter’s “Be a Clown,” but that’s another story. The characters sing in all three pieces of how important it is to be a performer. Likewise, both films have very lengthy jazz musical numbers that tell their own stories. Each number in Band Wagon features Cyd Charisse in a brightly-colored, beaded dress with slits up the legs for easier mobility, is performed in a restaurant set, and involves a conflict with males.
The happy-go-lucky, and often slapstick, comedy of Singin’ in the Rain is traded for a dryer, and vaguely darker humor in Band Wagon — perhaps the reason Singin’ in the Rain was more successful. The comedy was broader in the first film, with the latter being more refined but less accessible. Still, I think fans of one will be able to appreciate the other.
“Not How It Seems” takes a look at the underlying messages in classic movie musicals.
