How fantasy can ruin a movie! After the musical "Heaven is the boundary!" (1943), there was a break in Fred Astaire's filmography. At least the next film with his participation will be released only at the end of 1945. This picture became "Iolanta and the thief"
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The film became the first color film in the career of a dancer, but the saddest thing is that this achievement of the film almost ends. The plot of the film is so stupid and naive that it will be visible even to the most unenlightened in Hollywood film classics viewer.
The plot of the film is this: In a defunct country in South America, the charming Iolanta Akvaviva is taken from a monastery as she must take over the management of her vast inheritance. But the girl does not understand financial affairs and prays to the guardian angel that he will help her get rid of problems.
Meanwhile, from the States on the train travels a fraudster and stinger Johnny along with his friend Victor, who read in the newspaper an article about the new heiress of the Akvaviva family. Johnny decides to cash in on it. One day, being near her house, he hears Iolanta praying to an angel and decides to pretend to be this angel in order to get more money from Yolanta. . .
The plot of the film is banal – this is not surprising! But the script here clearly did not pay attention. Because the story of a grown-up girl who believes some rascal that he is the angel she prayed to and gives money to would still look like if the main character was 7-8 years old. But when the girl 20 years, then awkwardly begs the conclusion about retarded mental development. But the incomprehensible plot in this film is still half the trouble.
The cast of the film is also not very happy. Fred Astaire, as usual, sings and dances, but in 18th time it is not particularly touching and not happy. Although, it’s not a question of which musical with his participation to watch on account – many of his later musical works in the cinema look with great interest, but there is something not. As a dancer, Astaire is unimpressive here (for the first time!), and his acting in the film is no different.
Lucille Bremer, for the promotion of the career of which this film was made, clearly paid more attention and screen time. The actress plays, to be honest, so. Singing for her Trudy Irwin. But the girl knew how to dance - it must be admitted. However, in some moments, Lucille, I think, was shot in not quite successful angles. For example, when she sings (in the voice of Irvine) 'Angel' - at these moments she is filmed in such a way that she does not seem at all beautiful, but rather the opposite.
In short, it is not surprising that after this film, Bremer’s career ended in 1948, barely having time to start. After all, they showed her here, despite her dancing abilities, in the worst light. Even glad that the film did not get Judy Garland (early, by the way, played with Bremer, and later played with Astaire), clearly understood what her husband wanted to involve her (at that time - this is the director of the film Vincent Minnelli) and chose instead to participate in a more interesting project - "Harvey Girls" (1946), which had a huge box office success and strengthened her career.
Frank Morgan as a friend of the hero Astaire tries, but also does not save the situation. According to the data, originally in the script, this character was a woman and was supposed to play her. But then the director decided that Ball would look too bright in such a role and perhaps even eclipse Bremer, so the script was reworked and, in the end, this role was played by a man.
The costumes and scenery in the film are made to fame - on this in the film really worked properly. However, this was all Vincent Minnelli, who usually paid attention to the interior, scenery and other things in his films, but when it came to musicals, he often forgot about the script and acting, which happened in this case.
Musical numbers are disappointing because of their small number and weakness. The soundtrack of the film is very weak, since there are no memorable compositions. The dances are professionally staged, but nothing special except the number "Coffee Time". The number 'Dream Ballet' looks nothing more than an unfortunate forerunner of the final 18-minute ballet in "American in Paris" (1951).
Summing up, we can say that Minnely conceived a fantastic fairy tale, but with fantasy clearly overdid that even for the post-war 1945 was too much, so the film failed at the box office. In addition, the film turned out to be boring and uninteresting and is suitable only for a one-time viewing, if the viewer gets acquainted with the filmography of Minnelly or Astaire. Well, great ones also have failures!
4 out of 10