The Bandwagon

The Band Wagon 1953 is an American musical by Vincente Minnelli and starring Fred Astaire and Cyd Charisse.

The scenario of the film by Betty Comden and Adolph Green would be based on a short story by Peter Viertel "Strategy of Love", but soon left Green and Comden this story fall for an original story that was inspired by "The bandwagon", a stage musical from 1931 consisting of a number of sketches by George s. Kaufman and Howard Dietz, with songs of Dietz and Arthur Schwartz.

The film was a modest success in the cinemas, and got good reviews. There were several Oscar nominations, but not one was silver plated. In 1995, The Band Wagonbecause of the cultural, historical and aesthetic importance for conservation was added to the National Film Registry of the Library of Congress American.



Content
[hide] *1 Story  ==Story[ Edit] == Read warning: text below contains details about the content and/or the end of the story.Tony Hunter, a veteran from the world of the musical comedy is concerned. His career on stage and in the film seems to be over and he yearns for a comeback. Then he hears that his friends, Leslie and Lily Marton, have written a new show. The Martons let Hunter know that he would be perfect for the lead role. Tony lets find experience if he has his reservations about the Director, Jeffrey Cordova, who is the show change. Cordova the light comedy of the Martons a dark interpretation of the legend of Faust, who sells his soul to the devil. Tony also has trouble with the youth and beauty of his co-star Gaby Gerard, a classically trained ballerina. What Tony in turn does not know is that Gaby itself feels intimidated by the presence of the big star, Tony Hunter.
 * 2 Cast
 * 3 importance of the film
 * 4 For history
 * 4.1 Inspiration
 * 4.2 Schwartz and Dietz
 * 4.3 a new story
 * Scenario 5
 * 5.1 Strategy of Love
 * 5.2 I Love Louisa
 * 5.3 The Bandwagon
 * 6 Actors
 * 6.1 Tony Hunter
 * 6.2 G Gerard
 * 6.3 Jeffrey Cordova
 * 6.4 Ava Gardner
 * 6.5 other roles
 * 7 Production
 * 7.1 the recordings
 * 7.2 Problems on the set
 * 7.3 sets, props and costumes
 * 8 music and choreography
 * 8.1 Background
 * 8.2 that's Entertaintment
 * 8.3 Triplets
 * 8.4 The Girl Hunt Ballet
 * 8.5 I Guess I'll Have to Change My Plan
 * 8.6 Shine on My Shoes
 * 8.7 Lost numbers
 * 8.8 Songs
 * 9 awards and nominations
 * 9.1 Oscars
 * 9.2 writer's Guild Award
 * 10 Literature
 * 11 external link
 * 12 References

But the first who breaks under stress is Tony and he runs away from the show. Gaby runs him and together they speak the problems between them. As Tony along with Gaby returns is also the seed germinates of their love for each other. That Gaby is engaged to Paul Byrd, the choreographer of the show, turns out to be a new obstacle.

A trial performance of the show in New Haven and is a real disaster. Tony terugmoeten Jeffrey to convince that they know to the original comedy of the Martons. He also takes charge of the production and let the artists train the musical numbers hard to perform well. In the meantime, the financiers pulled out and Tony sells a number of personal belongings to finance everything. As Byrd also produce leaves, everything seems lost. Gaby remains, however, and as the show is a hit on Broadway close them Tony in her arms. A romance comes to fruition. ==Division Of Roles[ Edit] == ==Importance of the film[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The Band Wagon is a musical about making a Broadwaymusical. The theme of the movie is that making a musical a craft activity is: a good musical consists of spectulaire song-and-dance numbers, written for and attributed on the stars that run these numbers, of course, against the backdrop of a spectacular decor. The Bandwagon is part of a long series of musicals made by MGM, brings MGMs fixed stars and is among lovers of MGM musicals as a highlight in this genre.
 * Fred Astaire: Tony Hunter
 * Cyd Charisse: Gabrielle Gerard
 * Oscar Levant: Lester Marton
 * Nanette Fabray: Lily Marton
 * Jack Buchanan: Jeffrey Cordova
 * James Mitchell: Paul Byrd
 * Thurston Hall: Colonel Tripp
 * Robert Gist: Hal Benton
 * Ava Gardner: the movie star

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Remarkable to the film are the cross links with reality. The film was made by highly experienced forces, which for years made musicals and who knew what they were doing. The pair wrote the screenplay, the writers own experiences incorporated into the writers couple that plays the main role in the film supported (Comden and Green were not married to each other and had no romantic commitment. The lead role, an ageing star, is played by Fred Astaire, which passed over the fifty is indeed, and which is also concerned about the length of his co-star.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In a sense, the movie somewhat comparable to Singin' in the Rain, a year earlier, also made by MGM, with the same producer and writers. That is a film about making a film, by filmmakers who had experienced the period in question. In both films flops the production initially, after which the helm is reversed. On the other hand, is witnessing a large contrast: Singin' in the Rain where the solution takes place by the new embrace, lost the case on The Bandwagon by reverting to the old familiar. Singing in the Rain where enthusiastic and energetic forward holt, state The Bandwagon trying to revive the past silent and wistful. ==For History<span class="mw-editsection" len="337" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == ===Inspiration<span class="mw-editsection" len="331" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Arthur Freed was early fifties of the last century, the most successful producer of musicals. He worked exclusively for MGM, a studio that had a name on hold as far as movie musicals. To realize the musicals surrounded Freed itself with directors, writers, composers and lyricists, a team known as the "Freed Unit". Along with the Freed Unit had Freed movie musicals made as Easter Parade (1948) On the Town (1949),An American in Paris (1951) and Singin' in the Rain (1952). The last two films were musicals that were built around a series of existing songs by George Gershwin and Nascio respectively Herb Brown/Arthur Freed.Looking for a new project left Freed his eye fall on the writing duo Howard Dietzand Arthur Schwartz . They were responsible for all kinds of songs that were performed in revue-like shows from the beginning of the thirties of the last century. ===Schwartz and Dietz<span class="mw-editsection" len="338" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Lyricist Howard Dietz made his Broadway debut in 1924 when he went to work with the famous composer Jerome Kern. Together they wrote the show "Dear Sir". Dietz was approached by the lawyer Howard Schwartz. Schwartz was actually composer and wanted to leave his practice professional as soon as possible with music on. However, he was totally unknown and Dietz left a somewhat haughty know that he did not want to work with an unknown. It was very unfortunate for Dietz that his next two shows flopten. He approached then gently Schwartz and together they wrote material for the revue "The Little Show" from 1929. It was the beginning of a successful collaboration that over four hundred songs for operation. ===A new story<span class="mw-editsection" len="338" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">One of the shows was the original production "The Band Wagon" from 1931. The show was performed with Fred Astaireand his sister Adele, in the lead role. The production from 1931 was not a musical comedy with a story written especially for the story and songs, but a loose collection of sketches, dances and songs. Freed concluded his famous writing duo Betty Comden and Adolph Green to work, and to put a story structure for the songs from Schwartz and Dietz. Comden and Green a year earlier had done the same for Singin' in the Rain so the expectations were high. To be able to make the movie pulled further arrangerRoger EdensFreed, Director Vincente Minnelli, choreographer Michael Kidd, and designer Oliver Smith to. ==Scenario<span class="mw-editsection" len="329" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == Read warning: text below contains details about the content and/or the end of the story.===Strategy of Love<span class="mw-editsection" len="337" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Betty Comden and Adolph Green formed a famous writing duo that was capable of a complete musical to stomping out of the ground. In 1952 they had the story structure devised for "Singin' in the Rain", taking them the transition from silent film to the talking film had taken in the subject. For the new musical they got by Arthur Freed the short story "Strategy of Love by Peter Viertel as the basis for a possible scenario. But Comden and Green were the story soon shoot and worked their own story out. Hereby they left inspired by the film "Dancing in the Dark" from 1949, based on a play by Howard Dietz of songs by Schwartz and Dietz. In this film is an actor who for a long time about his peak, asked for a to persuade Broadwayster to play in The film "The bandwagon". ===I Love Louisa<span class="mw-editsection" len="335" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The working title of the scenario changed from "Strategy of Love" in "I Love Louisa", the title of one of the songs by Schwartz and Dietz from "The Band Wagon". Comden and Green took the idea of an older and out-of-action star over from "Dancing in the Dark". They created the old musical veteran Tony Hunter who is looking for a comeback. To do this, they took musical star Fred Astaire as a starting point. Astaire who made his first triumph in the thirties of the last century, was actually around 1947 with early retirement. In 1948, he was removed here by MGM for the recordings of the musical Easter Parade with Judy Garland.The idea of characters in the musical on Comden and Green worked to base, existing people further out. They based the writing duo Lester and Lily Marton on themselves. Betty Comden and Adolph Green were not set or otherwise romantic concerned with each other. They only worked together. However, in the film that the Martons are married, has more to do with the infamous Hays Code, Hollywood's self-censorship.Couples are married according to that code. The character of the Director/producer Jeffrey Cordova was based on the successful Hollywood producer José Ferrer. Comden and Green were initially afraid that Fred Astaire would get annoyed at the fact that they had stayed so close to his person, but Astaire was made the scenario great. The only thing had to be removed was the characteristic that Tony Hunter ' poison for the Cashier ' was. Astaire was here very sensitive about. ===The Bandwagon<span class="mw-editsection" len="336" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Comden and Green were listening hours to the songs by Schwartz and Dietz to come up with a good story structure in which the compositions would fit. The idea of the recurring musical star was combined with the idea about an actor who is a musical show intent. Now clicked everything together. Tony Hunter makes his return in a musical that flops, then he is working hard to rebuild the show. Comden and Green names the songs "I Love Louisa", "Dancing in the Dark" and "New Sun in the Sky" from the "The bandwagon". Freed Polish height came and was not happy with "I Love Louisa" as the title. He found "The bandwagon" better.Unfortunately for him was this title the property of 20th Century Fox and MGM had to pay $ 10,000 to The film "The Bandwagon", is hereby set up. Another bump was the pronunciation of Tony Hunter in the film: "I am not Nijinsky, I am not Marlon Brando-I'm Mrs. Hunter's little boy, Tony-an entertainer". Marlon Brando had to be specifically asked for permission to use his name. ==Actors<span class="mw-editsection" len="329" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == ===Tony Hunter<span class="mw-editsection" len="333" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The role of Tony Hunter was actually written on the body of Fred Astaire. Screenwriters Comden and Green were there even shy with it that Hunter had so many touches of Astaire in their scenario. They relied on the period that Astaire had gone one pension (around 1947) and got a comeback thanks to MGM. Astaire, however, was very pleased with the scenario and could laugh at little jokes like that he always checked if his co-star was longer than he. For that reason, moreover, Cyd Charisse wore shoes with low heels in the film. ===Gaby Gerard<span class="mw-editsection" len="333" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Cyd Charisse got the role of Gabrielle "Gaby" Gerard. Her only competitor was dancer Vera-Ellen, but the success of Charisse in the film "Singin' in the Rain" had put the gates of MGM wide open for her. Although they had since 1944 for MGM Charisse never played a large role. Her big chance to play alongside Fred Astaire in Easter Parade were dashed when she broke her leg. A pregnancy prevented that they in An American in Paris next to Gene Kelly would play the lead role. Charisse dances In "Singin' in the Rain" in the so-called dream scene, in which Gene Kelly a novice dancer on Broadway staging that falls in love with a gangster girl (Charisse). The Bandwagon was her first major role. ===Jeffrey Cordova<span class="mw-editsection" len="337" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">MGM wanted to borrow Clifton Webb by Twentieth Century-Fox for the role of bloated Director Jeffrey Cordova. But Webb found the role is not big enough. Other actors who were considered were Edward g. Robinson and Vincent Price. Jack Buchanan, on a recommendation from Clifton Webb was eventually chosen. ===Ava Gardner<span class="mw-editsection" len="333" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In the movie is a cameo of actress Ava Gardner as a Hollywood star who comes to Grand Central Station and all the attention moving away of Tony Hunter (Fred Astaire). It was the choice of Freed in order for this cameo Gardner to select. It was in any case against the studio head Dore Schary 's sore leg which has a great hate Ava Gardner had. Schary would rather announce Esther Williams and let this all by the PR Department. Freed was livid about this and argued with Schary. Eventually got Freed his sentence and played Gardner the cameo. ===Other roles<span class="mw-editsection" len="335" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Dancer James Mitchell played the role of choreographer Paul Byrd. Mitchell had already danced in many films, among other things as Curly in Oklahoma!. Pianist Oscar Levant played for the first time a married man and called the "man" by Nanette Fabray, a Broadwayster who had worked with choreographer Michael Kidd in pieces like "Love Life" and "Arms and the Girl". ==Production<span class="mw-editsection" len="331" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == ===The recordings<span class="mw-editsection" len="332" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The recordings took place between 3 september 1952-28 January 1953. Vincente Minnelli had the direction and Michael Kidd did the choreography. George Folsey was initially attracted to the cinematography, but just after the start of recordings were gone, he was replaced by Harry Jackson. In his autobiography stated that according to producer Arthur Freed to Minnelli Folsey slowly worked. According to Freed was right that he worked too slowly and tried Minnelli with the Director to a new cameraman more urgently to turn on. Jackson was hired by Freed by Twentieth Century-Fox. The recordings had to be completed quickly, not only to cut costs but also because Jack Buchanan had a contract with MGM for only three months. To everything faster finishing a week long concentrated Minnelli on all scenes with dialogues, after which Michael Kidd are gang could go with the choreography of "that's Entertainment!" and "Triplets". Although Kidd, the choreographer was asked whether he duet with Jack Buchanan to Astaire "I Guess I'll Have to Change My Plan" was allowed to choreograph. ===Problems on the set<span class="mw-editsection" len="341" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The recordings were plagued by all kinds of small disasters. For example, Fred Astaire's wife was seriously ill (they would a year later succumb to lung cancer) and Jack Buchanan was between shots by so taken care of by his dentist (three root canal treatments) that he had severe pain. The great hypochondriac Oscar Levant was so afraid of a heart attack just before the shooting that he really got, while Vincente Minnelli was concerned about his ex-wife Judy Garland who had great difficulty with her addiction to booze and pills and almost succumbed during the shooting for A Star Is Born. ===Sets, props and costumes<span class="mw-editsection" len="354" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">There has always a controversy exist who now the scenery for The Bandwagon has designed. Preston Ames and Cedric Gibbons who were responsible for all the decors in MGM movies claim that they are the designers Oliver Smith, and that only the scenery for the songs did. Smith, however, says he had to accept all designs first and that nothing happened without his permission. He is supported by designer Keogh Gleason. Smith had, as a newcomer, big quarrels with the decor Department of MGM and especially with Gibbons. The last was furious about Smith's quirky design for "I Guess I'll Have to Change my Plan" for which he relied on the work of painter Paul Klee the various props, sets and costumes for the rehearsal of the musical in the musical came from the storage of MGM and were already used for the shots of Lovely to Look atZiegfeld Follies, and An American in Paris. Also the white dress that Cyd Charisse contributes the recordings of "Dancing In The Dark" was not original, it was a copy of a dress that costume designer Mary Ann Nyberg bore. Minnelli saw her in the dress and then let the skim to a same copy shops. Nyberg had her copy that is bought in a clothing store for $ 25. No one could find a copy after which the dress was eventually recreated for 1000 dollars in material and working hours. ==Music and choreography<span class="mw-editsection" len="344" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == ===Background<span class="mw-editsection" len="333" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === Read warning: text below contains details about the content and/or the end of the story.<p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Screenwriters Comden and Green selected together with Director Minnelli and producer eighteen songs by Schwartz and Dietz for the film. Half of the songs came from revues from the thirties of the last century."By Myself" and "Triplets" were written for the Boadwayshow "Between the Devil" from 1937, "A Shine on Your Shoes" and "Louisiana Hayride" for the revue "Flying Colors" from 1932, while, "I Guess I'll Have to Change My Plan" from the revue "The Little Show (1929) came. The songs "The Girl Hunt Ballet" and "that's Entertainment" were new songs of Dietz and Schwartz and were written especially for the film at the request of Freed. ===That's Entertaintment<span class="mw-editsection" len="343" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The song "that's Entertainment" was one of the biggest hits of the film. MGM would later use the title for a number of compilation films about the MGM Musicals, of which the first appeared in 1974. Schwartz and Dietz wrote the song in 45 minutes when Alan Freed them dedicated a song to write in the style of "there's No Business Like show business". The inspiration was the line in the scenario where the character Jeffrey Cordava says: "that everything you do works, as long as it is entertainment". ===Triplets<span class="mw-editsection" len="330" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The song "Triplets" was brought as a songs sung by babies. The actors wore hansopjes and danced on their knees, to which shoes were confirmed. Their legs were covered with black stockings and the dance floor was also painted black. Dancing on the knees was very heavy and there could be no more than 20 minutes danced. Originally the number be danced by Fred Astaire, Jack Buchanan and Oscar Levant. But Levant who had just recovered from a heart attack could not physically demanding dances and was replaced by Nanette Fabray. Fabray had during the recording of the song "Louisiana Hayride" injured her leg when she dropped by a crate. When the recording of "Triplets" started she had her leg wound still hurts especially since she's on her knees had to dance. It did such a pain that she could only participate under the influence of strong painkillers. ===The Girl Hunt Ballet<span class="mw-editsection" len="342" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">"The Girl Hunt Ballet" is the highlight of the musical and was initially no more than a footnote in the scenario. The screenwriters Comden and Green still had to come up with a plot for the ballet. Arranger Roger Edens found that perhaps the songwriters could come up with something. So Schwartz and Dietz wrote the song "The Private Eye". But at the rehearsals turned out that this number was not good enough. A frustrated E were looking for relaxation at a magazine. In "Life" magazine, he saw an article about detective writer Mickey Spillane and decided to do something with his work. Schwartz wrote some compositions around the detective writer and E wrote the arrangements and added the whole into a ballet. Michael Kidd had developed a choreography that don't really fit at the elegant way of dancing by Astaire and there was shy because to the actor to tell. But Astaire loved it and was actually happy to have come away from his traditional style. The whole takes 13 minutes, four minutes shorter than the ballet in "An American in Paris" and was recorded in seven days and cost $ 314.475. Screenwriter Alan Jay Lerner was asked to write the introductory text that is read out during the execution of the ballet. He got no money for and even no mention on the end credits. Vincente Minnelli read the text. In "The Girl Hunt Ballet" examines Fred Astaire as the detective three indications. They are from the poem, "The Vampire", by Rudyard Kipling in 1897:

===I Guess I'll Have to Change My Plan<span class="mw-editsection" len="357" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In the revue "The Little Show" (1929) was the song "I Guess I'll Have to Change My Plan" included, a song about a man who an old love affair ponders. In the song sings the man:, "Why did I buy those blue pajamas, Before the big affair began" (why I have those blue Pajamas purchased, before the great affair began). The song was given the nickname "The Blue Pajama Song" when Clifton Webb in the 1929 sang. In 1953, at the height of Hollywood's self-censorship, it was according to the Hays Code was not ruled out that an affair between married people Sung about. So were the texts adapted and got a more innocent character. During rehearsals for the film were dancing Astaire and Buchanan the song, whilst at the same time stepping up all sorts of tricks with their hats and walking sticks. This was initially quite rough and constantly fell hats and walking sticks on the ground. This was the reason for the joke that ended up in the film. At the end of the song, we see that Astaire and Buchanan their hats so-called shortages, after which they dispose their walking sticks and gearmd the scene coming off. ===Shine on My Shoes<span class="mw-editsection" len="339" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In the "Shine on My Shoes" number Fred Astaire dances with the cobbler. For this role became a real shoe shine boy from Los Angeles asked, Leroy Daniels. Daniels was also a dancer and the inspiration for the hit-song "Chattanooga Shoe Shine Boy" from 1950 Bing Crosby 's and Red Foley. Daniels would make a few films (the last one was Avenging Angel (1985) and occur in the television series Sanford and Son. The song ends with a machine from a automatenhol that explodes with sound and color. Designer Oliver Smith designed a special installation that cost $ 8,500. ===Lost numbers<span class="mw-editsection" len="340" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Because the film ultimately took far too long (almost two and a half hours) had to be cut in the number of songs there. One of the songs that went out was "two-faced Woman". It was recorded with a tempting dancing Cyd Charisse. Her singing voice was later was again sung by India Adams. The number killed in the Assembly, but can be seen on the DVD of The Band Wagon. In the film that's Entertainment! III is Cyd Charisse also appeared in this number. It is shown in split screen with recordings of Joan Crawford took up the same number also with the singing voice of India Adams. Other songs that were killed are:
 * "A fool there was, and he gave his share
 * For a rag, a bone and a hank of hair. "

===Songs<span class="mw-editsection" len="329" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p lang="en" len="95" style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">These songs, written by Arthur Schwartz and Howard Dietz, to see and hear are:
 * "Sweet Music," sung by Nanette Fabray and Oscar Levant. The song is heard in the background.
 * "You Have Everything," danced by Fred Astaire and
 * "Got a Bran ' New Suit," Sung and danced by Fred Astaire and Nanette Fabray

<p lang="en" len="135" style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The following songs by Arthur Schwartz are instrumental and often in the background or as a dance number to see and/or hear:
 * "By Myself"-performed by: Fred Astaire
 * "A Shine on Your Shoes"-performed by: Fred Astaire and Leroy Daniels
 * "Oedipus Bridge"-performed by: Jack Buchanan and choir
 * "That's Entertainment"-performed by Jack Buchanan, Nanette Fabray, Oscar Levant: and Fred Astaire and Jack Buchanan, Nanette in the recapitulation by: Fabray, Oscar Levant, Cyd Charisse (sung by India Adams) and Fred Astaire
 * "You and the Night and the Music"-performed by: choir, Fred Astaire and Cyd Charisse
 * "Something to Remember You By"-performed by: the choir
 * "High and Low"-performed by: the choir
 * "I Love Louisa"-performed by Fred Astaire, Nanette Fabray, Oscar Levant: and chorus
 * "New Sun in the Sky"-performed by: Cyd Charisse (voice sung by India Adams)
 * "I Guess I'll Have to Change My Plan"-performed by Fred Astaire and Jack Buchanan
 * "Louisiana Hayride"-performed by Nanette Fabray
 * "Triplets"-Fred Astaire, Nanette Fabray and performed by: Jack Buchanan

<p lang="en" len="25" style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">"The Egg" (Instrumental)
 * "Penny Arcade" (Instrumental)
 * "The Beggars Waltz"-performed by: Cyd Charisse, James Mitchell and ballet
 * "Dancing in the Dark"-performed by: Fred Astaire and Cyd Charisse

==Awards and nominations<span class="mw-editsection" len="343" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == ===Oscars<span class="mw-editsection" len="328" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === ===Writer's Guild Award<span class="mw-editsection" len="342" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] ===
 * "Sweet Music" (Instrumental)
 * "The Girl Hunt"-performed by Fred Astaire, Cyd Charisse and ballet
 * Nomination for best costume design
 * Nomination for best music
 * Nomination for best screenplay
 * Nomination for Best Musical scenario