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544:... a pleasing compound of sparkling mummery and glistening allures for eyes and ears ... the terpsichorean cavorting of Lucille Bremer and Fred Astaire is simply grand. ... Mr. Astaire and Miss Bremer are plainly thrown considerably out of stride when they are called upon to ramble through some of the talkative scenes. The humor, to put it bluntly, is obvious and dull ... However, the visual felicities and the wackiness of the main idea hold the show together ...
494:-esque scenery and the main characters (Astaire and Bremer) are dressed in pastel shades as are characters in harmony with them - such as the three handmaidens near the end. Most of the other characters - who have an aggressive, disruptive quality, and bring spiky dance rhythms into play - wear vivid primary colors making them stand out from the background scenery and from the main characters, adding to the powerful illusion of space - a quality remarked upon by
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Candle claims to want what is best for
Yolanda. Johnny realizes that he wants this too and returns the bonds. Yolanda has become enamored with Johnny. Believing himself undeserving, Johnny tries to leave the country. Mr. Candle stops Johnny and reveals himself to be Yolanda’s true guardian angel. He wants Johnny to return to Yolanda as a reformed man. In the end Johnny marries Yolanda.
512:"Coffee Time": A jazzy and exuberant dance routine for Astaire, Bremer, and chorus, blending complex repeated syncopated rhythms (inspired by Loring's idea of setting a five-count dance phrase against a four-count musical phrase) in a visually elaborate setting incorporating a wavy black and white dance floor (designed by
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The film was a long-time pet project of Freed's to promote his lover Bremer's career, but fared disastrously at the box office. An attempt to create a whimsical fantasy, it ended up, in the words of critic John
Mueller, as "egg-nog instead of the usual champagne". Despite admirable production values,
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Meanwhile two
American con men, Johnny Riggs and Victor Trout, have come to Patria because it has no extradition laws. On the train ride through the Patrian countryside, they learn of the vast Acquaviva fortune from a waiter. They are shown a newspaper reporting on the young heiress, Yolanda. They
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In the pastoral country of Patria, young
Yolanda Acquaviva celebrates her birthday in a convent among her fellow students. She has turned 18, and must now take over management of her family fortune, formerly overseen by her Aunt Amarilla. Yolanda feels unprepared, but the mother superior assures
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was responsible for most of the choreography, with
Astaire for once taking a back seat and contributing only in parts. Tactfully, Astaire claimed he wanted to see what it would be like dancing to other choreographers' ideas, a move some critics have attributed to a putative temporary decline in
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Johnny dreams about
Yolanda and it unsettles him. Nonetheless, Johnny sticks to the plan with his partner to steal valuable bonds from the accommodating Yolanda. They succeed but run into difficulty in escaping. The situation throws Johnny and Victor together with a third gentleman, Mr. Candle.
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Johnny telephones
Yolanda, claiming to be her guardian angel. He tells her that he will help her but cannot appear in angelic form. He will meet her in human disguise. The naive girl agrees. At their meeting he tells her to call him Mr. Brown. He claims that he will take away the burden of her
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Perhaps it also vindicated
Astaire's own horror of "inventing up to the arty"—his phrase for the approach of those who would set out to create art, whereas he believed artistic value could only emerge as an accidental and unpremeditated by-product of a tireless search for perfection. In his
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It is a question, too, whether this picture has the basic material to satisfy the general audience, although in texture and trimmings it might be termed an event." Astaire himself concluded, "This verified my feeling that doing fantasy on the screen is an extra risk."
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The film features possibly the first example on film of the deliberate integration of color and visual pattern with dance—a theme which
Minnelli explored on a larger scale and to such celebrated effect six years later with
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There's an idea in this yarn, but it only suggests itself. It becomes too immersed in its musical background, and the story is too leisurely in pace. ... And the story itself, the way it's done, strains
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Yolanda is greeted at her estate by Aunt
Amarilla and many servants. Later, alone in the garden, Yolanda says a prayer to her guardian angel asking for guidance. Unseen by her, Johnny overhears.
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dance critic James Martin at the time. In the middle of the ballet, Astaire inserts a romantic duet for himself and Bremer to "Will You Marry Me", performed by Bremer and the dubbed-in voice of
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Taste and imagination are so rare these days in musical films that a good bit of both is sufficient to offset a pack of obvious faults. So that's why this corner is cheering for Metro's
490:"Dream Ballet": An extended (approximately 15 minute) routine for Astaire, Bremer, and various others, which Minnelli has described as, "the first surrealistic ballet in film". The
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Filming began on January 15, 1945. It was first previewed on July 11, 1945 in Glendale, California. It cost $ 2,443,322.31 to make and suffered a net loss of $ 1,644,000.
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Astaire's creative powers around this time, but it is equally possible that he found the artistic pretensions of the project somewhat off-putting.
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According to MGM records, the film earned $ 1,221,000 in the US and Canada and $ 570,000 elsewhere resulting in a loss of $ 1,644,000.
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holds an approval rating of 80%, based on 5 reviews, and an average rating of 6.6/10.
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speculate on how they might take advantage of this opportunity.
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choreographed a celebrated sequence for the 1943 stage hit
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wealth. She is easily deceived and agrees to his plans.
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on November 26, 1952. The one-hour adaptation starred
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814:. The Decatur Daily Review. p. 48
417:Charles La Torre as Police Lieutenant
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808:"Better Radio Programs for the Week"
1703:Films directed by Vincente Minnelli
1158:The Four Horsemen of the Apocalypse
806:Kirby, Walter (November 23, 1952).
677:Astaire Dancing - The Musical Films
33:Magazine advertisement for the film
1198:On a Clear Day You Can See Forever
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756:"Review: 'Yolanda and the Thief'"
625:Fred Astaire - A Bio-bibliography
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1174:The Courtship of Eddie's Father
1708:Films produced by Arthur Freed
536:gave the film a mixed review:
452:in the dream ballet finale of
289:and produced by Arthur Freed.
16:1945 film by Vincente Minnelli
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1698:American musical comedy films
393:Jane Green as Mother Superior
1434:Take Me Out to the Ball Game
887:AFI Catalog of Feature Films
285:. The film was directed by
180:November 20, 1945
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1033:The Bad and the Beautiful
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1046:The Story of Three Loves
1017:Father's Little Dividend
812:The Decatur Daily Review
436:Key songs/dance routines
396:Remo Bufano as Puppeteer
1546:Invitation to the Dance
1386:Till the Clouds Roll By
1126:The Reluctant Debutante
776:"Yolanda and the Thief"
654:The Eddie Mannix Ledger
623:Billman, Larry (1997).
552:was not complimentary:
354:as Johnny Parkson Riggs
62:"Yolanda and the Thief"
1693:American fantasy films
1062:The Long, Long Trailer
703:Astaire, Fred (1959).
675:Mueller, John (1986).
590:Musical Comedy Theater
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366:as Victor Budlow Trout
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977:Yolanda and the Thief
881:Yolanda and the Thief
870:Yolanda and the Thief
859:Yolanda and the Thief
848:Yolanda and the Thief
744:on December 15, 2013.
731:(November 23, 1945).
707:. London: Heinemann.
586:Yolanda and the Thief
567:Yolanda and the Thief
561:On review aggregator
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327:will watch over her.
240:Yolanda and the Thief
22:Yolanda and the Thief
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953:Meet Me in St. Louis
764:. December 31, 1944.
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352:Fred Astaire
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279:Harry Warren
271:Frank Morgan
263:Fred Astaire
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196:Running time
173:Release date
139:Arthur Freed
135:Harry Warren
125:George White
105:Frank Morgan
97:Fred Astaire
87:Arthur Freed
65:
1583:as producer
1581:Uncredited
1450:On the Town
1258:As producer
1252:productions
500:Trudy Erwin
255:comedy film
245:Technicolor
232:$ 1,791,000
200:108 minutes
166:Loew's Inc.
83:Produced by
39:Directed by
1673:1945 films
1667:Categories
1410:The Pirate
1346:Girl Crazy
1078:The Cobweb
993:The Pirate
602:John Conte
573:Box office
450:Gene Kelly
428:Production
360:as Yolanda
296:Blue Skies
229:Box office
184:1945-11-20
147:Production
1618:The Clock
1522:Brigadoon
1482:Show Boat
1394:Good News
1070:Brigadoon
961:The Clock
945:I Dood It
598:Lisa Kirk
525:Reception
518:dervishes
477:Oklahoma!
382:Leon Ames
378:as Duenna
376:Mary Nash
121:Edited by
875:AllMovie
818:June 16,
791:11 March
461:Carefree
402:as Padre
213:Language
141:(lyrics)
131:Music by
93:Starring
59:Based on
1043:" from
884:at the
862:at the
761:Variety
550:Variety
414:as Gigi
251:musical
216:English
205:Country
182: (
149:company
1653:(1962)
1645:(1960)
1637:(1950)
1634:Crisis
1629:(1949)
1621:(1945)
1602:(1944)
1594:(1939)
1573:(1960)
1565:(1958)
1557:(1957)
1549:(1956)
1541:(1955)
1538:Kismet
1533:(1955)
1525:(1954)
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1301:(1941)
1293:(1941)
1285:(1940)
1277:(1940)
1269:(1939)
1209:(1976)
1201:(1970)
1193:(1965)
1185:(1964)
1177:(1963)
1169:(1962)
1161:(1962)
1153:(1960)
1145:(1960)
1137:(1958)
1129:(1958)
1121:(1958)
1113:(1957)
1105:(1956)
1097:(1956)
1089:(1955)
1086:Kismet
1081:(1955)
1073:(1954)
1065:(1954)
1057:(1953)
1049:(1953)
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940:(1943)
711:
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600:, and
273:, and
221:Budget
608:Notes
1562:Gigi
1118:Gigi
853:IMDb
820:2015
793:2021
709:ISBN
681:ISBN
629:ISBN
492:Dali
346:Cast
318:Plot
873:at
851:at
532:of
248:MGM
71:by
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186:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
