Cult Flops - Yolanda and the Thief

MGM, 1945
Starring Fred Astaire, Lucile Bremer, Frank Morgan, and Mildred Natwick
Directed by Vincent Minnelli
Music by Harry Warren; Lyrics by Arthur Freed

This was a major pet project of producer Arthur Freed, who was grooming Lucile Bremer to be MGM's next dancing star. It seemed to have everything going for it - an excellent cast that included Fred Astaire as Bremer's partner, memorable dances, a gorgeous production, and Vincent Minnelli's assured direction. Audiences and critics at the time didn't know what to make of it, and it wound up one of Freed's bigger flops. What happened? Let's take a train ride to the fictional Latin American country of Patria and find out...

The Story: Yolanda Aquitania (Bremer) is now the richest young woman in Patria, having just inherited her parents' oil business. Yolanda is a naive beauty who was raised in a convent and has no idea of how to handle such matters. Her prayers for guidance are overheard by a con man and thief named Johnny Riggs (Astaire). Hoping to get at her millions, he pretends to be her guardian angel. She allows him into her house, introducing him to her aunt (Natwick) and taking him into her confidence. He's happy to get her money for him and his partner Victor Budlow Trout (Morgan)...until he realizes he's fallen for her. Meanwhile, Yolanda is wondering why she has some very earthly feelings for this heavenly creature, and a gentleman named Mr. Candle (Leon Ames) seems to be hanging around, offering guidance of his own.

The Song and Dance: This may be the most unusual musical Fred Astaire ever did, even more than Finian's Rainbow. He's quite believable as a slinky con artist and gentleman thief (as he would be in the TV show It Takes a Thief over 20 years later), full of charm and airy enough that you can understand why Yolanda falls for his ruse. Natwick and Morgan are also good as Yolanda's strong-willed aunt and Astaire's dithery partner. Ames gets a rare non-fatherly role as the real guardian who has every intention of making sure everything works out all right in the end.

The movie is worth seeing for the production design alone. This is one of MGM's most gorgeous Technicolor movies of the 40's and 50's. The eye-catching design and lush tropical backgrounds pop off the screen, thanks to Vincent Minnelli's assured direction. Even when the fantasy comes off as too pretentious or arty, there's at least always something to look at onscreen.

Favorite Number: Two big dance routines are among Astaire's best duets with someone other than Ginger Rogers. The elaborate dream ballet has Astaire fleeing an airy, gauze-covered Bremer, who insists on marriage when he's not sure he's ready. "Coffee Time" is a jazzy, fun duet with Bremer in a yellow and white dress that nearly explodes against a wavy black and white dance floor, with the chorus in brilliant primary colors swirling around them. "Yolanda" is a lovely ballad for Astaire when he's convincing her that he's an angel, played on a (dubbed) harp and capped by a nice solo.

What I Don't Like: I agree with Astaire that the movie's trying too hard to be psychological and arty. It mostly comes off as pretentious. The fantasy element feels forced and awkward. Bremer is stiff and too old for her role as a former convent girl when she's not dancing.

The Big Finale: Worth seeing for the stunning costumes, sets, and color and delightful dances alone. If you love ballet on film or are a fan of Astaire, Minnelli, or the Technicolor MGM musicals of the 1940's and 50's, you'll want to float in on a cloud and check this one out.

Home Media: Currently only on DVD via the Warner Archives.

DVD