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Several years ago, when I first saw this movie, I felt that it was melodramatic with awkward dialogue and clumsy direction, and not worth my time, except for the dancing segment with Moira Shearer and James Mason ("Jealous Lover"). After this recent viewing, I have a better appreciation of the finished product and wonder at the curious division of directors, Minnelli and Reinhardt, and committee of script writers, which may account for the structural and dialogue flaws in the film. Throughout the movie I had the curious feeling that the influence of the great team of Michael Powell and Emeric Pressburger was haunting the producion. Both script and direction fall short of their work, such as "The Red Shoes" or Stairway to Heaven." Yet on this second viewing I still felt it worth my time.

First, the casts are well chosen and the camera loves them, especially the three female leads: Shearer, Caron and Angeli. One cannot find three more gorgeously photogenic and sensitive faces captured by Hollywood and its lenses than these -- and without excessive makeup. Being English, French and Italian (in that order), they also embody the international strength of post-war Hollywood, and are strong complements for the male leads, Mason, Granger and Douglas, all of whom made their careers in America (Mason was born English, I believe). These three leading ladies were certainly chosen for their youthful radiance and sensitivity, and the luminous close-ups plus the saturated color and lush music by the great Rozsa (who appears as the conductor in the first segment) lend a baroque richness to each of the segments reminiscent of Visconti's "Senso," or possibly even "Il Gattopardo."

Second, the camera work and lighting are excellent, both subtle and dramatic at the same time, fully enhancing the flashback aspect and sense of fantasy in all of the stories and revealing the delicacy and individuality of the three women, not to mention the great Agnes Moorehead in the first segment. The delicacy of Shearer, Caron and Angeli with the differences in each of their coloring and bone structure, contrasts dramatically with their respective male leads, the forceful articulateness of Mason (given an incredibly weak script stilted and overwrought when compared to P & P's dialogue for Lermentov in "Red Shoes"), the boyish tenderness of Granger in the second segment, and the snappy personality of Douglas in the high wire segment.

In the latter, which other reviewers seemed to like the least, I found Angeli's combination of vulnerability and inner strength very moving, all of the emotion held back, but pouring out of those great expressive eyes. Her subtlety provided the proper foil for Douglas's aggressive, almost animal energy and line delivery. I am not by any means a fan of

Douglas (except for his "Lust for Life"), but I liked him in "Equilibrium," and was impressed that most of the aerial stunts seemed to have been done by him. Certainly the circumstances of the war that led to Angeli's suicide attempt in the story lent a depth to the plot that was very much of the time and may be difficult for Americans to understand today. However, Europeans were still deeply affected by the war even in the mid-fifties (see "Act of Love," another film of Douglas's).

What each of the female stars gave to the film, as the focus of the "three loves" of the title -- Shearer in her role as a ballerina with the exquisite choreography by Frederick Ashton (celebrating the centennial of his birth this year); Caron, in an early non-dancing part actually using her French in the dialogue if not in the poems by Verlaine; and in Angeli cast as a victim of the war-- was a sense of authenticity and genuineness. I find these qualities very much lacking in the majority of American films, certainly those made by recent directors.

One final thing I liked about "Equilibrium" was showing how Douglas trained Angeli step by step in the high wire act to build up her strength and courage. One doesn't usually see this in a film. It also looked as if Angeli did her own stuntwork. Even if she didn't, it was effectively shot.

In all, a film worthy of renewed viewing. Of four ****, I give three and a half

MGM put together these three stories of passengers on board a ship remembering three recent romances that all ended rather differently for the protagonists. The three passengers are James Mason, Leslie Caron, and Kirk Douglas and each one had things turn out quite differently.

The first story The Jealous Lover concerns ballet impresario James Mason and his protégé Moira Shearer. The story is a bit of condensed version of her film, The Red Shoes. Shearer is the greatest ballerina of her time, greater than even her aunt and teacher Agnes Moorehead, but she has a congenitally weak heart. As for Mason who is it he really loves, the woman or the ballerina?

The second story, Mademoiselle, could have served as the inspiration for the Tom Hanks movie Big. Leslie Caron is the French governess of a rich American kid, Ricky Nelson, who's both spoiled and bored with his French lessons and eager to grow up. A visit to a neighbor Ethel Barrymore who's a witch in her spare time grants him a few hours until midnight as a grownup, in this case as Farley Granger. He's everything the love lost Caron could hope for.

The last story is Equilibrium with former circus trapeze artist Kirk Douglas saving Pier Angeli from drowning herself in the Seine. He lost a partner in a circus accident years ago and despaired of ever finding someone and returning to the circus. Angeli may just have the right stuff to be that partner, but Douglas is also looking at her in more than a professional way.

Equilibiium got the most acclaim, Kirk Douglas and Pier Angeli were given a film of their own, Act Of Love, later to do. I liked all three of the stories, they were stylishly written and performed. Vincente Minnelli did the second story, Gottfried Reinhardt directed the first and third.

All three stories end rather differently so you can expect quite a roller-coaster for your emotions. But the ride is well worth it.

Rachmaninoff's "Rhapsody on a Theme of Paganini" is the gorgeous music to which Moira Shearer danced her lovely ballet in the first story. It's a perfect choice for this movie (and this scene) because it's full of passion and promise. The awed & inspired look on James Mason's face as he watches her dance expresses what we, the audience, see: how dancing makes Moira's character feel. It's a moving scene and there are 3 beautiful, emotional performances: Moira Sheara, James Mason, and the music.

This Rachmaninoff piece has been featured in several movies. These include, among others: The Story of Three Loves (1953); Rhapsody (1954); Somewhere in Time (1980); Dead Again (1991); Sabrina (1995); Ronin (1998).

It's a beautiful, moving, "timeless" piece of music. It is sometimes used in period movies whose action takes place before the piece was actually written & first performed. That was in 1934.

I enjoyed this movie, in spite of the uneven script. There are some great actors giving good performances (at times melodramatic - but that's the nature of the script more than their acting abilities), plus (suprise!) a young Ricky Nelson in the only thing I remember seeing him in as a boy besides the Ozzie & Harriet TV series - and he wasn't stilted like he was on his family's show (probably good directing!!!). Some great face shots throughout, too, showing emotion that the script couldn't (using the classic face-lighting techniques that have fallen out of favor with most of today's contemporary film directors).

In spite of some beautiful and memorable scenes in this movie, I'll probably remember the way the music made me feel longer than I'll remember the rest of the movie - and it's worth watching for that alone!

I was a college sophomore in 1953 when Rachmaninoff's "Rhapsody on a Theme of Paganini" was near the top of the charts. (Yes, believe it or not, there was a time when good music was popular!) At the time, I knew it was featured in a movie, and I probably knew the title, but I never saw it. Over the years I forgot the movie title, but "Rhapsody" was always a favorite. Occasionally I puzzled over the movie that popularized it, but I couldn't remember what it was. This morning I discovered "The Story of Three Loves" (1953) on Turner Classic Movies, and there was Moira Shearer dancing to Rachmaninoff. I didn't have time to see the movie when it was new, but at least I solved the mystery for myself, and this time I won't forget. I thought the whole thing was charming. Speaking of shades of the future, in the first scene of the aerialist segment, "Equilibrium," Pier Angeli attempted suicide but was saved by Kirk Douglas. In real life, she succeeded in killing herself with a phenobarbital overdose in 1971.

Interesting mix of short stories with a galaxy of stars both major and minor. The first with James Mason and Moira Shearer has beautiful music and dancing but a rather overwrought storyline and wastes Agnes Moorehead in a nothing role. The last with Kirk Douglas and Pier Angeli is suffused with sorrow made especially poignant since she plays a girl saved by Kirk from suicide, such was not the case in real life and she ended up taking her own life several years later. The real charmer is the middle episode, a precursor to the film Big, with Ethel Barrymore as an elderly enchantress, Leslie Caron and Farley Granger sweet in a story of young love. Most enjoyable.

Each of the three love stories would have been worthy of a movie to itself. The second, with Leslie Caron, must rate at least a 7 for anyone who enjoys her, but her work in Lili outshines everything else she has done. The third, with Pier Angeli and Kirk Douglas was a treat even for a viewer who does not usually like Kirk Douglas. It rates a 9 on the basis of the marvelous sequences as he teaches Pier Angeli the art of high wire performance. But it is the first, which deserves 11 out of 10, which makes this film a "must see." I know of no other film in which great orchestral music has been treated with such respect and insight. There are long, uninterrupted sequences of the marvelous Moira Shearer dancing to one of Rachmaninoff's fabulous Variations on a Theme of Paganini. The combination is superlative ballet, and superlative interpretation of a great orchestral work of the late romantic school. As icing on the cake, James Mason is the audience of one as she dances, an irascible impresario who is, quite understandably, overwhelmed by the magic of Shearer's performance. The story ends too soon. At full length, with three times the dancing, and a better love story between Shearer and Mason, it would be a movie I might expect to see in Heaven. It makes the whole film easily worth a 9.

I loved this movie especially the the third segment featuring Pier Angeli. She really did her best portraying a suicidal widow of a Holocaust victim who becomes a trapeze artist after she is saved from drowning by Kirk Douglas's character. I am pretty sure that she relied on her own childhood in Rome for inspiration. She grew up in Rome when World War II was occurring. Her emotional scenes were the best. I can see why Kirk Douglas fell in love with her. It is hard to believe she was only nineteen when she filmed the movie. It is the first color film she did. I think it was be remembered by devoted Anna Maria Pierangeli fans for years to come.

While not a flawless film by any means, THE STORY OF THREE LOVES has so many elements in its favor that it's better to talk about them first.

MOIRA SHEARER is pure magic as a ballet dancer with a secret and JAMES MASON does well as the man who encourages her to dance again after a long spell of inactivity. Shearer dances to some vibrant music by Rachmaninoff where her versatility is comparable to that displayed in THE RED SHOES. The story itself is on the thin, transparent side.

LESLIE CARON plays a governess hired to teach young RICKY NELSON a love for language, stressing French irregular verbs. This sequence is fantasy and has Nelson asking the town witch (ETHEL BARRYMORE) to make him an adult for awhile so he can carry on a fairytale romance with Caron. It's silly and unfortunately Nelson is too peevish as the spoiled boy before he transforms himself into FARLEY GRANGER.

But the last story is extremely well acted by KIRK DOUGLAS and PIER ANGELI and interested me the most. Douglas is very convincing as a trapeze artist haunted by the death of a former partner and turning suicidal bent Angeli into his new death defying hire wire performer.

Both Douglas and Angeli are obviously performing most of their stunts on the high wire. The scenes which have him instructing her gradually into becoming more secure in the act by demonstrating steps is very adroitly handled. Furthermore, he and Angeli do well in all of their quieter but still intense moments.

The stories aren't really linked together very well but each serves its purpose in the scheme of things. Artistically, it's a good show from the standpoint of music, settings and performances.

There's an impressive line-up of marquee stars in this triumvirate of love stories that leans heavily on Rachmaninoff's music and little else as it listlessly moves from one tale to the next with little time to develop plot or character.

In the first we have The Red Shoes meets The Seventh Veil as Moira Shearer and James Mason do what they do best (dance and display disdain) in a would be Svengali scenario short circuited by a bad ticker. The second has little Ricky Nelson in a Cinderella situation where he becomes Farley Granger for the night romancing his previously detested French teacher Leslie Caron. The third features Kirk Douglas as a French trapeze artist attempting to rescue cold and detached Pier Angeli from herself.

Unimaginatively tied together by an ocean liner each improbable brevity sinks as fast as the Lusitania without ever gaining any depth. Performances are rushed and forced with Douglas and Mason chewing scenery up as fast as they can in their alloted time. Old pros Agnes Moorehead and Ethel Barrymore do the most with the crumbs they are thrown and Ricky Nelson is surprisingly effective as a bratty child while Caron, Shearar and Angeli along with a two sentence performance by Zsa Zsa Gabor provide window dressing in this lushly designed but soulless production.

The first of three stories, "Jealous Lover," offers sheer bliss as the great ballerina, Moria Sherer, dances to Rachmaninov's "Rhapsody on a Theme of Paganini."

One is reminded of the exquisite beauty of Sherer, who thrilled audiences for many years at the Sadler's Wells. What a treat for moviegoers when she graced the screen, which was all too rare.

Of all the prima ballerinas of the 20th century, Sherer stood out. Her light came from within, and her graceful executions became a spiritual experience.

James Mason is perfectly cast as Charles Coutray, and their scenes together are richly romantic, under Gotfried Reinhardt's sensitive direction.

Vincent Minnelli lovingly guided the remaining two episodes, whose writings were unevenly crafted, yet ardently realized by as fine a cast as MGM could offer.

Miklos Rozsa's original score was vibrant and knowing, melodiously underscoring the action. "The Story of Three Loves," remains a good piece of work, unusually artistic coming from a major studio.

Trio of stories--a popular movie gimmick in the 1950s--linked by an ocean-liner and three disparate characters on-board. James Mason is intense and snarling as a demanding ballet impresario who falls for ill-fated ballerina Moira Shearer who, unbeknownst to him, is suffering from a bad ticker; Leslie Caron plays governess to ungrateful brat Ricky Nelson, both magically touched by the powers of Ethel Barrymore, reputed to be a witch; Kirk Douglas (as Pierre!) is a former star of the trapeze who trains suicidal Pier Angeli to be his new partner under the Big Top. The first two episodes are hurt by a weak narrative (the protagonists appear to recall information they should not be privy to), while the last chapter is hurt by miscasting (neither Douglas nor Angeli looks quite comfortable doing these gymnastic moves); however, the requisite MGM gloss ensures the picture at least looks good. After a lengthy credits sequence (illustrated with the silhouette of a tree branch!), the color visuals take over as if in a dream, and the effect is hypnotic. Not so the dialogue, which is heavy on the melodramatic flourish (Agnes Moorehead to the doctor: "Paula must dance or she will die!", to which the doctor replies, "If she does...she will!"). Douglas is so mercurial in his angst that he's amusing unintentionally, while sullen Angeli is made up to look like a corpse in a silent movie. Still, one is drawn into this sumptuous bag of tricks almost against his will, and the overall results are fun for '50s connoisseurs. **1/2 from ****

A fellow movie buff wanted the name of a movie which he could not find anywhere. He gave me the clues of many great old stars and something about a Paganini piece, trapeze aerialist, ballet, suicide and Farley Granger. He had caught some fleeting scenes at a distant TV movie presentation and wanted to find the film for purchase if at all possible. First, I searched for a ballet theme, but found too many movies to consider. Then, I tried films about violinists, no luck there. For some reason, when I searched Farley Granger's filmography, I could not find the right combination. At length, I had to rely on my memory and thought of Bert Lancanster and Kirk Douglas in a film concerning circus performers. Nothing under Bert Lancaster, but when I looked at Kirk Douglas' list in this data base; voilà, I found this film. I was very pleased to tell him the name.

Although this movie has three rather uneven stories in separate segments, the overall package succeeds, is quite beautiful artistically and is highly entertaining. For once, I think this movie on IMDb is UNDERRATED. However, I must say that I've seen this film several times and it did get better the more I watched it.

The first story is the best. It concerns Moira Shearer as a ballerina who has a heart condition but MUST dance, as to her ballet is a compulsion. The music by Rachmaninof is VERY haunting and I got it stuck in my brain for weeks following the movie. This segment reminded me of The Red Shoes (also starring Shearer) but was thankfully MUCH shorter and interesting--a definite plus for those like me who really DON'T like ballet!

The second is about as good and is a cute little fantasy involving a little boy who is magically transformed, temporarily, into an adult. As a child, he said how much he hated his governess, but as a man, hormones kick in and he is naturally drawn to the vivacious Leslie Caron (who wouldn't be?). It's cute and a bit sad as well.

The final is the weakest story about a trapeze artist who lost his last partner but now has discovered another,...and LOVE! It's a decent portion but is just overwhelmed by the quality of the other stories.

Moira Shearer's long dance scene brought me to tears with the beauty of it. James Mason said the words I felt about her dancing. Even in the Red Shoes, she doesn't dance as well. I will be watching that scene over and over again on YouTube.

The other two segments are good, but pale in comparison.

It's fun to see Ricky Nelson as a child actor, before his fame.

I was starting to think this was a film of alternative Cinderella story lines. Thankfully, not. Good actors, though out. Kurt Douglas is his typical intense macho type. Engaging.

As others have said, it should have been three separate films.

This is one of the few movies that I've watched repeatedly or when I need an attitude boost. (Others are Harold & Maude and What a Wonderful Life.) I walk away with renewed sense of empowerment, purpose and determination. In addition to that, I enjoyed: 1) the timing--the movie consists of three shorts and I appreciate the order in which the three are presented; 2) sense of humor--the second short is quite charming and I thought well written from a child's point of view--it avoids being an adult pretending to be a child; 3) long dance scenes--there must be several three minute scenes with no editing cuts (the music is so strong that whenever I hear a piece by Faure, if it's not the piece in this one scene it reminds me of it, that I must stop a few seconds because the memory is so alive); 4) the deep exploration of "what is right" --I not only appreciate the presentation of the two sides of every decision presented in all of the shorts, but also that a quick Hollywood solution is resisted; and finally 5) a young Kirk Douglas--which is the old fashioned manly-man. My only wish is that is would be shown on the big screen more often.

The Story of Three Loves is just a very okay anthology film. With three stories, none ever overstay their welcome too much, but it does also feel a bit like three ideas that weren't able to be fleshed out to feature length, and so got the anthology treatment instead.

None are terrible or offensive, but I very much doubt any will stick with me... beyond maybe the first one, since it feels like a warm-up for James Mason for A Star is Born (1954), and like an inferior spiritual successor to The Red Shoes.

It's a film that popped up on my radar because I'm writing about Vincente Minnelli, but now I don't think it's good enough to warrant much discussion. That's just how it be sometimes.

As the title suggests, this movie is split into three unrelated vignettes of tragic love stories. Each is incredibly interesting, and each will be over far sooner than you'd like. Why weren't each made into their own movie? Well, the second vignette was turned into a feature-length film over fifty years later. . .

In the first, Moira Shearer stars as a beautiful, passionate ballet dancer with a bad heart. She can't dance anymore, but when she meets the beautiful, passionate James Mason-a ballet director-she gets a new lease on life. She can dance, she can live, she can love!

In the second, a little boy hates his French governess, Leslie Caron. He hates lessons and school, and he goes to see an old gypsy woman, Ethel Barrymore, and asks for her to make him older so he won't have to deal with Leslie anymore. She grants his wish, and later that night, he transforms into a grown up: Farley Granger. Sound familiar? Yep, this is the original of Big.

In the third, Kirk Douglas is a trapeze artist who feels guilty for his partner dying in a daring stunt years before. He meets the suicidal Pier Angeli and saves her life. Her fear of taking a leap is clear, and they start training together to revive his career.

What's so tragic about those three stories? They sound great! They are great, but there's also an element of tragedy in each.

This is a really great movie, and not only for the stories. The acting is top-notch in all three, and you'll see lots of surprises. You may have already seen Moira Shearer dance, but she wears such beautiful expressions, it's as if she were an actress who learned to dance, rather than a dancer who learned to act. You already knew Leslie Caron was cute as a button, but what about Farley Granger? I always thought of him as the poor man's Gregory Peck, but he's so cute in this movie! He's every bit as adorable as Tom Hanks, and if this is your first movie of his, you'll absolutely love him. And of course you knew Kirk Douglas was a master at physical stunts, but you'll be shocked to see Pier swinging from the trapeze right along with him! It's no wonder the pair had a romance during this movie. All the training, all the trust; you can only imagine the bond they must have formed.

I am home with the flu, and found this delightful movie....from the touching ballet dancer to the hunky Kirk Douglas...classic old movies...who doesn't love them??? And to hear the music in the ballet to also connect it with Somewhere in Time, (Christopher Reeve, Jane Seymour)....love it!!!

See the story of three strangers as they cruise the Atlantic and remember what it's like to fall in love.

The first stars Kirk Douglas as a circus artist. A little slow for me.

The second has James Mason as a harsh ballet choreographer. Will he choose love over his career?

The third sees a pre-Tom Hanks Big really get to the heart of the matter. It's my personal favourite. Leslie Caron is a born romantic who falters having to teach a precocious brat. This one leaves you with a warm heart.

Rent (or buy) this but skip the circus story. The other two will cheer up the hardest viewer. Don't expect Hollywood all the way. It's got enough of a European flair to keep it interesting without making it heavy or difficult to follow.

Enjoy.