Histoire de trois amours

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.

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

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!

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.

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.