User reviews

As far as the script for this ode to classical music goes it includes absolutely nothing you haven't seen before but it's presented with that inimitable MGM sheen.

Made during that period when Elizabeth Taylor was at the very apex of her beauty she captivates as she drips in jewels and beautiful gowns in dazzling Technicolor. She's hard to pull your eyes from but she is teamed with two men, Vittorio Gassman and John Ericson, who are almost as beautiful as she. Excepting Louis Calhern who is just right as Liz's bon vivant father, the supporting cast blends into the woodwork.

It's the music that matters and makes this picture however. Some of it is absurdly staged, i.e. the spontaneous performance of an entire violin symphony in a small restaurant, but what can you expect from a romantic drama in the 50's. Mostly though the music is played full out in the proper settings and is glorious and well worth muddling through the somewhat turgid proceedings that surround it.

Rhapsody is all about beautiful music and beautiful Elizabeth Taylor. Taylor, in a short, stylish hairdo, is at the height of her beauty in this stunningly photographed color film. And she's not the only beauty. Vittorio Gassman plays one of her love interests. Just try keeping your eyes off of him. Handsome John Ericson is the other man in her life.

All in all, it's candy for the eyes and ears, gorgeous to watch and to listen to with all that classical music. Elizabeth Taylor plays a role perfect for her, i.e., a spoiled, rich brat. She follows the man of her dreams, Gassman, a gifted violinist, to music school in Zurich, even though her own musical ability is pathetic and she'll have nothing to do except wait around for him to finish classes and rehearsals. When it's obvious that Gassman is totally immersed in his music, she begins to compete with the violin for his attention.

All three leads are excellent, as is Louis Calhern as Taylor's father. Taylor wears beautiful outfits. I'm certain this film was intended to be a showcase for her beauty, and there it succeeds. Despite some harsh comments made on the board, I think this you just have to take it for what it was intended to be and no more. Very entertaining.

RHAPSODY is a typically lush romantic opus from MGM, conceived as a stunning tribute to the 22 year-old ELIZABETH TAYLOR and surrounding her with some melodious classic music from the two men in her life--JOHN ERICSON and VITTORIO GASSMAN.

All women should have such romantic woes--torn as she is, between two handsome men with matinée idol looks while she watches on the sidelines dressed in smart outfits by Helen Rose, with sophisticated looks at the camera and everyone else in the cast. She is as poised as a marble statue and just as cold and beautiful.

The tale is as wildly improbable as anything Joan Crawford ever did in lush B&W surroundings at Warner Bros. (a la HUMORESQUE), and the story itself is hardly more than routine, presenting Taylor as a spoiled young woman who mistreats men who are too immersed in their careers to notice she's around.

But on the plus side, there's that glorious music and some very convincing finger work by Ericson on the piano and Gassman on the violin. They really look as if they're playing their instruments, and both of them are up to the acting demands of their less than dynamic roles.

Taylor was certainly one of the most photogenic women who ever stepped before a camera, but it's a pity that her talent (at this stage) is not a match for her fabulous wardrobe and glossy, tremulous close-ups that have her torn between two men without ever ruining her make-up with real tears.

Absurd fun, if only for the music and the decent performances, but actually a very routine romantic angle that is a mere trifle against a splendid background of passionate classical pieces.

I fell upon this movie one morning on TCM while in an early morning stupor and was instantly awakened by the sight of the most beautiful women I had ever seen. Although I had never seen any of her 1950's or early 1960's roles, I quickly realized this woman was Elizabeth Taylor and was completely mesmerized. Previous reviews of this movie compared the story line to a soap opera and I certainly agree. Without Ms. Taylor drawing me in, I would have lost interest very quickly; However, I could not resist watching her every move and eventually found myself absorbed by the story line and very competent acting by all performers. The classical music was a tremendous plus for the film and made up for the stand-in sets to some degree. For me, this film was about beauty. Beautiful music surrounding a beautiful woman in all her glory. Classical music hand-in-hand with one of the classic women of the big screen. I would recommend this movie highly if for no other reason than to see the definition of the female sex symbol. Elizabeth Taylor, with her face, figure, class and charisma, is that definition. She makes the so called sex symbols of today (Jessica Simpson, Pamela Anderson, etc.) look like caricatures. What a revelation! Mediocre story, adequate acting, beautiful music, and an irresistibly stunning leading lady are the summations of this movie, in my humble opinion.

This film should be compulsory viewing for all of those of either sex who want to be taken seriously by a talented artist whether a musician, stage, film or television actor, professional sports player and so on. Elizabeth Taylor is quite excellent as the rich, indulged young lady who still thinks that she can be the focal point of her chosen man's world in this case a self obsessed violinist who was still infinitely preferable to so many of her other male co-stars. And his fingering and bowing was quite superb - I only wish that I could have heard the sounds that he actually made and who actually made the beautiful music that forms the solid foundation of what was a thoroughly enjoyable film ? I agree that Louis Calhern as her father was superb - it is a pity that she listened to so little of what he said and in her case beauty was not even skin deep.

Yes, Rapshody is somewhat tedious and quite melodramatic, but let me mention the positive offsets:

1. The dazzlingly beautiful, voluptuous Elizabeth Taylor.

2. Adult themes, and must have been considered quite risqué at the time.

3. Emotionally charged classical music.

4. Generally quite well acted.

5. Good direction, cinematography, settings, and costumes.

Whether or not the positive offsets overcome the somewhat tedious, melodramatic plot depends on one's tolerance for melodrama and how strongly one values the various offsets.

Rhapsody is a film about and for fans of classical music and you'd better like it or otherwise you might be bored throughly. Otherwise you get a rather turgid romance between young Elizabeth Taylor and two guys she keeps on a string, violinist Vittorio Gassman and pianist John Ericson. In the end you might not care which one she does get.

Classical artists have their share of groupies like anyone else, just study the careers of Chopin, Mozart, and Liszt to name a few. And Liz is a classical groupie. She first focuses on Gassman, but later meets up with Ericson who is using the GI bill for classical studies with the great music master Michael Chekhov.

In fact when Taylor auditions for Chekhov for his school, she knows she hasn't got the right stuff, but she's willing to pay double because she's got a thing for Gassman and wants to more fully understand the classical music experience, the better to share his life. After that point I was put off. How incredibly ridiculous is this going to get?

Still lots of violin, piano, and orchestral work are what Rhapsody is made of and you might like the film for that and just turn off the sound when the actors start spouting some of the most ridiculous dialog you'll ever hear.

At best this is a tepid melodrama redolent with overtones of comic operetta, sans the musical vocals. Taylor plays a selfish, wealthy young woman, Louise Durant--- a seductress with a manipulative game plan. She targets two gifted classical musicians for would be suitors, here portrayed as male window dressing by Vittorio Gassman and John Ericson. Louise proceeds to turn these two objects of her affection inside out, pitting one against the other as contenders for her beauteous self. She creates turmoil in their emotional lives, threatening their professional aspirations. And what Louise wants is total devotion from her man on a 24/7 schedule, an agenda of mutual possession; plenty of activity in the bedroom with time out for bathroom breaks.

Elizabeth Taylor in this film radiates her youthful beauty at its best. Her screen power cannot be denied, however what is reaffirmed in Rhapsody is that Taylor was a "Movie Star" with all the power of a magnetic personality, which that definition entails. As an actress, her range was limited and talent but sufficient. What the audience sees when they see Elizabeth Taylor on film is always: Elizabeth Taylor.

"Rhapsody" is not the bad movie some of the comments to IMDb seem to indicate. While this was a film typical of the time when it was made, it offers some of the most glorious music ever heard in a Hollywood picture. The music takes center stage in the movie. As interpreted by Michael Rabin and Claudio Arrau, among others, Tchaikowsky, Liszt and Rachmaninoff were never given such loving tribute as in this film.

Charles Vidor directed this adaptation of a novel that might have been well regarded, enough to be brought to the screen. Ruth and August Goetz are given credit for the screen play. The Goetzes wrote many plays, among them, "The Heiress". Fay and Michael Kanin also contributed to the adaptation.

The story of Louise "Lulu" Durant, a spoiled rich girl, that defied her father into following what she thought was the love of her life, turns out to be a nightmare. Lulu was not prepared to play second fiddle, no pun intended, to anyone, let alone Paul Bronte, the talented, but egotistical violinist that is only in love with his career.

The story, by the way, takes place in Zurich, and not Munich, as someone reported in another comment. Lulu, who has ambitions of becoming a pianist, promptly realizes she is a lousy player and heeds the advice of the wise professor Schuman, but she makes the mistake of staying around, getting bored because Paul has only time for his music and not for her.

Enter James Guest, an American pianist. He falls in love with the beautiful Lulu, only to be rejected. When Paul becomes the toast of the music world, he breaks from Lulu, who in turn marries James on the rebound. Ultimately, Lulu realizes that James is the one that is real and the only one that cares for her and there's a happy ending when he makes a stunning debut playing Rachmaninoff's Second Piano Concerto.

Elizabeth Taylor, in all her beauty, is seen as the ravishing creature she was in those years. She made an impression as the spoiled "papa's girl" that she was. In this film, as well as all those Ms. Taylor made during those years, she projects such a loving presence that is hard to find fault with her acting. This actress showed such magnetism and charisma in her films, something perhaps no one else can match.

Vittorio Gassman was perhaps Italy's best modern actor. He was trying to break into American movies. As Paul Bronte, he makes quite an impression. He was dashing and had the presence and good looks to play opposite his gorgeous costar.

John Ericson shows he had potential to go far in the business. Unfortunately he never made it big in Hollywood. He was an accomplished actor who deserved better. Louis Calhern as Nicholas Durant, Lulu's father had only a few scenes in the movie, so it is puzzling for one to agree with another comment about how he carried the film on his shoulders. If it was, it remains a mystery to us. Mr. Calhern was a fine actor who show a natural elegance to every thing he did in the movies.

Ms. Taylor is dressed by Helen Rose, one of the best in the business. Ms. Rose designs are an asset; anything that Elizabeth Taylor wore in the film enhanced her figure and gave the viewer an opportunity to see her as the film goddess was always was.

Elizabeth Taylor plays Louise Durant, a rich young lady who seems a bit flighty. After meeting an aspiring violinist, she drops everything to follow him to the conservatory. While she is a fair pianist, she is way out of her element there and she expects to just hang around until the boyfriend graduates and has a career. But does she have what it takes to be the wife of a talented musician?

So is this any good? No. There is way, way too much music and the combination of Elizabeth Taylor and Vittorio Gassman is rather dull as well. Overall, a dull flick which could have been much better--especially if they'd cut back on the music a bit and made Taylor's character more interesting instead of coming off as a silly, spoiled rich girl.

This is just to correct some misinformation in a previous comment. Maybe I'm splitting hairs, but facts are facts. In 1954, at the time of Rhapsody, the gorgeous Miss Taylor was 22, not 18. Her beautiful wardrobe is by Helen Rose, M-G-M's in-house designer of the 50's. (Yes, Virginia, there were other costume designers besides Edith Head!)

Like stacym said above, I think this was a very good film. While others have complained that the story is mediocre, I found Elizabeth Taylor's subtle eye movements and facial expressions intriguing, and the story changed enough that it kept me wondering what was going to happen next. Gassman and Ericson played their instruments so lifelike you almost thought they were playing them. Louis Calhern again provided a sophisticated performance as her distanced dad. In fact, I thought that the music was not as exceptional as the acting, although the selections were chosen to show off the virtuosity of the performers rather than for their beautiful melodies. (I am a Puccini and Lehar fan.) The actors were all impressive in their roles and should have received more awards than they did for their consummate collaboration.

The Glenn Miller Story, The Eddy Duchin Story, and Young Chopin are all biopics from the 1950s that show audiences a true story of a famous musician's life. Biopics have always been a popular genre, and in the golden age of musicals, the 1950s produced many true-to-life stories of musicians and singers. Rhapsody is based off of a novel, not real life, so keep that in mind when you watch it.

Vittorio Gassman, who made a big splash in the previous year's Glass Ceiling, is placed in the difficult position of having to choose between two passions: the violin and Elizabeth Taylor. Tough decision. In the same Zurich music conservatory, a piano player falls in love with Liz, adding another love triangle to the mix. If you like these types of movies, with lots of classical music in the background and lots of violin and piano playing scenes, you'll probably want to add Rhapsody to your list. It doesn't have the same feel as a biopic, and sometimes the love stories get a little tiresome, but it's not the worst movie to come out of the decade.

This movie is nothing but a marvelous concert of marvelous pieces of music held together by a bit of film.

I have it on in the background while I do other stuff, like a radio.

They could just as well have shown any other film material as the music plays, like the Marx Brothers or something, totally inconsequential.

So not much of a movie really, but like I said : great music. And given a choice between this and any other Modern product coming out of Hollywood I'll pick this anytime.

There was obviously some sort of contractual obligation somewhere, the studios had to produce so much in so much time.

Seems like a project put together over a quick lunch somewhere.

So the suits are sitting around one day and they all agree Technicolor musicals are all the rage. Somebody gets the bright idea -- could we make a musical where the music is provided by classical composers rather than Broadway hacks. ''Who would go to see a picture like that? The kids are into the rock n roll these days, not Rachmoninoff.'' ''No sweat, says the other suit, ''we put Elizabeth Taylor on the marquee and this picture will make money.'' Boom. You got a hit. No story necessary, just like most musicals have no story, but are mostly just a collection of excuses to sing, dance and play music. Not that there's anything wrong with that. So when you put together great music with Liz Taylor's shattering beauty, what kind of grumpkin could complain about plot holes and improbabilities?

Rich heiress Louise Durant (Elizabeth Taylor) vows to marry aspiring violinist boyfriend Paul Bronte (Vittorio Gassman) despite her father's disapproval. They attend a Music Conservatory in Zurich where Louise encounters new piano student James Guest (John Ericson). She's not a good pianist herself, but she is desperate to stay in school to be near Paul.

Elizabeth Taylor is playing a bit of a brat. I don't really like either guy, but Vittorio Gassman has much more intensity. I don't care that much about the romantic entanglements. It may be better as a movie about the rigors of a music school. Maybe I want this to be Fame. The classical music performances are interesting although I doubt that the leads are actually playing for real. At the end of the day, nobody has a meet-cute. I'm not rooting for either ship. Both are problematic. I struggle to maintain interest.

This was loosely based on the Henry Handel Richardson novel, 'Maurice Guest', which explored obsessive, destructive and unrequited love amid the backdrop of music students in Leipzig at the turn of the twentieth century. This film adaptation took huge liberties with the plot, played down or eliminated most of the characters, sanitized the sexuality and ditched the bleak ending (though happily so).

Enough has been said here about Elizabeth Taylor's breathtaking gorgeousness, the lushness of the classical music score and the brilliant instrumental simulations by Vittorio Gassman and John Ericson, but not enough about Charles Vidor's direction, which keeps the film on a thoroughly entertaining, albeit melodramatic, path.

The best part IMO is the last fifteen minutes or so, which takes a wrenching turn and builds the tension with a spectacular rendition of Rachmaninoff's Concerto 2 (by far the best version I've ever seen on screen). Ericson's performance here is amazing and almost runs away with the film.

Last but not least, leave cynicism aside and enjoy that hopelessly gorgeous ending!