THE UNFINISHED DANCE

THE UNFINISHED DANCE (1947). Director: Henry Koster.

A little ballet student named Meg (Margaret O'Brian) idolizes an up and comer named Ariane Bouchet (Cyd Charisse, pictured) and goes so far as to cause a horrible accident to a visiting ballerina, Darina (Karin Booth), whom she thinks is a rival to Bouchet. In his film debut Danny Thomas is Meg's "uncle" and friend, and he sings a couple of songs. Young Elinor Donahue is Meg's friend, Josie. This is a remarkably naive movie in which Meg's actions aren't even seen as being indicative of a serious emotional disturbance. The movie tries hard to be moving and "significant" and all the rest, but instead it's merely borderline cloying (as is Thomas) and kind of dumb. O'Brien is perfectly cast as the strange little girl. The best scene shows the most adorable little girl in the world, practically an infant, auditioning and charming the pants off of everyone. Film composer Herbert Stothart uses Camille Saint-Saens' "The Swan" for his theme music. In real life Charisse joined the Ballet Russe at age 13.

Verdict: Very earnest movie tries hard but it's just no go. **.

THE MEDIUM

THE MEDIUM (1951). Director: Gian-Carlo Menotti, based on his opera. Conductor: Thomas Schippers; Symphony Orchestra of Rome.

A phony medium named Madame Flora or “Baba” (Marie Powers) who lives with her daughter Monica (Anna Maria Alberghetti, who is “introduced” in this film) and a mute boy named Toby (Leo Coleman) feels a “genuine” spectral touch during a séance and wonders if it was real or a practical joke. Obsessing over this, her descent into madness eventually leads to tragedy. The Medium is the flip dark side of Menotti's far superior Amahl and the Night Visitors; the piece is “good theater” but the music, despite some lyrical [“Monica, Monica, dance the waltz”], sensitive, and very effective moments, isn't all that memorable. Menotti directs his opera with a deft hand; this is not a filmed record of an opera production but a genuine film with a moody atmosphere and some striking black and white photography. Alberghetti, who later starred with the late Jerry Orbach in Broadway's Carnival before embarking on a brief Hollywood career (Ten Thousand Bedrooms with Dean Martin), has a beautiful voice and is a good actress. Marie Powers is excellent and dynamic as the crazy, tormented Madame Flora. Leo Coleman is not a boy, but a full-grown black man with a highly expressive face who looks like he can take care of himself; he is also very good. The wind up of the film is moving and pathetic. Menotti composed many different operas, but he never really topped Amahl. Often referred to as an American Puccini, he was never really in that Italian composer's league.

Verdict: Interesting curiosity. **1/2.