"Yolanda and the Thief" had a fine cast for a comedy musical, but its combination of fantasy, new or innovative dance efforts, and a fable setting doomed it from the start at the box office. Indeed, even many decades later and in the next century, the "artistic" and different dance and music sets and scenes seem strange. It was far from the modern, peppy and spirited dancing the Gene Kelly brought to the art. Something like it did survive, at least for a while as a fad on Broadway. But that type of modern or artistic stuff just hasn't been much of a crowd pleaser for entertainment. I think such expressionistic stuff works by itself in small theaters or on stage. But in stories or movies with any kind of plot, it clashes with the ongoing story. And that causes breaks in attention, focus, and enjoyment
So, this was a big box office flop, in spite of a significant cast. It apparently contributed to Lucille Bremer's career ending after she married. It's too bad, because the plot, even with some holes and needing some refining, is a very good one around which to build a very good musical comedy. Take out the fantasy and dream stuff, and put some numbers in the daytime and carnival life of the fictional country, and it could work.
I say that because of the script with some of the characters that make this a very funny comedy in places. And that raises it considerably. While all of the leads play the humor very well, one character stands out. Mildred Natwick as Aunt Amarilla is a riot in her comedic performance. This is a major supporting role that actually carries the film and keeps it from being a total flop. Others of the cast contribute nicely, especially Frank Morgan as Victor Trout and Leon Ames as Mr. Candle. His real identify wasn't hard to guess from the start, as I'm sure the producers intended.
Lucille Bremer was a very good dancer and a good actress; and when Fred Astaire doesn't even look great in dance numbers, one knows there's something wrong with the screenplay. All of the sheet waiving, garment fluttering and gimmickry in the dance routines are a terrible distraction and tend to quash what little real dancing there is. There is one very good scene when Yolanda surprises Johnny Riggs, who's posing as an angel under the name of Mr. Brown. She says it's to "remind him of his home," and the servant unveils a beautiful harp. Well, the musically trained and talented Astaire plays it and has a very nice dance routine around the harp.
So, the comedy alone, with some of the cleverness of the plot, carries this film so that many can enjoy it for the humor. Here are some favorite of many, many humorous lines in this film. Aunt Amarilla's constant state of confusion and her seeming indifference to it is sure to get many laughs or smiles.
Victor Trout, "Well, if that's her, this is the greatest retouching job on record."
Johnny Parkson Riggs, looking at Mr. Candle on the train, "The quiet one... I can't quite make out what his angle is. But he's the most dangerous of all. He's got an honest face."
Aunt Amarilla, "I wish to pay tribute here and now to others who deserve it. This gallant crew - they helped sail the ship while I, the captain, steered on the poop deck.... Or is it the bridge?"
Aunt Amarilla, "Emilio, can you ever forget that day 18 years ago when Miss Yolanda left?" Emilio, "I am sorry, Senora, but I have only been here for six months." Aunt Amarilla, "Yes, of course, I had you confused with him. You remember when Miss Yolanda left, don't you my good man?" Plumber (an unknown actor, unlisted character), "I do not belong here at all. I am only the plumber." Aunt Amarilla, turning to Yolanda, "Well, take my word for it - you left. But the main thing is, you're back."
Victor Trout, "You could be the greatest crook in the world, but not if you get mixed up with a woman."
Johnny Riggs, pushing the taxi, "We've traveled five miles and I've yet to get in the cab."
Johnny Riggs, "How much do you want for us to push you back to town?" Taxi driver, "I make you a flat rate."
Aunt Amarilla, to Yolanda, "You'll love the Blue Room." Housekeeper, "But, senora, you are already in the Blue Room." Aunt Amarilla, "You would have loved the Blue Room."
Aunt Amarilla, "Is he here?" Yolanda, "Yes and no." Aunt, "How can a man be here and not be here?"
Johnny Riggs, "What're you doing, having a nightmare?" Victor Trout, "Me? I was just about to float you back form wherever you were. When you have a nightmare, you sure keep busy." Johnny, "Oh! Oh what a jam I was in."
Yolanda, "I wouldn't try to stop Mr. Brown. If we wishes to enter this house, nothing can stop him - no walls, no doors, no,... no locks, nothing." Aunt Amarilla, "Oh, one of those, is he. Well, I know how to deal with him."
Aunt Amarilla, "Oh, my dear, you're just overwrought. A girl on the verge of being a bride is a frightening thing. I know. I've been on the verge constantly."
Aunt Amarilla, "I thought there was something strange about Mr. Brown. But I wouldn't be in any hurry to rush back to that nunnery, if I were you. This is one of the nicest love letters I've ever seen."
Johnny Riggs, "But she knows I'm a crook. The whole thing is impossible." Mr. Candle, "Young man, sometimes you try my patience. I've just made a flood, washed out a bridge, caused a train to turn back, and you have the nerve to sit there and tell me that something is impossible."
So, this was a big box office flop, in spite of a significant cast. It apparently contributed to Lucille Bremer's career ending after she married. It's too bad, because the plot, even with some holes and needing some refining, is a very good one around which to build a very good musical comedy. Take out the fantasy and dream stuff, and put some numbers in the daytime and carnival life of the fictional country, and it could work.
I say that because of the script with some of the characters that make this a very funny comedy in places. And that raises it considerably. While all of the leads play the humor very well, one character stands out. Mildred Natwick as Aunt Amarilla is a riot in her comedic performance. This is a major supporting role that actually carries the film and keeps it from being a total flop. Others of the cast contribute nicely, especially Frank Morgan as Victor Trout and Leon Ames as Mr. Candle. His real identify wasn't hard to guess from the start, as I'm sure the producers intended.
Lucille Bremer was a very good dancer and a good actress; and when Fred Astaire doesn't even look great in dance numbers, one knows there's something wrong with the screenplay. All of the sheet waiving, garment fluttering and gimmickry in the dance routines are a terrible distraction and tend to quash what little real dancing there is. There is one very good scene when Yolanda surprises Johnny Riggs, who's posing as an angel under the name of Mr. Brown. She says it's to "remind him of his home," and the servant unveils a beautiful harp. Well, the musically trained and talented Astaire plays it and has a very nice dance routine around the harp.
So, the comedy alone, with some of the cleverness of the plot, carries this film so that many can enjoy it for the humor. Here are some favorite of many, many humorous lines in this film. Aunt Amarilla's constant state of confusion and her seeming indifference to it is sure to get many laughs or smiles.
Victor Trout, "Well, if that's her, this is the greatest retouching job on record."
Johnny Parkson Riggs, looking at Mr. Candle on the train, "The quiet one... I can't quite make out what his angle is. But he's the most dangerous of all. He's got an honest face."
Aunt Amarilla, "I wish to pay tribute here and now to others who deserve it. This gallant crew - they helped sail the ship while I, the captain, steered on the poop deck.... Or is it the bridge?"
Aunt Amarilla, "Emilio, can you ever forget that day 18 years ago when Miss Yolanda left?" Emilio, "I am sorry, Senora, but I have only been here for six months." Aunt Amarilla, "Yes, of course, I had you confused with him. You remember when Miss Yolanda left, don't you my good man?" Plumber (an unknown actor, unlisted character), "I do not belong here at all. I am only the plumber." Aunt Amarilla, turning to Yolanda, "Well, take my word for it - you left. But the main thing is, you're back."
Victor Trout, "You could be the greatest crook in the world, but not if you get mixed up with a woman."
Johnny Riggs, pushing the taxi, "We've traveled five miles and I've yet to get in the cab."
Johnny Riggs, "How much do you want for us to push you back to town?" Taxi driver, "I make you a flat rate."
Aunt Amarilla, to Yolanda, "You'll love the Blue Room." Housekeeper, "But, senora, you are already in the Blue Room." Aunt Amarilla, "You would have loved the Blue Room."
Aunt Amarilla, "Is he here?" Yolanda, "Yes and no." Aunt, "How can a man be here and not be here?"
Johnny Riggs, "What're you doing, having a nightmare?" Victor Trout, "Me? I was just about to float you back form wherever you were. When you have a nightmare, you sure keep busy." Johnny, "Oh! Oh what a jam I was in."
Yolanda, "I wouldn't try to stop Mr. Brown. If we wishes to enter this house, nothing can stop him - no walls, no doors, no,... no locks, nothing." Aunt Amarilla, "Oh, one of those, is he. Well, I know how to deal with him."
Aunt Amarilla, "Oh, my dear, you're just overwrought. A girl on the verge of being a bride is a frightening thing. I know. I've been on the verge constantly."
Aunt Amarilla, "I thought there was something strange about Mr. Brown. But I wouldn't be in any hurry to rush back to that nunnery, if I were you. This is one of the nicest love letters I've ever seen."
Johnny Riggs, "But she knows I'm a crook. The whole thing is impossible." Mr. Candle, "Young man, sometimes you try my patience. I've just made a flood, washed out a bridge, caused a train to turn back, and you have the nerve to sit there and tell me that something is impossible."