Rhapsody (1954)

In the latter half of 1953, director Charles Vidor signed a one-picture-a-year deal with M-G-M. The films he directed under this arrangement were Rhapsody (1954), Love Me or Leave Me (1955) and The Swan (1956).Incredibly based on the novel, "Maurice Guest", by Henry Handel Richardson, Rhapsody is a confused melange of hokum and sentiment. In his first Hollywood movie, Italy's Vittorio Gassman is even more boorish than usual in his account of the student-turned-violinist, but the film is saved by the radiant charm with which Elizabeth Taylor imbues her role as the wealthy ingénue. Beautifully photographed by Robert Planck against attractive settings in Zurich and the Engadine, Miss Taylor is expertly guided through the twists of a corny plot that has John Ericson and Louis Calhern interspersed with a few snippets of Tchaikovsky, Chopin, Mendelssohn and Rachmaninoff, all of which are indifferently played by Michael Rabin and Claudio Arrau.

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, that hopelessly gorgeous ending!

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.

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.