From The Soho News (April 22, 1981). — J.R.
April 7: The Story of Three Loves (1953) at the Regency. It’s been over 27 years since I last saw this luscious, kitschy technicolor trio of thematically related sketches — awkwardly and arbitrarily stitched together on an intervening ocean liner — and it impresses me even more now than it did at age 10. Its terrain is neither Hollywood nor Europe, exactly, but a glossy MGM compromise between American dreams of Europe and European emigré dreams of America. And the fascinating thing about it today is the degree to which pop existentialism composes its principal form of hard aesthetic and social currency, in all three of its delirious parables about love and art.
In the London-based “The Jealous Lover” (scripted by John Collier, directed by Gottfried Reinhardt), ballerina Moira Shearer learns she has a weak heart that prohibits further dancing. Subsequently inspired, however, by the florid imagination and genius of director James Mason, she devotedly and ecstatically dances herself to death.
“Mademoiselle” offers Vincente Minnelli’s mise en scène of a Rome-based fantasy about an 11-year-old Ricky Nelson patterned somewhat after Daisy Miller’s twerpy kid brother. Secretly infatuated with his governess, Leslie Caron, he is enabled by the magic of an obliging American witch (Ethel Barrymore) to become Farley Granger for one enchanted, Cinderella-tense evening.