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I like the storyline of this show,it attract me so much

You won't be disappointed!

That was an excellent one.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

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.

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?

This is one of Elizabeth Taylor's more interesting features, made while she was still at the top of her beauty and talent, sensitively portraying the love of two musicians, one decisively preferring his musical career to her, the other succumbing to her and almost perishing in the process in "a marriage of inconvenience". Vittorio Gassman and John Ericson are the two musicians, a violinist and a pianist, but although you would prefer Gassman all the way, Ericson actually improves, while both hopelessly remain in the shadows of her. The best actors, however, are Louis Calhern as the very realistic father and Michael Chekhov as the music professor, who knows the delicacy of his trade. The music is first class all the way, so that in between, when there is no music, you long for the next musical moment to turn up. Best of all is the café scene in the beginning, when all the guests appear to be musical students spontaneously forming an orchestra to accompany Vittorio Gassman. The real violinist is, however, Michael Rabin, and the real pianist of all the solo performances is Claudio Arrau, at the time perhaps the best pianist in the world. The film begins and ends with Rachmaninov's second and crowns the delightful trio drama with a conclusion which feels right in spite of all.

When Elizabeth Taylor made "A Place in the Sun" in 1951, this was supposed to be her entry into more mature roles. In this film, for the first part of it, she sounds like a girl out in the rural areas of "National Velvet." She is churlish at best with a whining, annoying stature.Louis Calhern, as her father, certainly proves again that Father Knows Best but to a certain degree.It is with her attempted suicide in the film that she finds maturity and her performance improves.She goes back and forth in her desires between two notable musicians, the violinist (Vittoria Gassman) and pianist John Ericson, both of whom are excellent in their respective roles. Ironically, Gassman was married to Shelley Winters, the latter being a rival to Taylor in "Place in the Sun."The music here is divine and Tchaikovsky was never better.