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

That was an excellent one.

Boring, long, and too preachy.

Exactly the movie you think it is, but not the movie you want it to be.

Interesting mix of short stories with a galaxy of stars both major and minor. The first with James Mason and Moira Shearer has beautiful music and dancing but a rather overwrought storyline and wastes Agnes Moorehead in a nothing role. The last with Kirk Douglas and Pier Angeli is suffused with sorrow made especially poignant since she plays a girl saved by Kirk from suicide, such was not the case in real life and she ended up taking her own life several years later. The real charmer is the middle episode, a precursor to the film Big, with Ethel Barrymore as an elderly enchantress, Leslie Caron and Farley Granger sweet in a story of young love. Most enjoyable.

There's an impressive line-up of marquee stars in this triumvirate of love stories that leans heavily on Rachmaninoff's music and little else as it listlessly moves from one tale to the next with little time to develop plot or character.In the first we have The Red Shoes meets The Seventh Veil as Moira Shearer and James Mason do what they do best (dance and display disdain) in a would be Svengali scenario short circuited by a bad ticker. The second has little Ricky Nelson in a Cinderella situation where he becomes Farley Granger for the night romancing his previously detested French teacher Leslie Caron. The third features Kirk Douglas as a French trapeze artist attempting to rescue cold and detached Pier Angeli from herself.Unimaginatively tied together by an ocean liner each improbable brevity sinks as fast as the Lusitania without ever gaining any depth. Performances are rushed and forced with Douglas and Mason chewing scenery up as fast as they can in their alloted time. Old pros Agnes Moorehead and Ethel Barrymore do the most with the crumbs they are thrown and Ricky Nelson is surprisingly effective as a bratty child while Caron, Shearar and Angeli along with a two sentence performance by Zsa Zsa Gabor provide window dressing in this lushly designed but soulless production.

Trio of stories--a popular movie gimmick in the 1950s--linked by an ocean-liner and three disparate characters on-board. James Mason is intense and snarling as a demanding ballet impresario who falls for ill-fated ballerina Moira Shearer, who, unbeknownst to him, is suffering from a bad ticker; Leslie Caron plays governess to ungrateful brat Ricky Nelson, both magically touched by the powers of Ethel Barrymore, reputed to be a witch; Kirk Douglas (as Pierre!) is a former star of the trapeze who trains suicidal Pier Angeli to be his new partner under the Big Top. The first two episodes are hurt by a weak narrative (the protagonists appear to recall information they should not be privy to), while the last chapter is hurt by miscasting (neither Douglas nor Angeli looks quite comfortable doing these gymnastic moves). However, the M-G-M production gloss is in peak form, and the picture looks good enough to eat. After a lengthy credits sequence (illustrated with the silhouette of a tree branch!), the color visuals take over, as if in a dream, and the effect is hypnotic. Not so the dialogue, which is heavy on the melodramatic flourish (Agnes Moorehead to the doctor: "Paula must dance or she will die!", to which the doctor replies gravely, "If she does...she will!"). Douglas is so mercurial in his angst that he's amusing unintentionally, while sullen Angeli is made up to look like a corpse in a silent movie. Still, one is drawn into this sumptuous bag of tricks almost against his will, and the overall results are fun for '50s connoisseurs. *** from ****

While not a flawless film by any means, THE STORY OF THREE LOVES has so many elements in its favor that it's better to talk about them first.MOIRA SHEARER is pure magic as a ballet dancer with a secret and JAMES MASON does well as the man who encourages her to dance again after a long spell of inactivity. Shearer dances to some vibrant music by Rachmaninoff where her versatility is comparable to that displayed in THE RED SHOES. The story itself is on the thin, transparent side.LESLIE CARON plays a governess hired to teach young RICKY NELSON a love for language, stressing French irregular verbs. This sequence is fantasy and has Nelson asking the town witch (ETHEL BARRYMORE) to make him an adult for awhile so he can carry on a fairytale romance with Caron. It's silly and unfortunately Nelson is too peevish as the spoiled boy before he transforms himself into FARLEY GRANGER.But the last story is extremely well acted by KIRK DOUGLAS and PIER ANGELI and interested me the most. Douglas is very convincing as a trapeze artist haunted by the death of a former partner and turning suicidal bent Angeli into his new death defying hire wire performer.Both Douglas and Angeli are obviously performing most of their stunts on the high wire. The scenes which have him instructing her gradually into becoming more secure in the act by demonstrating steps is very adroitly handled. Furthermore, he and Angeli do well in all of their quieter but still intense moments.The stories aren't really linked together very well but each serves its purpose in the scheme of things. Artistically, it's a good show from the standpoint of music, settings and performances.