Mimi Glossop wants a divorce so her Aunt Hortense hires a professional to play the correspondent in apparent infidelity. American dancer Guy Holden meets Mimi while visiting Brightbourne (... See full summary »
Dr. Tony Flagg's friend, Steven, has problems in the relationship with his fiancee, Amanda, so he persuades her to visit Dr. Flagg. After some minor misunderstandings, she falls in love ... See full summary »
Aviator and band leader Roger Bond is forever getting his group fired for flirting with the lady guests. When he falls for Brazilian beauty Belinha de Rezende it appears to be for real, ... See full summary »
Dolores del Rio,
Football player John Kent tags along as Huck Haines and the Wabash Indianians travel to an engagement in Paris, only to lose it immediately. John and company visit his aunt, owner of a posh... See full summary »
Tom and Ellen Bowen are a brother and sister dance act whose show closes in New York. Their agent books them in London for the same period as the Royal Wedding. They travel by ship where ... See full summary »
Showman Jerry Travers is working for producer Horace Hardwick in London. Jerry demonstrates his new dance steps late one night in Horace's hotel, much to the annoyance of sleeping Dale Tremont below. She goes upstairs to complain and the two are immediately attracted to each other. Complications arise when Dale mistakes Jerry for Horace. Written by
The finale of "Top Hat, White Tie and Tails" production number with Fred Astaire miming his cane as a weapon "attacking" his supporting dancers, 13 canes were prepared for it. During shooting, Astaire, ever the unforgiving perfectionist, was continually breaking his canes in frustration at his mistakes, which concerned the crew that he was running out of them. As it turns out, the shooting of the scene was finished with the very last cane. See more »
When Horace and Bates are speaking to the hotel manager, the hook of the coat hanger that Bates is holding changes orientation between shots. See more »
Mr. Travers is in trouble. He has practically put his foot right into a hornets' nest.
But hornets' nests grow on trees, sir.
Never mind that. We have got to do something.
What about rubbing it with butter, sir?
You blasted fool, you can't rub a girl with butter!
My sister got into a hornets' nest and we rubbed HER with butter, sir!
That's the wrong treatment, you should've used mud - Never mind that!
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If you're a fan of FRED ASTAIRE and GINGER ROGERS and their predictable screwball comedies of the '30s, you'll find this one is easy to take. First of all, the score by Irving Berlin has a variety of catchy tunes although I can't say it's his greatest, and all of the mistaken identity plot is performed with such grace by the famous dancing duo and their marvelous supporting cast that it's all as light as the feathers on Ginger's "Cheek to Cheek" dress.
Speaking of which--for me, the "Cheek to Cheek" number is worth watching just to see how skillful the two dance the number although fully aware that Astaire objected strenuously to Ginger's feathered dress. Nevertheless, it's the dancing highlight of the film, much better than the "Piccolino" number that is used for the finale.
Eric Blore and Erik Rhodes outdo themselves in great comic support. Blore we almost take for granted at this point, but Rhodes with his silly Italian accent is a scene-stealer too. His Bettini, the dressmaker, offers some of the heartiest chuckles.
Astaire is top flight here--graceful, athletic, and young enough to be seen as a dancing Cary Grant--and Ginger matches him every dancing step of the way. She's particularly delightful in the rainy park sequence for "Isn't It A Lovely Day?" And for the "Cheek to Cheek" sequence she has a braided hairdo that gives her an ultra-sophisticated, princess-like look. When she and Astaire dance, they can do no wrong.
He, of course, is more skillful with a song than she is, his voice perfectly able to deliver all the Irving Berlin numbers assigned to him, while she barely gets by with her rendition of the "Piccolino".
Great fun to watch--rainy day or not. And those art deco backgrounds for hotel rooms and Venice are a knockout. The pristine print of the film shown on TCM recently really made them stand out in glowing splendor.
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