When the fleet puts in at San Francisco, sailor Bake Baker tries to rekindle the flame with his old dancing partner, Sherry Martin, while Bake's buddy Bilge Smith romances Sherry's sister Connie. But it's not all smooth sailing: Bake has a habit of losing Sherry's jobs for her; and despite Connie's dreams, Bilge is not ready to settle down. Written by
Diana Hamilton <firstname.lastname@example.org>
Arlene Croce's "The Fred Astaire and Ginger Rogers Book" reproduces a panel from director Mark Sandrich's "minutage" for this film. This was an elaborate color-coded chart detailing, minute by minute, what would be happening in the final film. Sandrich used charts like this to prepare for every musical he directed. See more »
Sherry tells me you're leaving. Well, that's probably the wisest thing to do. Run away! All this stuff about fighting for your man and all that makes things so complicated. Now, if all girls would just give up and run back to Bellport, then we'd definitely see the end of family life, little Junior would remain just an idea, and every man would burn his own toast. I thank you!
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The plot intellect is about as light as feather down. But the advantage here is the boy and girl classic refusal we have become accustomed to in "The Gay Divorcee" and "Top Hat" is now absent. Instead of the typical accidental acquaintance, the dancing duo are the former lovers Bake Baker and Sherry Martin, who are still in love since their dancing days.
Of course, being a 30s musical, there's the problems of misunderstood romance, classy courtship and the slight irritation of a sabotaged audition with bicarbonate soda has costing Ginger something rather special. And then in the grand tradition of dwindling finances, there's nothing better for Hollywood's best entertainers than put on a show.
Delightful numbers from Irving Berlin are sprinkled throughout the show. Top hats and evening dresses are saved right until the end, which remains a refreshing change. Fred and Ginger are out again to charm the world...and charm the navy. Everyone and everything is once again just so enjoyable.
Pure classic silliness at its best. But with Astaire and Rogers, we just know it's got to work.
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