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 »
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 »
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 »
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,
Lady Alyce Marshmorton must marry soon, and the staff of Tottney Castle have laid bets on who she'll choose, with young Albert wagering on "Mr. X." After Alyce goes to London to meet a beau... See full summary »
After his wife discovers a telltale diamond bracelet, impresario Martin Cortland tries to show he's not chasing after showgirl Sheila Winthrop. Choreographer Robert Curtis gets caught in ... See full summary »
The Acunas, a rich Argentine family, have the tradition that the daughters have to get married in order, oldest first. When sister #1 gets married, sisters #3 and #4 put pressure on Maria, ... See full summary »
William A. Seiter
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 »
This film is nice because there are two love stories-- something of a plot departure, and the second couple (Randolph Scott and Harriet Hilliard Nelson) are given the bulk of the dramatics, which allow our stars to be looser, more comical. Astaire chews the gum a little too severely, but he was anxious to make a departure from his customary tuxedoed playboy. Rogers is much more at ease in the role of struggling dancer-singer, and plays well opposite sister Hilliard. (The history is that Ms. Hilliard had to darken her naturally blond hair to distinguish her from Ms. Rogers. But wouldn't they better resemble sisters if they were both blonds?) The Irving Berlin numbers are quite good, ranging from light and airy ("Let Yourself Go," "I'd Rather Lead A Band") to elegant ("Let's Face The Music And Dance"). This final number is the film's bewitching finale, performed on a lovely Art-Deco rooftop and illustrates Astaire's penchant for full-frame, single-take dancing. It is, in a nutshell, singularly gorgeous. The trivia history goes that Rogers' metallic thread gown had weights in the sleeves and hem to make the skirt wind and unwind; the dress was unintentionally difficult to perform in because its flared sleeves hit Astaire across the face IN THE FIRST TAKE- and after many re-shoots trying to cover it up, they ended up printing that first take (we have to assume that was apparently the best performance of the dance, but you can see the sleeves brush across Astaire's face). It loses one-half point from me, because Randolph Scott says 'bebby' once too often.
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