IMDb > Shall We Dance (1937)
Shall We Dance
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Shall We Dance (1937) More at IMDbPro »

Photos (See all 22 | slideshow) Videos (see all 2)
Shall We Dance -- A ballet dancer and a showgirl fake a marriage for publicity purposes, then fall in love.
Shall We Dance -- Clip: Where is Petrov?


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7.6/10   4,857 votes »
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Popularity: ?
Up 2% in popularity this week. See why on IMDbPro.
Allan Scott (screen play) and
Ernest Pagano (screen play) ...
View company contact information for Shall We Dance on IMDbPro.
Release Date:
7 May 1937 (USA) See more »
Hot Feet ! See more »
A budding romance between a ballet master and a tapdancer becomes complicated when rumours surface that they're already married. Full summary » | Add synopsis »
Plot Keywords:
Nominated for Oscar. Another 3 nominations See more »
(8 articles)
Astaire Dances Everywhere Today on TCM
 (From Alt Film Guide. 5 August 2015, 12:13 PM, PDT)

20 Great Dance Movies
 (From Backstage. 26 May 2015, 10:00 AM, PDT)

Top 10: Sharpest Suits in Cinema
 (From Blogomatic3000. 28 May 2012, 3:00 AM, PDT)

User Reviews:
Inane And Sublime See more (47 total) »


  (in credits order) (verified as complete)

Fred Astaire ... Petrov

Ginger Rogers ... Linda Keene

Edward Everett Horton ... Jeffrey Baird
Eric Blore ... Cecil Flintridge
Jerome Cowan ... Arthur Miller

Ketti Gallian ... Lady Tarrington
William Brisbane ... Jim Montgomery
Harriet Hoctor
rest of cast listed alphabetically:
Norman Ainsley ... Ship's Bartender (uncredited)

Ben Alexander ... Evans - a Bandleader (uncredited)
Sherwood Bailey ... Newsboy (uncredited)
Matthew Boulton ... Ship's Officer (uncredited)
Harry Bowen ... Johnson - the Locksmith (uncredited)
Sidney Bracey ... First Steward (uncredited)
William Burress ... New Jersey Justice of the Peace (uncredited)
Charles Coleman ... Central Park Policeman (uncredited)
Monte Collins ... Usher-Messenger (uncredited)
Jean De Briac ... Show Producer (uncredited)
Dudley Dickerson ... Engine Room Singer (uncredited)
Pauline Garon ... Undetermined Role (uncredited)
Douglas Gordon ... Steward (uncredited)
Helena Grant ... Passenger Starting Gossip (uncredited)
Charlie Hall ... Ship's Bartender (uncredited)

Eddie Hall ... Man on Stairs with Blonde (uncredited)
Jane Hamilton ... Woman (uncredited)
Sam Harris ... Passenger Walking Dog (uncredited)
Sam Hayes ... Dispatcher (uncredited)
Charles Irwin ... Fire Drill Steward (uncredited)
Tiny Jones ... Flower Woman (uncredited)
Lew Kelly ... Policeman at Jail (uncredited)
George Magrill ... Room Steward (uncredited) (unconfirmed)
Marie Marks ... Woman (uncredited)
Alphonse Martell ... Doorman (uncredited)
Torben Meyer ... Show Producer (uncredited)
Frank Moran ... Process Server (uncredited)
Henry Mowbray ... Radio Officer (uncredited)
Leonard Mudie ... Room Service Waiter (uncredited)
Vesey O'Davoren ... Ship's Bartender (uncredited)
Jack Rice ... Hotel Desk Clerk (uncredited)
Matty Roubert ... Elevator Operator (uncredited)
George Savidan ... Errand Boy (uncredited)
Rolfe Sedan ... Ballet Master (uncredited)
Mary Stewart ... Dancer and Singer (uncredited)
Spencer Teakle ... Undetermined Role (uncredited)
Pete Theodore ... Linda's Dancing Partner (uncredited)
Richard Tucker ... Mr. Russell - Attorney (uncredited)
Marek Windheim ... Ballet Master (uncredited)
Sam Wren ... Charlie (uncredited)
Emma Young ... Tai (uncredited)

Directed by
Mark Sandrich 
Writing credits
Allan Scott (screen play) and
Ernest Pagano (screen play)

P.J. Wolfson (adaptation)

Lee Loeb (based on a story by) and
Harold Buchman (based on a story by)

Anne Morrison Chapin  contributor to treatment (uncredited)
James Gow  contributor to screenplay construction (uncredited)
Edmund H. North  contributor to screenplay construction (uncredited)

Produced by
Pandro S. Berman .... producer
Cinematography by
David Abel (photographed by)
Film Editing by
William Hamilton 
Art Direction by
Van Nest Polglase 
Makeup Department
Mel Berns .... makeup artist (uncredited)
Production Management
J.R. Crone .... production manager (uncredited)
Second Unit Director or Assistant Director
Argyle Nelson .... assistant director (uncredited)
Art Department
Carroll Clark .... associate art director
Darrell Silvera .... set dresser
Sound Department
Hugh McDowell Jr. .... sound recordist
Special Effects by
Vernon L. Walker .... special effects (as Vernon Walker)
Katherine Stubergh .... character masks (uncredited)
Camera and Electrical Department
Joseph F. Biroc .... camera operator (uncredited)
J. Roy Hunt .... camera operator (uncredited)
John Miehle .... still photographer (uncredited)
Cliff Shirpser .... assistant camera (uncredited)
Costume and Wardrobe Department
Irene .... gowns: Miss Rogers
Edith Clark .... wardrobe attendant (uncredited)
Music Department
George Gershwin .... music by
Ira Gershwin .... lyrics by
Nathaniel Shilkret .... musical director
Robert Russell Bennett .... music arranger (uncredited)
Hal Borne .... musician: rehearsal pianist (uncredited)
Fud Livingston .... music arranger (uncredited)
Other crew
Harry Losee .... ballet stager
Hermes Pan .... ballet stager
Harry Cornbleth .... stand-in: Fred Astaire (uncredited)
Eddie Hall .... stand-in: Edward Everett Horton (uncredited)
John Huettner .... stand-in: Edward Everett Horton (uncredited)
Marie Osborne .... stand-in: Ginger Rogers (uncredited)
Paul Rochin .... stand-in (uncredited)
Harry Timms .... stand-in (uncredited)
Crew verified as complete

Production CompaniesDistributors

Additional Details

Also Known As:
109 min
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:
Mono (RCA Victor System)
Argentina:Atp | Australia:G | Canada:PG (Ontario) | Finland:S | Netherlands:AL (original rating) (1937) | UK:U | UK:U (video rating) (1985) | USA:Approved (MPPDA rating: certificate #2994) | USA:TV-G (TV rating)

Did You Know?

Pat Flaherty as Park Policeman and J.M. Kerrigan are in studio records/casting call lists for this movie, but they did not appear or were not identifiable.See more »
Continuity: At one part, Petrov is standing in front of a full-length mirror talking to Jeffrey. The reflection in the mirror doesn't match the actor's (or stand-in) playing Petrov's movements.See more »
Jeffrey Baird:[picks up phone] Hello?
Cecil Flintridge:Oh, hello, Jeffrey. Yes, are you there?
Jeffrey Baird:Of course I'm here.
Cecil Flintridge:Now don't shout at me - I'm in jail.
Jeffrey Baird:Well, that's all right; we don't need you.
Cecil Flintridge:I'm in jail for battery, and I want you to get me out. I'm at the Susquehannah Street Jail . . . Susquehannah! Susquehannah - S-U-S-Q-U-Q! Q! You know, the thing you play billiards with . . . Billiards! B-I-L-L-
Policeman at Jail:What is this, a spelling bee?
Cecil Flintridge:Ahem. No, "L" for larynx. L-A-R-Y . . . N-No, not "M", N! . . . "N" as in neighbor! Neighbor, N-E-I-G-H-B--B! B! Bzzz. Bzzz. You know, the stinging insect! Insect! I-N-S-S! S, for symbol. S-Y . . . Y! Y!
Jeffrey Baird:Well, why? Don't ask me "why."
Cecil Flintridge:Look, Jeffrey. I'm in jail. W-wait a minute. What jail did you say this was?
See more »
Let's Call The Whole Thing OffSee more »


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4 out of 4 people found the following review useful.
Inane And Sublime, 14 December 2009
Author: Bill Slocum ( from Greenwich, CT United States

The big takeaway on Fred Astaire and Ginger Rogers is how well they danced together. My big takeaway from "Shall We Dance" is how well they acted.

It's one thing to give a good performance in a musical like "Carousel" or "Singing In The Rain", and quite another to deliver amid the creaky jokes, plummy patter, and contrived plot twists that make up "Shall We Dance". But they do, and thanks to them, the show turns out not only okay but rather fine.

Astaire is a faux-Russian ballet dancer, Petrov, who dreams of pairing up with celebrated tap dancer Linda Keene (Rogers) both on-stage and off. Linda just wants to retire, but Petrov's earnestness begins to win her over - until she is led to believe he is using her. She leaves him just as word spreads that the two are married (and really spreads, in the form of front-page news stories and radio flashes), forcing them to face a surreal prospect.

"We're the only people in the world who don't think we're married!" Linda exclaims.

People watching "Shall We Dance" for the first time need patience. Astaire and Rogers don't dance for an hour, their one musical moment all that time involving walking a dog around a ship in time to a musical theme (provided by one George Gershwin, who did the score with his lyricist brother Ira). Matters are too often dominated by Edward Everett Horton's over-the-top eye rolls and leaden asides as Petrov's snooty, disapproving manager. Later on William Brisbane arrives as Linda's rich-guy suitor, adding more overbaked ham to the menu.

But Astaire keeps his end up, dancing to a skipping record or later overplaying a mock Russian accent in his first face-to-face with Linda. "You don't want to dance with the great Petrov," he declares, playing up a Slavic superiority trip. "Don't be a silly horse." The way he elongates that last "o" is positively indecent.

Some reviewers here say Rogers seems bored in this film. She's playing a withdrawn character, though, and does give off passion when called upon. A big musical moment between her and Astaire, when he declares "They Can't Take That Away From Me", is a remarkable duet despite the fact she doesn't sing a note, just looks off with tear-filled eyes. Yet she gets the song's one close-up, and rightly so. When they have their first performance in front of an audience and he dances up a storm by way of an introduction, the look on her face is priceless. "What am I supposed to do?" she deadpans.

Give director Mark Sandrich credit for keeping things light. Too light at times, like when Linda's manager somehow gets a photo of the couple in bed together by using a manikin of her he just happens to have in his closet (better I guess we don't know why he does). Sandrich does make the good scenes better with doses of gentle humor, like the capper to a roller-skating dance that is the movie's best moment. There are some nice dissolves from scene to scene, like a flip-book view of Linda dancing that melts into the real thing.

Watching this the first time, the minutes stretched like rubber. The second time things flew much faster, because I knew what I wanted to see and could look forward to its arrival. I guess audiences of the 1930s had that expectation built in, one reason perhaps why these movies were so popular and no one cared when they were a bit inane.

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