Jed Potter looks back on a love triangle conducted over the course of years and between musical numbers. Dancer Jed loves showgirl Mary, who loves compulsive nightclub-opener Johnny, who ... See full summary »
Lovely Linda Mason has crooner Jim Hardy head over heels, but suave stepper Ted Hanover wants her for his new dance partner after femme fatale Lila Dixon gives him the brush. Jim's supper club, Holiday Inn, is the setting for the chase by Hanover and manager Danny Reed. The music's the thing. Written by
Steve Fenwick <firstname.lastname@example.org>
The firecracker dance sequence was added to the movie as a patriotic number, following the attack on Pearl Harbor, which took place during filming. The dance number required three days of rehearsal and took two days to film. Fred Astaire did 38 takes of the number before he was satisfied with it. The crew members had to wear goggles during filming, because the sand from the firecrackers flew into their faces. Later, Astaire's shoes for the dance were auctioned off for $116,000 worth of war bonds. See more »
When Jim enters Ted's Hollywood dressing room, he has his pipe on the left side of this mouth. The next shot shows it on the right side, although he has had neither time enough, or his hands free to move it. See more »
He gets a look.
He always has that look! It doesn't mean anything emotionally. It has something to do with his... liver.
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They don't get much better than this: Astaire with the drop dead dancing cool, and Crosby with the honey crooning, both competing for the same gal. Crosby decides to let it all go and settle in the country, then on a whim realizes he can open his country house as a club open on holidays only. The girl he ends up drafting for the floor shows ends up being the love of his life, and the dancing partner Astaire has always been searching for.
Astaire, Crosby, and Reynolds have great chemistry together: I thought it quite convincing how Crosby's overprotective zeal scared Reynolds away for a while, and Astaire was very cool and believable as a kind of an inoffensive opportunist who exploits Crosby's passionate responses to whatever threat he perceives in Astaire.
Top it off with many of Irving Berlin's best classic tunes, performed in interesting interpretations, and you have a very good musical film.
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