Anything can happen during a weekend at New York's Waldorf-Astoria: a glamorous movie star meets a world-weary war correspondent and mistakes him for a jewel thief; a soldier learns that ... See full summary »
A young female escapee from a reform school joins a pickpocket academy in Paris. She is caught red-handed on her first attempt at stealing by an upper class man. He recruits her to do him a... See full summary »
Studio costume departments maintained a fur vault providing fur pelts for coats and costume trimming. The floor length mink skirt for Ginger Rogers used mink pelts from this vault. The original mink skirt was too heavy to wear. Barbara "Madam" Karinska was asked to rebuild the skirt. Karinska built a wire hoop covered with a fine netting, hanging and spacing the mink pelts apart from each other; supported by net, reducing the number of mink pelts on the skirt's total weight, allowing the skirt's flexibility on the actress' body during the dance sequence. See more »
I like this movie. It is confusing and difficult, but you can't help but like it. Ginger Rogers plays a fashion magazine editor...and she finds herself having headaches and feeling dissatisfied. This makes no sense, as she has an exceptional job (especially for 1940) three suitors, and conscious and unconscious lives that are fabulously costumed. She goes to her doctor who recommends a psychiatrist...a drastic move for the time...which she promptly declines...but then does finally go to. Ginger undergoes a great deal of stress in this film,and keeping a bottle of aspirin at hand might be wise. As she makes progress with her shrink...her dream sequences become more and more lavish. The film is beautifully costumed...even clothes left lying on a chair...are fabulous. And there are HATS. HATS. Hats... mousey through military...lots of hats...and FURS...Ginger has one dress with a floor length mink skirt...lined with gold and scarlet sequins, two or three fur coats, a muff, and several other dresses trimmed with fur. Pull the shades and make certain that no one from PETA is around when you run this film. The dream sequences are the real meat of this...they are very beautiful and very surreal. In the end, of course, Ginger selects one of the men (no, not the married one) and seems to be on the road to recovery. You get the feeling that a lot got left out...and I don't know what (yet). I know Danny Kaye was 'discovered' in the Broadway show...and that he had special material. Danny was under contract to Sam Goldwyn by the time this was made...so neither he nor any of his special material made the transition into this film. This film is a visual knock out...and a restored print should be made and hi-def DVD's struck...so we can watch this from time to time. It cannot help but remain dated and politically incorrect....that is the legacy of its 1940 dateline.. but it will certainly always be stunning to look at.
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