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The Barkleys of Broadway (1949) Poster

Trivia

This was the last film to co-star Fred Astaire and Ginger Rogers; their first in ten years, since The Story of Vernon and Irene Castle (1939); their only film together in color; and the only one they made for a studio (MGM) other than RKO.
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Fred Astaire had sung "They Can't Take That Away from Me" to Ginger Rogers previously in Shall We Dance (1937), but they had never danced to it. Rogers suggested that they use the song again (this time dancing), and so it was included.
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The tenth (of ten) dancing partnership of Fred Astaire and Ginger Rogers and the only one made at MGM.
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Is the only Hollywood feature of Jacques François while under contract shortly before returning to France.
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Originally planned to star Fred Astaire and Judy Garland after their success together in Easter Parade (1948), but when Garland's addiction to over-the-counter drugs spiraled out of control, producer Arthur Freed replaced her with Ginger Rogers. The original title of the film was supposed to be "You Made Me Love You", after a hit song of Garland's.
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"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on January 1, 1951 with Ginger Rogers reprising her film role.
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Mahlon Hamilton made an uncredited appearance as a doorman. He had been making movies for decades, and in 1919 starred as Jarvis Pendelton in Daddy-Long-Legs (1919). Six years after this film Fred Astaire went on to play the same role.
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There is music playing in the background when Fred Astaire's Josh Barkley tells Oscar Levant's Ezra Millar that Jacques Barredout is a bad director for Ginger Rogers's Dinah Barkley. The song is "This Heart of Mine," which Astaire performed with Lucille Bremer in Ziegfeld Follies (1945).
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This film was first telecast in Los Angeles on KTTV 15 February 1957, in New York City on WCBS 5 February 1958, and in San Francisco on KGO-TV 29 November 1958. At this time, color broadcasting was in its infancy, limited to only a small number of high rated programs, primarily on NBC and NBC affiliated stations, so these film showings were all still in B&W. Viewers were not offered the opportunity to see these films in their original Technicolor until several years later.
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