In Buenos Aires, a man who has decreed that his daughters must marry in order of age allows an American dancer to perform at his club under the condition that he play suitor to his second-oldest daughter.
William A. Seiter
Johnny Brett and King Shaw are an unsuccessful dance team in New York. A producer discovers Brett as the new partner for Clare Bennett, but Brett, who thinks he is one of the people they lent money to gives him the name of his partner.
Ballet star Pete "Petrov" Peters arranges to cross the Atlantic aboard the same ship as the dancer he's fallen for but barely knows, musical star Linda Keene. By the time the ocean liner reaches New York, a little white lie has churned through the rumor mill and turned into a hot gossip item: that the two celebrities are secretly married.Written by
Diana Hamilton <email@example.com>
The song, "Hi-Ho," was written for this movie as an opening number, but was dropped because of the expense of filming it. It was published in 1967. The song "Wake Up Brother and Dance" was also written for the movie and published in 1937 with the other songs, but it was dropped to make room for the title song. It appeared in the movie Kiss Me, Stupid (1964) with the title "Sophia." See more »
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 »
[picks up phone]
Oh, hello, Jeffrey. Yes, are you there?
Of course I'm here.
Now don't shout at me - I'm in jail.
Well, that's all right; we don't need you.
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?
Ahem. No, "L" for larynx. L-A-R-Y . . . N-No, not "M", N! . . . "N" as in neighbor! Neighbor, ...
[...] See more »
When George Gershwin's name appears in the credits, a bit of "Rhapsody in Blue" plays on the soundtrack. See more »
a frivolous farce? of course. Irresistible? Undoubtedly!!
Why did I have to watch this 5 times in the last 2 weeks?
Well, I can't explain. I guess because this is one of those rare cases where a movie becomes a masterpiece in spite of a (intentionally!) loose storyline; the strength of the choreography, melodies, and the pure delight of dance sequences gives it all. There's Fred Astaire, there's Ginger Rogers, and there's the Fred-Ginger duo - 3 (sic.) distinct personalities! I have watched scores of musicals - but never have I been so bewitched by duet dance sequences unaccompanied by any of the garish excesses characteristic of the Hollywood musical.
Just think of the number " Let's call the whole Thing Off"; what grace, what poise of the couple tap-dancing on roller skates! And oh, what wondrous blend of lyrics and melody. And closely follows another number that, in all it's apparent lightness, provides a counterpoint that makes one misty eyed.
About the solo dance sequences of Fred - the one in the ship's boiler room, the brilliant choreography of his tapdancing with the "pistons" moving in phase, well - it's superhuman!
I shouldn't miss mentioning Edward Everett Horton ("Jeffrey", "Petrov"'s impresserio) - for his misadventures hold the struggling storyline of movie on, just as it was probably meant to be. Eric Blore ("Cecil", the floor manager of the hotel) does his inimitable role as in many other Fred-Ginger musicals; rarely have I seen anything more hilarious than the telephone conversation between Cecil (from jail!!) and Jeffrey.
It's unalloyed and delightful entertainment for those who love musicals. Just forget the world and enter into a dreamland for 108 minutes!
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