In order to cover up his philandering ways, a married Broadway producer sets one of his dancers up on a date with a chorus girl for whom he had bought a gift, but the two dancers fall in love for real.
After his wife discovers a telltale diamond bracelet, impresario Martin Cortland tries to show he's not chasing after showgirl Sheila Winthrop. Choreographer Robert Curtis gets caught in the middle of the boss's scheme. Army conscription offers Robert the perfect escape from his troubles- or does it?Written by
Diana Hamilton <firstname.lastname@example.org>
As Fred Astaire and Robert Benchley are discussing the upcoming show they pass several soldiers who are working with shovels. Though the soldiers are supposed to be breaking up clods and smoothing the dirt the shovels never come within six inches of the ground. See more »
The first Astaire/Hayworth film, but worth a second look.
I initially thought this one was the lesser of the two pairings. But I have to admit this film- which puts its audience squarely into the start of World War II- is quite sharp, script-wise, and quite lyrical, music-wise. Astaire's dance director shows an early but distant attraction to chorus dancer Hayworth (and vice-versa), but is drafted into the Army (not to mention repeatedly banished to the guardhouse for various insubordination) before they can live happily ever after. They were a sweet coupling, despite their 19-year age difference, and Hayworth, as others have mentioned, was quite a revelation as a tap and ballroom dancer. All of their dances are performances only, not love scenes (which are the duets I have always preferred), but they are sensational. The requisite 'big number' is the finale, the "Wedding Cake Walk" (you'll do a double-take at the last image of the tank-shaped wedding cake), and there is an ensemble dance at the start of the film called "Boogie Barcarolle." But two numbers stand out: Astaire's solo dance in the guardhouse, sung by a black jazz chorus (uncredited, called the Delta Rhythm Boys) and entitled "Since I Kissed My Baby Goodbye." Elegant tapping by Astaire is blended with a rich bass vocal by Lucius Brooks. The other number is Astaire and Hayworth's dress rehearsal "So Near and Yet So Far," a stunning rumba which shows off Hayworth in a sheer black gown and expands into intricate layers of choreography. This is one of the last films to show Ms. Hayworth as a brunette; her hair is no longer black, but it is not yet red either, but shortly after this outing her tresses went completely red as she began doing doing Technicolor films. Their follow-up film, "You Were Never Lovelier," had more of the standard romantic shenanigans and more lyrical dance numbers, but this first one was more screwball comedy and, in a sense, more of a challenge to pull off.
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