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.
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
A musical remake of Ninotchka: After three bumbling Soviet agents fail in their mission to retrieve a straying Soviet composer from Paris, the beautiful, ultra-serious Ninotchka is sent to ... See full summary »
Josh and Dinah Barkley are a successful (though argumentative) musical-comedy team, yet Dinah chafes as Galatea to her husband's Pygmalion. When serious playwright Jacques Barredout envisions her as a great dramatic actress, Dinah is not hard to persuade.Written by
Diana Hamilton <email@example.com>
Oscar Levant performs one of the fastest renditions of "Saber Dance" ever recorded. See more »
The "Shoes With Wings On" number could not have been presented on a stage. The dancers controlling the shoes would have been visible. The "invisible" dancers could only be done with optical effects. Notice that you cannot see the inside of the shoes. See more »
A mesh of MGM and the old format of variety television.
It's weird the things that get stuck in your memory. I never thought of this as an inferior film just because the formula is MGM rather than RKO. It's also made in 1949, why not up the ante a little bit? Our favorite dancers perform in color and are established as a married couple for the first and only time (although they *eventually* get married in two of the RKO films). So what's the thought here: do the critics want Astaire and Rogers to be young forever? People grow up, even on screen. In fact, when I watch the dance of 'They Can't Take That Away from Me,' it feels like I'm watching an exhibition from live television rather than a movie musical (television was a new medium at the time, but curiously, a medium that Astaire and Rogers never performed in together). The dance is lovely, but almost- I don't know- cold. But maybe this is how a former screen team performs 10 years after the fact; they are 38 and 50 respectively, and harbor enough magic to saunter off stage (with Rogers' head tilted downward), and excite an audience into applause- as if they've been watching THE ED SULLIVAN SHOW. It's extraordinary that ten years after Rogers remade herself doing straight award-winning drama and Astaire remade himself as a solo performer and a man who could dance with just about anyone, they could settle back into one more film and not have one strain of foot or hair out of place. MGM formula and Oscar Levant aside, it's a very nice way to end a professional marriage.
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