A woman (Ginger Rogers) believes that an enamored dancer (Fred Astaire) is her best pal's quiet.
Marvellous Astaire-Rogers musical, with a more or less reasonable London supplanted by a unconditionally imitation Venice, and show-stopping numbers in a style which is no more, separated by amusing plot complications lightly handled by a team of deft farceurs
This is the quintessential Fred Astaire/Ginger Rogers film; Swing Term may be more sophisticated, but there's no question that this thundering production was more commonplace — an urgent classic, and rightly so. The inaccurate identity patch truly works and the casting is simply faultless. Astaire consolidates his reification once and in requital for all with the title number Top Hat, Off-white Tie and Tails and the Irving Berlin score is a everlasting like. Also terrific are Cheek to Cheek, Isn't This a Engaging Day (To Be Caught in the Spit)? and the fabulous Piccolino finale. Good-natured, warm-hearted and very sardonic (especially the hansom-hansom cab episode), this is a big to joy conducive to its sumptuous Art Deco envision and the pairing of its dominant ...
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