Shall We Dance
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Movie Reviews of Shall We Dance
Movie Review: Last Immortal Gershwin Score
Summary: 5 Stars
"Shall We Dance," (1937), another musical-comedy-romance, was the seventh collaboration Fred Astaire and Ginger Rogers made for RKO Radio Pictures. It reunites most of the old gang, before and behind the camera, but it's easy to see inspiration is wearing thin: after this picture, Astaire went to Metro-Goldwyn-Mayer Studios, and Rogers pursued her ambition to do drama. Still, it's got a lot going for it: most importantly, it was the first, and only George and Ira Gershwin score for the Astaire-Rogers team; and it was, in fact, the last complete film score of the Gershwin brothers: George was to die quite soon, at a shockingly young age. And some of the Astaire/Rogers work to these immortal Gershwin melodies ranks with their finest.
Astaire is Peter P. Peters of Philadelphia, Pa, masquerading as Petrov, great Russian ballet star. Rogers is Linda Keane, popular cabaret dancer. He yearns to meet her, she feels otherwise; he manipulates his way onto a transatlantic crossing of the Queen Ann in order to do so. Rumors get started that they are secretly married, and even that she is pregnant, so when they get to New York, they actually get married, so they can publicly divorce. It's their usual silly script, thinner even than usual, and just what anybody would do in that situation, right? Edward Everett Horton, in his third and final appearance with the team, is on hand to play his usual fussbudget role, Jeffrey Baird. Eric Blore, in his fifth and final appearance with the team, is on hand to play his usual fussbudget role, Cecil Flintridge. Although in this picture, he gets what may have been his funniest riff ever in the Astaire films, the spelling bee at the Susquehanna police station. Rogers lacks her usual middle-aged female chum, and has to get by with Jerome Cowan as her impresario. William Brisbane plays the chinless Park Avenue wonder she's supposed actually to want to marry. One Harriet Hoctor contributes one real strange ballet specialty to the closing number. Ketti Gallion is Lady Denise Tarrington. The movie's notably slow getting off the mark: it's almost an hour til the stars' first dance.
Behind the camera, long time confederates of Astaire held sway. Doug Allen gets a screenwriting credit; Hermes Pan collaborated on choreography; Mark Sandrich directed; Pandro S. Berman produced, with his usual lavish hand for the gorgeous art deco scenery.
But it's the priceless music that hoists this film. Shipboard, in "Slap that Bass," Astaire does a famous jazz-influenced number to the mechanized rhythms of the spotless art deco-inspired engine. The instrumental, "Walking the Dog," is a wordless treat. In Central Park, the stars needed 150 takes to get that roller skated "Let's Call the Whole Thing Off." Then there's "They All Laughed," "I've Got Beginners' Luck," "They Can't Take That Away from Me," and the title tune itself. There's seldom been a score as great as this one, so just ignore what passes for its plot; it's easy enough to do.
Movie Review: Astaire, Rogers and Gershwin, well matched.
Summary: 5 Stars
Fred Astaire and Ginger Rogers swing their way through another wonderful film, "Shall We Dance", released in 1937.
The superior score was by George and Ira Gershwin. This is one of George's last projects, he died a few weeks after the movie opened.
This time, Fred plays Petrov, a ballet star who for some reason is posing as Russian. Ginger plays Linda, a broadway dancer. Petrov tries to persue Linda by booking himself on the same cruise she is on.
Watch Fred's spectacular solo in "Slap That Bass", in which taps in time to an art-deco engine. On the promenade deck ,Linda is walking her dog while Petrov tries to get her attention. Listen for Gershwin's wonderful backing score here. Eventually, she begins to come around.
Meanwhile, Petrov's friend Jeffrey (Edward Everett Horton in his third Astaire-Rogers film) tries to get rid of Petrov's old girlfriend, Denise, by telling her that Petrov is married to Linda. The plan backfires when Denise tattles about the marriage to gossip columnists. Worse, the gossips say that Linda is pregnant.
Saddled with unwanted publicity, the dancers decide to get married for real so they can get a public divorce. Of course they end up falling in love for real.
In a light hearted scene, Fred and Ginger sing "Let's Call The whole Thing Off" and dance to it on roller skates. It is often said that this scene required some 150 takes to get it right. The marvelous result is well worth it.
In a scene when they are alone together, Fred sings the classic "They Can't Take That Away From Me". This tune was nominated for an Oscar for Best Song. It should have won, but didn't.
The music, romance and comedy blend well together. Fine is support is provided by Horton in his usual fussy role. The scenes in which Petrov tricks Jeffrey into thinking that he is seasick, and later into believing that the boat is sinking, are very funny. Eric Blore, in his fifth F&G film, is a riot as a hotel manager. Linda's reaction to Petrov's real name (Peter P. Peters) while they are getting married is priceless.
The DVD has an OK commentary track, a new "making of" short, a
musical short subject, and an amusing cartoon, "Toy Town Hall".
You can seldom go wrong with an Astaire-Rogers musical, and "Shall We Dance" is one of their most enjoyable.
Movie Review: The epitome of dance musicals
Summary: 5 Stars
I am a big fan of dark and violent films--A History of Violence (New Line Platinum Series), 300 (Full Screen Edition), and The Replacement Killers--but I have a soft, feminine side, too. There's nothing like the Fred and Ginger movies with "Shall We Dance?" as my favorite, to stir up the flow of happy synaptic waves in the brain.
In this their seventh film together, Fred Astaire and Ginger Rogers romance and dance around several gimmicks and the music of Ira and George Gershwin songs, including the Oscar nomination, "They Can't Take That Away from Me."
The premise of this story of mix-ups and props is Pete (Fred) playing Petrov, the Russian ballet star, who wants to dance something contemporary (tap) with popular dance star Linda Keene (Ginger). He arranges to meet her on board an ocean liner headed across the Atlantic to America. One of Fred's great numbers is dancing to the rhythm of ship engines. Another in New York's Central Park is their roller skating dance.
There are rumors that Pete and Linda are married, so they get married in order to get a divorce, but fall in love. Wonderful song and dance fill the convoluted, humorous plot of this film. This was a time in movies when leading men did not need to be handsome--just debonair and talented as Fred Astaire. Leading ladies like Ginger Rogers could play "hard to get" and still get their men. Humor was clean and fun.
If you're under 35 and haven't experienced a Fred and Ginger movie, you really must consider it. Pick one, any one, as they are all great, but if you want a recommendation, select this one--"Shall We Dance?" At the end when they finally "dance," Pete must find his Linda out of all the many Linda's. You'll see what I mean.
Movie Review: Shall We Laugh?
Summary: 5 Stars
This film is primarily a screwball comedy with dance and song numbers thrown in for good measure. The story concerns a ballet star(Fred Astaire) and a stage performer(Ginger Rogers) who may or may not be married depending on whom you ask. Given the celebrity of the two parties involved hijinks and scandal ensue. Both Fred and Ginger are in top comic form with their verbal sparring. Need we redundantly state that they dance together exquisitely. Good supporting cast includes the perpetually nervous Edward Everett Horton, the droll Eric Blore, and Jerome Cowan("The Maltese Falcon"). Good score by the Gershwin brothers. You do not hear much about this film in the annals of screwball comedy probably because the principals are known primarily for their dancing. Check this film out if you want to see a first rate comedy.Movie Review: Watch or be gunned down, the choice is yours
Summary: 5 Stars
If I were the brutal dictator of my very own totalitarian state, I would force my loyal subjects to watch Shall We Dance every night of their lives. And my subjects would fall in love with me, having been given such tender treatment by their enlightened ruler. yes, they would come to see that, harsh as my methods can be at times, they are never without their heavenly logic. My subjects, thus edified, would be a happy population indeed! The watchmaker would whistle "They All Laughed" whilst tending his watches. The cobbler would tap the shoes that he was quaintly in the process of mending. The pornographer would... well, you get the idea.
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