Top Hat
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Movie Reviews of Top Hat
Movie Review: Sophistication and gaiety in the Depression made us feel better. Might be time to watch this one again
Summary: 5 Stars
With the nation in the midst of economic ruin, who were better at lifting our spirits and making us smile? Why, Fred and Ginger, of course. I've got a feeling we'd better start watching their old movies again.
Is Top Hat better than Swing Time? People have been staking out their positions for years. Me, I think both represent the height of the Astaire-Rogers magic, all wrapped up in some of the greatest songs ever written for Hollywood movies and with incomparable choreography and dancing. So I just flip a coin to decide...but I make sure I always use the coin with a head on each side.
The story in Top Hat is inconsequential. It's all about Jerry Travers (Fred Astaire) an American dancing star in London who meets Dale Tremont (Ginger Rogers), the girl who charms him. It's love at first sight for Jerry, but not for Dale. There are misunderstandings, reconciliation, comedy relief and...well, who cares? The point is that in Top Hat both Astaire and Rogers have classic Astaire and Rogers characters to play, he classy and without a major worry in the world, she down to earth and a little hard to get. The plot is light, sophisticated and moves quickly. The comedy relief, provided by Eric Blore, Edward Everett Horton, Erik Rhodes and Helen Broderick, often is genuinely amusing ("We are Bates!") ("I will never allow women to wear my dresses again!") and doesn't become tiresome. The songs by Irving Berlin are among the best he ever wrote, and are so spotted within the movie that it seems we keep moving from exhilaration to exhilaration. That said, the point of an Astaire-Rogers film is the dancing, and then the way things happen through the dances and the songs...
"No Strings" introduces us to Jerry in one of those wonderful all white art deco hotel suites where sophisticated people hang out. He tells us in song just the kind of free-spirited guy he is..."no strings and no connections, no ties to my affections..." and then moves into a fast and complicated tap dance all over the room. Just watch how Astaire perfectly picks out a counter rhythm with hand slaps against a shelf while he taps.
"Isn't This a Lovely Day to Be Caught in the Rain" is a total charmer. In a gazebo, Jerry tries to woo Dale. After singing the song, he does a few steps and she, hands in her pockets in her riding breeches, surprises him by taking him on. A little challenge dance starts...and then we're off into one of those great wooing dances that only Astaire could create. The longer they dance the more we see how taken with each other they're becoming. They move from an easy-going beginning into a mutual and happy recognition that something serious may be happening. Then the rain and the thunder start and we're off again. When the dance is over we all know something seriously happy really has taken place. I think this number also is a fine example of how Berlin could craft a great song where the lyrics are so conversational it's too easy to overlook the skill he had in placing them into the music.
Isn't this a lovely day to be caught in the rain?
You were going on your way,
Now you've got to remain.
Just as you were going,
Leaving me all at sea,
The clouds broke, they broke,
And oh what a break for me.
I can see the sun up high,
Though we're caught in a storm.
I can see where you and I could be cozy and warm.
Let the rain pitter patter,
But it really doesn't matter
If the skies are grey.
Long as I can be with you,
It's a lovely day
"Top Hat, White Tie and Tails" is a classic Astaire stage number, a marvelous song impeccably delivered. Watch how he gives his head a little shake of sheer joi de vivre as he gives us that inimitable Astaire walk. Then it's on to all those 20 chorus boys in tuxes being mowed down by Astaire and his cane. The dance shifts from light to dark to light again. And watch how Astaire slows down the dancing and, unexpectedly, strikes several poses in silhouette. Great stuff.
"Cheek to Cheek" is simply, in my opinion, one of the finest love sequences set on film. Astaire sings the song, then the two of them launch into one of the great dance duets where the song, the dancers and the choreography come as close to romantic perfection as you're likely to see. Even the feathers on Rogers' gown cooperate.
"The Piccolino" is the big production closer, an attempt to match the craze the Carioca, in Flying Down to Rio, set off. For sheer Hollywood sound stage spectacle -- a Berlin hit song, at least 30 dancing couples, a singing chorus, gondolas on canals, a dish of veal that rhymes with piccolino, and everyone in gowns and tuxes -- it's hard to beat.
The Top Hat DVD looks first rate. There are several extras, including a commentary by Ava Astaire McKenzie, Astaire's daughter, and Larry Billman, identified as a film historian. Fans of Astaire will find invaluable Arlene Croce's The Fred Astaire & Ginger Rogers Book and John Mueller's Astaire Dancing: The Musical Films.
Movie Review: Wonderful Fred & Ginger 1935!
Summary: 5 Stars
I really liked "Top Hat" since I have been watching classics over the years but have not been watching musicals. Of course who has not heard of Astaire & Rogers! This is their fourth film together and some say RKO Pictures' biggest money maker of their dance pictures!
The plot is similar to the earlier Astaire/Rogers film, The Gay Divorcee, where a case of mistaken identity causes various hijinx!
The plot is old-fashioned and quaint. Lines like "You know how wives are!" are peppered throughout the film. When you consider women have only had the right to vote for 15 years, this is not surprising.
And considering the film was made at the height of the Great Depression, its success is especially surprising. The film reaches in and makes your spirits soar, with the larger than life set design, the talented choreography and dressing, just amazing!
And as in the present Great Recession, we need films that are uplifting. This idea may seem quaint or fluff, but I disagree. It's important to keep your sprits up in the face of great economic distress.
But I digress!
The Story: Fred Astaire and his buddy are partners in a vaudeville stage show. Fred also meets Ginger Rogers' character. She gets confused and thinks that Fred is her friend's husband rather than Fred's pal (played by Edward Everett Horton, a great character actor decades after this picture was produced).
The whole story is a bit silly, but of the character actors Bates, the valet, is funniest guy in the group. His third person speech ("We are Bates, sir!") is funny. Though he does not appear much, when he does it is just silly slapstick and his dry wit is quite entertaining. The actor is Eric Blore as the dry, witty Bates.
Irving Berlin, known in stage and screen for many of this great musical pieces (it would take another page to list all his accomplishments!) wrote at least ten songs for "Top Hat", and many of them stayed in the top ten of popular music hits in the country at one time or another.
And the intense choreography, made to look simple, was the result of hours of practice, and Astaire's desire to be in control of the film, working with the director, basically changed dance for film.
Unlike some dance films that have a shoot-cut-shoot-cut style that could make anyone look good (like an MTV video!) Fred wanted full shots, with the camera following. The result is a smooth style of dance that is mesmerizing to see.
The costumes such as the top hat and tails, and Rogers' cool feather dress, made for some interesting spins and taps!
I have not seen a lot of tap dancing in the classics. I recall great performances by Shirley Temple and such, but Fred has it down!
Of the songs, I think Cheek to Cheek and I'm In Heaven were my favs.
DVD:
The DVD was great, with further explanation of the production of the film, some interviews with original producers, and an interview with Fred Astaire's daughter!
A cartoon short, which was fair for 1935 standards, and a Bob Hope short, "Watch the Birdie", about a practical joker who wants to marry the daughter of a rich corporate guy that he just played a prank on. Oops!
Get this DVD since it gives you way more info than what we see from just watching the film alone. That's where I got most of my data above.
Bottom Line:
The quaint story, the amazing art deco sets, the great costumes and the intense choreography, and Fred & Ginger's amazingly smooth, skillful style, make for a great film. No wonder it was one of the many films that were nominated that year for an Oscar. (Mutiny On The Bounty -- which was a remake! -- won Best Picture that year).
Other Fred & Ginger Films:
The Gay Divorcee
TCM Greatest Classic Film Collection: Astaire & Rogers (The Gay Divorcee / Top Hat / Swing Time / Shall We Dance)
Astaire & Rogers Ultimate Collector's Edition (Flying Down to Rio / The Gay Divorcee / Roberta / Top Hat / Follow the Fleet / Swing Time / Shall We Dance / Carefree / The Story of Vernon and Irene Castle / The Barkleys of Broadway)
Books!
Puttin' On the Ritz: Fred Astaire and the Fine Art of Panache, A Biography
Shall We Dance: The Life of Ginger Rogers
Movie Review: "I'm in Heaven, I'm in Heaven..."
Summary: 5 Stars
Many times when the subject of old-time, classic movies comes up, my father inevitably brings up the story of how as a child he was given a quater on his ninth birthday and sent off to a local Baltimore, movie theatre with his friends to see the now classic movie musical, "Top Hat". Just recently I purchased the DVD box set, "Astaire & Rogers Collection, Volume 1". Naturally, the first disc I viewed was "Top Hat". Well after seeing this disc, I now know, why my Dad over seventy years later, is still talking about this wonderful piece of cinematic, movie magic. To paraphrase an old Humphrey Bogart line, "this is the stuff that dreams are made of". Where do you start with what makes this movie great? You have to start with the pure magic of Fred Astaire & Ginger Rogers working together. This film is pretty much this duo's creative peak. You have Fred Astaire acting, cracking jokes, singing and best of all DANCING! If you wish to ever to see pure creative genuis at work, before your very eyes, then just watch this man's feet and body language. Astaire shows such elegance and grace, that he has now become the very definition of those words. As for Miss Rogers, her skills have been quite underrated in the past. You know the old cliche saying, "she could do anything he could do...but she could do it backwords (and in heels)". It's true! This pair's artistry and creative gifts perfectly match each other. My personal favorite moment in the movie is the extended dance sequence between the two during the song, "Cheek to Cheek". In the begining of the scene, when Astaire sings "I'm in heaven..." and then repeats the phrase, you really do believe him! The two dancers glide along the dance floor as though they are in a dream. When the music majestically swells and he dips her, there is truely a sense of romance and sensuality, that is completly overwelming. It really is a classic scene from movie history. Astaire & Rogers are joined by a classic cast of comic, character actors, who forever will go down in cinematic memory. There is Edward Everett Horton, who plays Astaire's stuffy show producer. He is the 'King of the comic, double-take'. His man-servant is played by the humorous actor, Eric Blore, who reminds me of a school boy, who knows he's played some sort of naughty prank. Horton's wife is played by actress, Helen Broderick, who seems to have made an art form out of delivering her lines with irony & sarcasm. Finally there is comic actor, Eric Rhodes with his hilariously way over the top, Italian accent (he puts Chico Marx to shame!) and his foppish ways. The songs in this film have now become popular standards, that have become engrained in our culture's musical consciousness. All are written by Composer, Irving Berlin and include classics such "Isn't This a Lovely Day", "Top Hat, White Tie and Tails", Cheek to Cheek" and "No Strings (I'm Fancy Free)". While countless performers have covered these songs, it is the Astaire & Rodgers renditions from this film, that is in our collective memory. Finally mention should be of the movies' beautiful costumes and especially the almost fantasy-like, art decco, stylized sets which seem to effortlessly transport the viewer to another world. Remember, this film was released during the height of the 'Great Depression'. It was tough times for many movie patrons back then. Well, for one hour fourty minutes through the singing, dancing, comedy and the fantastic visuals it must have made folks forget their troubles. These days I suspect this film can still work it's wonderful movie magic! The DVD picture itself is crystal clear and highlights the beautiful B&W photography. The sound is O.K. for a film from 1935. Extras include a short featurette on the making of the film, commentary from Astaire's daughter, a theatrical trailer, a Warner Bros. cartoon and a Bob Hope comedy short. For a night of great escapist entertaiment, I highly recommend the classic film "Top Hat"! Dad certainly liked it!Movie Review: Top Hat - When America was Tops
Summary: 5 Stars
There are two theories about human evolution. One is that we are moving forward - mankind has gone from using stone tools to computers and air conditioning. The other theory is that we are going backwards - the fall of the Roman Empire idea. If you subscribe to the latter, point of view, then you may not want to watch the movie, "Top Hat." It may only confirm your worst suspicions.
Filmed in 1935, the movie is not far off from being 100 years old.
That makes it as much of a time capsule as a movie! And although it is certainly tough to skip over your "Transformers II" DVD from NetFlix, you may find yourself rewarded for having another look at this old, old movie.
Let's consider it from a cultural standpoint.
Today, where I live in Florida, the "uniform" for men is cargo shorts, flip-flops, a t-shirt (hopefully with a pocket to make it more dressy) and a baseball cap. Back then, it wasn't even a suit and tie, it was a tuxedo, and not just a tuxedo, but a tuxedo with tails. And a fancy collar for the shirt. And a vest. With a pocket watch. And pocket squares. And cuff links. And shoes that were not just polished, but were patent leather, with these cool white things that fit over the top of them that I don't even know the name for, and I have a pretty decent vocabulary, if I do say so myself. And black buttons for the shirts. With hair not just groomed but sculpted and slicked back. You get the idea.
And as for the women, well, they wore hats, and I mean hats that were designed by artists and made by craftsman. Hats that could easily be in the museum today... not as historical artifacts, mind you, but as works of art. Someone sat there and thought these hats up, then made them, then women took the time to pick them out, and wear them. Not to mention the women's hairstyles, which were quite elaborate. I can only think the effects were achieved with curlers, which of course got a bad name when housewives started wearing them to the grocery stores in the 1950s. One more loss. Oh well.
And what did men argue about after having a martini and dancing (ballroom dancing, that is) till one in the morning? Things like whether it was permissible for a bow tie to have tapered rather than squared edges! Today most of us men could not even tie a bow tie.
Men don't wear hats today, we wear "caps."
Not only did men wear real hats back then, like fedoras, they sometimes even wore top hats. And they didn't just wear top hats back then, they named movies after them. Think about that for a second. How would that go over today? Now showing, "Die Hard 4," "Transformers 2," and "Top Hat." The studio marketing guys would cringe at the thought... script writers would lose their jobs at the mere suggestion of that for a title.
And of course, less we think this is all just make believe, that it was never really like that, that it was just a movie, there is Fred Astaire, plain to see through the magic of celluloid, who could dance like no one can today. As though to say, all this is no illusion: We really were at a level of culture then that cannot be even imagined today. Any more than we can imagine naming a movie, "Top Hat."
But don't despair. Today we have all kind of wonderful new things they didn't have back then - like McDonald's, the Internet, and ... blogging. Curtis
Movie Review: Silliness Squared But Who Cares
Summary: 5 Stars
"Top Hat," RKO-Radio Pictures, 1936, is fourth in the canon of ten Fred Astaire-Ginger Rogers films. It's as silly as any of them; it opens on an argument about whether a square tie must be worn with evening dress, and floats along by pushing a wafer-thin mistaken identity plot further than you might imagine. However, it did get four Oscar nominations, so turn off the uber-critic, and enjoy.
The story, written by the uncredited Sandor Farago, Aladar Laszlo, and Karoly Noti, and credited to Astaire's frequent collaborators/writers, Allan Scott and Dwight Taylor, is, in many ways, a remake of the same people's 1934 "Gay Divorcee." But it's got its own wit and charm. Pandro S. Berman produced, as he generally did, with an open purse for this team's efforts. Mark Sandrich directed: cinematography was by David Abel. Hermes Pan had a hand in the choreography, as usual; Bernard Newman designed Rogers's elegant evening wear. Art direction was by Van Nest Polglase, who gave us glorious art deco sets, glistening with white. London itself, its hotels and clubs, has never looked so glamorous; Venice and its hotel are of a fantastical beauty, though I don't know about those swimmers in the canals....
The film's leads, Astaire as Jerry Travers, dancing star, and Rogers as Dale Tremont, model, are given strong support by the usual suspects. Edward Everett Horton plays Horace Hardwick, Jerry's impresario/rich best friend, with Eric Blore as his valet Bates. Helen Broderick is Madge Hardwick, Horace's wife -- and why must she always be called Madge or Marge? Erik Rhodes is Albert Beddini, Dale's employer/dress designer, who will be her usual disappointed swarthy suitor. A young Lucille Ball has a tiny part.
Famed American composer Irving Berlin contributed both words and music. "I'm Fancy Free" was a light-hearted romp for a solo Astaire; it starts the action rolling. The unforgettable duet, "Isn't It A Lovely Day," was sung and danced by both stars. "Top Hat and Tails," is one of Astaire's signature solos: he's backed by a line of chorus boys. "Cheek to Cheek" is a memorable melodic duet. "The Piccolino," Roger's somewhat shaky vocal solo, to me, does not rise to the same sublime heights as the very similar "Continental," from the two years earlier "Gay Divorcee." But make no mistake, Astaire was a lucky man. He and Berlin were old friends from their scuffling Tin Pan Alley/vaudeville days, and Berlin knew just how to write for the hoofer. Songs are comfortably in his range, and allow him to talk/sing them in his inimitable style.
And oh, the dancing. Nobody's ever done it better. In addition, Astaire and Rogers could act and dance at the same time. Mind you, Astaire's very walk is one of extraordinary athleticism and grace: he's never quite not dancing. But, to adapt one of Berlin's great lines, "Heaven, I'm in Heaven, when they're out together dancing cheek to cheek." So, enjoy.