Alex da Silva
Fred Astaire (Johnny) and George Murphy (King) have a double act that is going nowhere until Murphy is mistakenly given a break to dance in a show as a leading man to star Eleanor Powell (Clare). Frank Morgan (Casey) is the talent scout who recommends the wrong dancer, Murphy, to show director Ian Hunter (Matthews). Given that this musical stars Astaire and Powell, we spend the film waiting for this pair to come together and do their stuff. And they don't disappoint.Superb technique, quick movement, visually graceful and entertaining to watch…..and that's just George Murphy who is the 3rd best dancer on show! We watch the story unravel but we are really only interested in the musical segments. It is these which elevate my score of the film. The first time Astaire and Powell dance together, we see that they are rivalling one another as demonstrated by their rapport at the end of the sequence. They take turns in giving each other knowing laughs of approval. It's a quality moment. And their finale during Begin the Beguine is an outstanding tap sequence. When George Murphy joins them right at the end for the encore, there is no lapse in the entertainment.I found Frank Morgan irritating at times, Eleanor Powell's mouth has too many teeth and I find it funny how Astaire manages to cut it as a leading man. Who cares, the film has some great dance moments.
MartinHafer
George Murphy and Fred Astaire are a dance team that has struggled for five years. Now, one of them is about to be offered the lead in a big Broadway extravaganza--the only problem is that through a mix-up, the wrong guy has been signed for the part. And, that guy is unreliable, a bit selfish and getting a swollen head.While the plot of this film has quite a few clichés and a few of the dance numbers have flat moments, this is a definite must-see for lovers of dance. The film pairs the best male and female tappers in Hollywood (Fred Astaire and Eleanor Powell) and has some very able assistance from George Murphy--one of the few men who could keep up with Fred on the dance floor. The dance numbers are amazing--with tons of energy, grace and athleticism. The two best numbers are the opening on with Fred and George as well as the first number with Fred and Eleanor. In between, Fred actually dances alone on several occasions and these scenes are delights as well. The flat moments I mention included PARTS of the final big number, 'Begin the Begine'--as the operatic warblings and showiness really detracted from the fact that Fred and Eleanor were amazing together. But the wonderful dancing in the rest of the film make it easy to overlook the overly produced parts and it's a joy to watch.
weezeralfalfa
Wow, if this had only been shot in Technicolor! But, it's still great as is in crisp B&W. Perfect casting of the principals and supporting cast, with the occasional special talent also featured. Stage producer Frank Morgan contributed his trademark befuddled humor throughout. He was, of course, the wizard in "The Wizard of Oz" and, among other supporting roles, contributed humor to another 1940 top grossing film: "Boomtown". Poor future US senator George Murphy seemingly was always getting his girl stolen by some greater talent: Astaire in this film, Gene Kelly ,in "For Me and My Gal". and Sinatra, in "Step Lively". Nonetheless, he was a handsome charismatic vaudevillian talent, and a worthy dance partner for Astaire, early in this film, in one of the very few dance routines Astaire did in his film career with another male only dancer. Murphy was no stranger to Eleanor Powell, being her main dance partner in the BM of 1938 film, most notable for their 'dancing in the rain' number to ""I'm Feeling Like a Million". The present film is also special in that it provides the only dance pairing of Astaire and Eleanor. Eleanor was the only star featured in all of the BM series from '36 through '40. Although Astaire was given top billing, clearly Eleanor was the de facto top dancing talent, with or without a single partner. In addition to her 3 dance routines with Astaire and one with Murphy, Eleanor got one sole routine, where she is swung around by a large contingent of male dancers dressed as sailors, after doing her song and tap dance routine.Astaire also gets a solo dance, in which he expresses his infatuation with Eleanor's character, carrying around her photo. Rather reminds me of Kelly's later ballet "A Day in NYC", in which he used s picture of Vera-Ellen as one of his props, expressing his infatuation with her... Several specialty acts are included. Fred is intimidated by an impromptu juggling act by a woman(Trixie Firschke) in a waiting room outside the director's office. Carmen D'Antonio's Red Skelton-like burlesqued opera act was mildly entertaining, if the story director didn't think so, and I can understand if you don't either. Mostly,a diversion for the kids in the audience, I suspect. These acts took the place of Robert Wildhack's snoring and sneezing analyses in the BM '36 and '38 films respectively, which many present day viewers complain about.Murphy gets the role as Eleanor's dance partner by a mistaken identity fluke. The producer(Morgan) actually wanted Astaire, but Astaire switched their names, thinking Morgan was a bill collector.Anyway, Murphy eventually parties too much, is late for a rehearsal, and drunk for a show. Astaire, in disguise, subs for Murphy in the show at the last second, but tells Murphy he did the show before passing out. Actually, it's clear from the rotund head and face shape that it's not Astaire behind the mask and cap in the first non-dancing portion of this number. Presumably, it's baritone Douglas McPhail, who does the initial singing. Eleanor, backed by a ballet troupe, does a twirling ballet routine during this portion, before Astaire shows up behind the mask to dance with her...Later, Murphy shows up apparently drunk again, for the next show. Astaire again has to sub for him at the last second, this time without a mask. This is the famous very long "Begin the Beguine" number, which featured a very expensive stage set, involving a reflecting glass floor and a pitch black background with many 'stars', simulating a tropical night.The performance is divided into several segments. First, the lyrics are sung in a traditional languid style, backed by a dance troupe.Eleanor joins the troupe and gradually takes the spotlight, followed by Astaire, after which they dance together for quite a spell. The duo then disappear, while the Merry Maids sing a swing arrangement, again backed by a dance troupe. Eleanor and Astaire again dance, to an Artie Shaw-like version, followed by a segment with no music, then finish up with frantic dancing, again to background music. Murphy then surprisingly shows up, apparently sober, the dance duo graspe the significance of his drunk act, and the 3 stars dance a bit for the finale, leaving the audience in a feel good mood."Begin the Beguine" had been introduced on stage in '35, but it took several years for audiences to warm up to it's unusual musical structure, much helped by Artie Shaw's swing version. It was again featured in an elaborate dance number in the Porter biop "Night and Day", where the dancing style was quite different: with emphasis on sensuality rather than very rapid tandem dance steps. I thought the screen play was well thought out and well paced. The chemistry between Astaire and Eleanor was somewhat lacking. Except for a few scenes, the melodrama didn't get too nasty. All was forgiven in the end, when Astaire's and Murphy's characters showed they still had great respect for each other, despite their recent problems, instigated by the appearance of Eleanor. Actually, I thought the dance by Murphy and Eleanor was as elegant as any of the several Astaire-Eleanor pairings. Perhaps Astaire's major limitation as a dance partner was his inability to fully lift or carry most of his dance partners. He simply didn't have the strength, being quite skinny. Thus, we see Murphy lifting and carrying Eleanor several times during their dance, whereas I don't remember Astaire doing a full lift in any of his dances with Eleanor.
martin-fennell
Here i go again, rhubarb, hubarb. I don't have a lot to say about this movie. So I'll have to waffle on again here about nothing.lively film about a dance team who have to break up when one of them is offered better things. The thin plot is just an excuse for the wonderful dancing from the three principals.It's not a classic, but t's worth watching. I enjoyed it, especially for the dancing. Did anyone else like the dancing in this movie or was it just me.Anyway blah blah, blah, summer wishes, ice cream, jolly roger, nuts. favourite jolly gumdroms, mixamatosius. yupee , corn dolly, Is that enough o write, i hope it is. If i can't
