Nonureva Really Surprised!

Roman Sampson One of the most extraordinary films you will see this year. Take that as you want.

Lela The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Kinley This movie feels like it was made purely to piss off people who want good shows

edwagreen Fred and Ginger dancing to old favorite tunes with such elegance is the real reason to watch this movie.The plot centers around the fact that Ginger has confused the Fred character. She thinks throughout the film that he is married to Helen Broderick whose real husband Edward Everett Horton has a mate on the side complicating the situation.As the film goes along, you wonder when Rogers will find out the truth and then all shall become tranquil.Instead, this goes on aimlessly and her Italian boss enters into the picture, she weds him quickly, or at least they think they're wed.Helen Broderick is excellent as the wise wife who at first doesn't realize that her husband is being confused with the Jerry Travers (Astaire) character.Just put on a top hat and smile your way through.

SnoopyStyle American performer Jerry Travers (Fred Astaire) is in London to work for lovable producer Horace Hardwick. Jerry starts dancing up a storm in his hotel room annoying Dale Tremont (Ginger Rogers) in the room below. She goes upstairs to complain. Jerry falls for her immediately while she mistakes him for Horace who is married to her friend Madge. He follows her and the Hardwicks to Venice where she's modeling for Italian designer Alberto Beddini.This has Fred and Ginger at their finest with music from Irving Berlin. It can't miss. "I'm in heaven." The story is a simple comedy of errors and misunderstandings. It's fun enough and good enough. The dance numbers are good. There are big ones but it's still the simple Fred and Ginger dance that is the best. This is a nice example of a good ole song and dance from that era.

Smoreni Zmaj If you are fan of comedy, but tired of vulgar humor we see on big screen these days, tired of retarded grimaces like Jim Carrey's or laughing to other peoples misfortune, take a look on comedies from first half of 20th century. Nowadays comedies are nowhere close to their level in any possible way. Fred Aster and beautiful Ginger Rogers in romantic comedy of mistaken identity. Of course, when you see Aster in leading role it is obvious that it is musical. But even if you do not like musicals, and I certainly do not, amount of hilarious misunderstandings and twists and the way this movie will cause roars of benevolent laughter and improves mood even on depressive rainy days will be more than enough for you to disregard your bigotry towards musicals and even boring scenes of dancing and singing will pass you by unnoticed. And they are not boring at all, believe me, cause chemistry between Fred and Ginger is magical.

l_rawjalaurence TOP HAT's musical score contains a remarkable number of standards - a testament to Irving Berlin's genius as a songwriter. They include "isn't This a Lovely Day?," "Cheek to Cheek," "No Strings," "The Piccolino," and the title song "Top Hat, White Tie and Tails." Just listening to the score is a joyful experience in itself.Mark Sandrich's film takes the elements that made THE GAY Divorcée of the year before so popular - a Hollywood English setting (to go with an Italian setting), a series of jokes at the expense of the stuffy Brits, and a supporting cast boasting Edward Everett Horton, Eric Blore and - and rehashes them into another memorable musical confection. The plot once again revolves around a comic misunderstanding involving Astaire, Everett Horton and Rogers, which leads to some amusing comic routines that normally end up with Everett Horton suffering in one way or another. He ends up with a black eye at one point. Yet the plot is not really significant: what matters are the song-and- dance sequences involving the two stars. They ooze style as they glide across the dance-floor, no more so than in "The Piccolino" sequence towards the end of the film. David Abel's camera sweeps across the set in a series of slow pans, that dissolve into aerial shots of the dancers accompanying the stars, and dissolve back once again into close-ups of Astaire and Rogers. The sequence creates a dream-world in which dancing is the only thing that matters.TOP HAT gives plenty of opportunities for comic relief that prove just how good Blore and Everett Horton actually are. Everett Horton is especially adept at the double-take as he continues a conversation until he realizes just what his interlocutor has actually said. He pauses, stares for a moment and then tries to continue the conversation, albeit haltingly. Blore's eyework is especially memorable: when engaged in one of his frequent arguments with Everett Horton, he has the habit of looking down at the ground and rolling his eyes, as if unable to fathom just what a chump his employer actually is. His most memorable moment comes in a sequence where he talks to an Italian police officer whom he thinks does not know English. He rolls his tongue round a series of gorgeous insults, but his mood abruptly changes when the officer replies to him in perfect English. He sighs, looks up at the sky, then from side to side, and reluctantly allows himself to be taken to prison.TOP HAT is perhaps the most shining example of a pre-1939 musical comedy, combining music, dance and routines in a wonderful soufflé. It is the kind of film that remains fresh and enjoyable even after repeated viewings.