Starring Fred Astaire, Vera-Ellen, Marjorie Main, and Keenan Wynn
Directed by Charles Walters
Music by Harry Warren; Lyrics by Johnny Mercer
As we saw with the superhero films two weeks ago, science fiction and fantasy musicals aren't easy to pull off. Musicals already come with fantasy elements like people bursting into son in the middle of a downpour built-in. Adding more overtly fantastical elements is a delicate balance, as shown in our next movie. Producer Arthur Freed wanted Astaire to star in this movie for years. He finally agreed to it when he discovered that Vera-Ellen, whom finnicky Astaire greatly admired, would be his leading lady. Was Astaire right to avoid this light-as-air romance, or is there more to this than it appears on the surface? Let's begin at the local Salvation Army, as lovely officer Angela (Vera-Ellen) is being serenaded by several "sinners" at her window, and find out...
The Story: Angela wishes those gentlemen would actually come to be reformed, rather than to gawk at her. She's singing with the Army group one night when one of the "sinners" who admire her turns out to be a man in a tux. Playboy Charles Hill (Astaire) has the habit of leaving his performer brides at the alter, then turning to his rich Aunt Lettie (Main) to pay them off. Not this time. Charles is so smitten with Angela, he floats on air and vows to reform for her. After he proves his intentions to Angela by actually working for the first time in his life, she's ready to head to the church. He's not so sure...and now she has to show him they're a lot more compatible than anyone in the Big Apple thinks.
The Song and Dance: And "dance" is the operative word here. Astaire took advantage of Vera-Ellen being one of the most technically-proficient dancers he'd ever work with to put together a series of complicated and very romantic Terpsichorean showcases. He and Vera-Ellen have a great deal of fun as the lovers from very different worlds. Wynn's also having a good time as Astaire's nervous lawyer, and Pierce is a riot as Vera-Ellen's best friend and the other woman at the Salvation Army. The colorful costumes provide an equally lovely backdrop for both the simple gray world of the Salvation Army and Charles' society home.
Favorite Number: "Seeing's Believing" when he's so smitten with Angela, he dances right to the top of the Washington Square Arch and does death-defying leaps around its flagpoles. "Oops" is a number for Charles and Angela as he drives her home on the street car. It makes surprisingly good use of the limited space as they spin around poles and waltz alongside the moving vehicle. "Currier and Ives" is the big chorus routine, with Angela comparing their love to the changing seasons as depicted in the famous Currier and Ives artwork.
Angela and her best friend claim they're "Naughty But Nice" when they dress up in fancy low-cut gowns for a night on the town and a slinky song and dance. "I Want to Be a Dancin' Man" is one of Astaire's best solos. No chorus, no noise, just him and his marvelous footwork against a simple blue backdrop.
What I Don't Like: As charming as Astaire and Vera-Ellen are, the story is definitely earthbound. It's an overstuffed cream puff that sags towards the middle after he suddenly leaves her at the alter again and falls apart by the finale. For all his chemistry with Vera-Ellen, Astaire's reluctance to appear in this shows in his lack of energy during the book scenes. Marjorie Main is miscast as his aunt who is fed up with his antics, too - she's no high society lady. Doesn't help that the songs those dances are spinning around to are fairly dull.
The Big Finale: Recommended for the numbers alone if you're a fan of Astaire, Vera-Ellen, or the MGM musicals of the 1950's.
Home Media: Easily found on DVD and streaming, the former from the Warner Archives.
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