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This is my all-time favorite Fred Astaire and Ginger Rogers film. The dialogue between the two is so cute and funny and very clever. Not to mention this film contains some of the best songs recorded by the two; like I'm Putting All My Eggs in One Basket and Let's Face the Music and Dance. If I remember correctly, this was the film that introduced me to Fred Astaire so I suppose because of that it will always hold a special place in my heart (sorry for the sentimental cr*p but I'm woman so get over it)All in all this film gets an 8/10 from me. The choreography was superb and also the fact that Lucille Ball is in it makes it even more awesome.

This is one of the best Fred Astaire-Ginger Rogers films, or at least one of my favorites. Most of the A-R movies feature great dancing but sappy romance stories. This still has the courtship corniness but not as pronounced as the other films.

This movie features not just great dancing but likable characters and a bunch of good songs. The music is the central theme here and what's nice is the addition of a tap solo by Rogers. She not only was a super dancer but a very pretty woman and one with tremendous figure. She dances also with Fred, of course, and they're always a fun pair to watch on the dance floor.

Growing up in the 1950s watching "Ozzie & Harriet" on television, it was a real kick the first time I saw this to see such a young Harriet Hilliard. No surprise than Ozzie fell for this beauty. Although she had that short early '30s hairstyle, I recognized her voice right away. Also in this movie are quick appearances by Betty Grable and Lucille Ball, but I have to admit that I have yet to out Ball. I can't find her, but I know she's in here.

Astaire, except for some obnoxious gum-chewing in the first third of the film, was fun to watch and Randolph Scott - although better in westerns - is likable, too.

This is simply a nice, feel-good film and good one if you want to to enjoy the great talents of Astaire and Rogers.

This film is nice because there are two love stories-- something of a plot departure, and the second couple (Randolph Scott and Harriet Hilliard Nelson) are given the bulk of the dramatics, which allow our stars to be looser, more comical. Astaire chews the gum a little too severely, but he was anxious to make a departure from his customary tuxedoed playboy. Rogers is much more at ease in the role of struggling dancer-singer, and plays well opposite sister Hilliard. (The history is that Ms. Hilliard had to darken her naturally blond hair to distinguish her from Ms. Rogers. But wouldn't they better resemble sisters if they were both blonds?) The Irving Berlin numbers are quite good, ranging from light and airy ("Let Yourself Go," "I'd Rather Lead A Band") to elegant ("Let's Face The Music And Dance"). This final number is the film's bewitching finale, performed on a lovely Art-Deco rooftop and illustrates Astaire's penchant for full-frame, single-take dancing. It is, in a nutshell, singularly gorgeous. The trivia history goes that Rogers' metallic thread gown had weights in the sleeves and hem to make the skirt wind and unwind; the dress was unintentionally difficult to perform in because its flared sleeves hit Astaire across the face IN THE FIRST TAKE- and after many re-shoots trying to cover it up, they ended up printing that first take (we have to assume that was apparently the best performance of the dance, but you can see the sleeves brush across Astaire's face). It loses one-half point from me, because Randolph Scott says 'bebby' once too often.

Had this film been put together a tad better, it would be up there with the best of Astaire and Rogers. As it is, it's a fine movie but overly long with a tedious subplot, i.e., Randolph Scott romancing Rogers' sister, played by Harriet Hilliard (that's Ozzie Nelson's wife to you baby boomers).

Astaire and Scott are two Navy men. Scott meets Hilliard the first time when she looks like a stereotypical librarian, and later on after Ginger Rogers has asked her friend (a blond but unmistakable Lucille Ball) to glamor her up.

Meanwhile, Astaire tries to pick up where he and his old dancing partner left off. The result is some wonderful dance numbers, with Astaire and Rogers as a team as well as separately: "I'm Putting All My Eggs in One Basket," "Let Yourself Go," and "I'd Rather Lead the Band."

Hilliard is sweet but a little lethargic as a plain Jane turned glamor girl, although she sings her two songs well, "But Where Are You?" and "Get Thee Behind Me, Satan" - one poster didn't care for that song, but I love the title. Rogers is vivacious, and a youthful Astaire is a dynamo.

The highlight of the movie comes at the end with "Let's Face the Music and Dance," one of the most achingly beautiful songs ever written and certainly one of the most brilliantly executed by Rogers and Astaire. In it, they epitomize '30s glamor and fantasy. It is truly to be treasured and watched again and again.

One of several musicals about sailors on leave, it is the usual sailor meets girl, complications ensue, sorted out happily kind of plot. It proceeds along smoothly enough but it does drag in places too. The dialogue is not as zippy as 'Top Hat' for example and Randolph Scott seems out of place.

There are compensations. It has some of Irving Berlin's choicest songs including 'Let Yourself Go', 'I'm Putting all My Eggs in One Basket' and 'Let's Face the Music and Dance'. It has Fred and Ginger who when they are dancing take any film into heavenly heights and they don't disappoint here. They do a snappy tap dance, a knockabout comic dance and a swirling graceful dance, all in the same film! Great versatility and artistry.

It also has Harriet Hilliard who is rather good in her role. She had a varied career, becoming the more famous Harriet Nelson with Ozzie. Here she is touching without being sentimental.Her two songs are simply and effectively delivered. She makes a good contrast with Ginger but you can believe they are sisters in the film.

More tightening up have made the film even better. Pretty good though.