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"Shall We Dance" is for this viewer one of the great Astaire-Rogers films, even if some of the comments don't agree. I love it because of the glorious Astaire dancing.

One of my all-time favorite numbers of his is "Slap that Bass" in which Astaire dances to the rhythm of machines. Oh, those pirouettes! Amazing. I rewound and watched it twice more.

Astaire plays a ballet dancer named Petrov. In real life, Astaire was loathe to do ballet because he was self-conscious about his large hands. Who's looking at his hands? Petrov falls hard for singer Linda Keene (Rogers, who else) and arranges to follow her on the same ship to New York.

Everyone has a great time, including the comic relief, Eric Blore, Edward Everett Horton, and Jerome Cowan. One of the best scenes occurs as Horton and Cowan smuggle a dummy of Linda (from a number she never did) into Astaire's stateroom to photograph the two together and prove they're married (they're not. And Blore getting arrested and telephoning to get bailed out of the Susquehana jail is wonderful.

But "Shall We Dance," like the previous Astaire-Rogers pairings, isn't about the plot, it's about the music and dance. What music, what dance.

George and Ira Gershwin's score includes "I've Got Beginner's Luck," and "They All Laughed," both sung by Astaire, "Let's Call the Whole Thing Off" (sung and danced by the pair on roller skates), "They Can't Take That Away From Me" (sung by Astaire), and the music later becomes a ballet sequence with Astaire and Harriet Hoctor. Astaire and Rogers dance to "Shall We Dance" after Astaire sings the number and the two reprise "Let's Call the Whole Thing Off."

You can't beat "Shall We Dance" for pure escapism, breathtaking dance, and great songs.

In recent years, the title of this film has become overshadowed by two modern movies of the same name: a superb Japanese movie and its American remake, respectively entitled Shall We Dansu? and Shall We Dance. Yet this 1937 classic is worth revisiting not only for its famous Gershwin numbers, but as the last of a series of classic-format films between Fred Astaire and Ginger Rogers. Deeply flawed, yet the tremendous effort poured into its production is evident. And, when viewed as part of a series, touchingly beautiful.

Utilising talent from their earlier films, Shall We Dance pushes the established formula of light romantic farce coupled with stunning dance routines. But here are many innovations and subtle references to delight fans. At the end of their previous film together (Swing Time), Fred serenaded Ginger with the song Never Gonna Dance, so Shall We Dance? suggests a delightful comeback through association. Their respective characters have grown through successive films, as has their on screen relationship. Now, for the first time, both play fully fledged divas in their own right. Fred is Petrov, a Russian ballet star, and Ginger is Linda, a celebrated jazz dancer. Many of the gags involve rumours about the characters being secretly married or having children. By way of a complex plot, half conducted on a transatlantic liner, the couple do actually get married for the first time in their films together. Copy picture

The star personas of both Astaire and Rogers have been carefully managed by the studios since their debut together in Flying Down to Rio (1933). Fred woos her with increasing conviction or intensity in each successive movie. To suspend disbelief effectively, the audience has to be thoroughly confused for a while about the nature of their relationship (in real life, both Astaire and Rogers are married to other people at this time). The on screen characters are not married at the start of the story – Fred is pursuing Ginger, as usual. But an offhand comment by Petrov to an over-persistent admirer (to the effect that he and Linda are secretly married) is blown up by the newspapers in the story. The only way they can dispel rumours is to get a divorce – which means they first have to get married.

In terms of dance routines, most things had been done already, so Shall We Dance has to come up with something new. One idea is a duet on roller skates. Depending on which account we read, it took filming up to fifty takes to complete (unusually, as Fred would mostly insist on a single one). It's filmed in Central Park, and the idea is to make it look like something people would naturally be doing. It's also the longest dance Fred and Ginger have together in the film, and is made even more enjoyable by their singing Let's Call the Whole Thing Off.

Another innovation is the way the story line is tied up. (Note – a light spoiler follows, but I think it's worth knowing what is coming in this case, so as not to miss the full effect). Petrov, now distraught that Linda won't dance with him, has a choreographed scene where he serenades with numerous showgirls who wear Linda masks. This in itself recalls earlier scenes involving a dummy positioned next to a sleeping Petrov, to 'prove' in the tabloids that they are married; and also in a flick-book he has that creates moving images of Linda. Unbeknown to Petrov, Linda yearns for them to be together. She insists on being taken backstage. Petrov's dance involves unmasking the lookalikes only to find that none are the real Linda. When he touches the real Linda's chin, he finds it is not a mask but really her. She extends her hand and, whoever the 'real' Petrov and Linda have been (they both have several identities even within the film), the audience is satisfied that the real living couple finally have a dance of love. Almost all the emotion of the film has been saved for this moment.

Shall We Dance not only reprises two established stars; it examines the real life pressures and glare of publicity facing them. They were both under pressure: during filming, Ginger Rogers received a real-life extortion notice and a death threat to her mother. The movie's final dance scene maybe hints at something that is beyond words, beyond the glare of the limelight, and something eternally personal – as the song implies: "They Can't Take That Away from Me."

The film's weaknesses include living up to expectations when a formula has peaked. In earlier pairings, Fred's character woos Ginger through dance rather than words. Here, they enjoy some comedy together but there are maybe one too many dance solos. The plot and characterisation has weaknesses too – Astaire is a very accomplished dancer performing balletic moves, but he was the first to admit he is no ballet star. Dance fans may feel unconvinced (similarly, the songs have been covered by much more competent singers). One of the main dance routines sees Harriet Hoctor, not Ginger, imported to dance with Fred – largely on account of her ability to tap through remarkable back-bends. Shall We Dance lacks much of the natural dance chemistry between Fred and Ginger displayed in earlier films, but it is an outstanding piece of their film history that should not be missed.

Why did I have to watch this 5 times in the last 2 weeks?

Well, I can't explain. I guess because this is one of those rare cases where a movie becomes a masterpiece in spite of a (intentionally!) loose storyline; the strength of the choreography, melodies, and the pure delight of dance sequences gives it all. There's Fred Astaire, there's Ginger Rogers, and there's the Fred-Ginger duo - 3 (sic.) distinct personalities! I have watched scores of musicals - but never have I been so bewitched by duet dance sequences unaccompanied by any of the garish excesses characteristic of the Hollywood musical.

Just think of the number " Let's call the whole Thing Off"; what grace, what poise of the couple tap-dancing on roller skates! And oh, what wondrous blend of lyrics and melody. And closely follows another number that, in all it's apparent lightness, provides a counterpoint that makes one misty eyed.

About the solo dance sequences of Fred - the one in the ship's boiler room, the brilliant choreography of his tapdancing with the "pistons" moving in phase, well - it's superhuman!

I shouldn't miss mentioning Edward Everett Horton ("Jeffrey", "Petrov"'s impresserio) - for his misadventures hold the struggling storyline of movie on, just as it was probably meant to be. Eric Blore ("Cecil", the floor manager of the hotel) does his inimitable role as in many other Fred-Ginger musicals; rarely have I seen anything more hilarious than the telephone conversation between Cecil (from jail!!) and Jeffrey.

It's unalloyed and delightful entertainment for those who love musicals. Just forget the world and enter into a dreamland for 108 minutes!

With a fluff plot that's sillier than usual, Shall We Dance marks the one and only time the brothers Gershwin wrote a score for an Astaire/ Rogers musical. Fred was certainly no stranger to George and Ira, they had written Funny Face on Broadway for him and also had done Damsel in Distress which he co-starred with Joan Fontaine the year before.

This also is the last complete score the Gershwins did for the screen. While writing the score for the Goldwyn Follies, George would suddenly die of a brain tumor. It's a beautiful selection of songs, topped off by They Can't Take That Away From Me, a song forever after identified with Fred Astaire. It's also one of my favorite Gershwin songs, in fact one of my favorites period.

Fred's a hoofer at heart, but he's pretending to be a Russian ballet star named Petrov, appropriate for a guy named Peter Peters in real life. The girl he's infatuated with, musical comedy star Ginger Rogers is sailing to America on the same ship.

Through an incredible combination of circumstances rumor gets around that the two of them are in fact married. All the doing of her producer Jerome Cowan and Fred's manager Edward Everett Horton. They actually have to get married to keep the ruse going. Of course I needn't say what happens after that.

Two other Gershwin standards, They All Laughed and Nice Work If You Can Get It are sung and danced by the pair, the latter on roller skates. I also liked Fred's solo number with the engine room men on the ocean liner, Slap That Bass. The brothers Gershwin obviously saw the success Astaire had with Bojangles of Harlem in Swing Time and decided to imitate shall we say.

Look for a nice performance also by Eric Blore who plays the frustrated hotel manager who is getting positively flustered about how to handle the married/unmarried pair of Astaire and Rogers in his hotel.

There is a touch of sadness to this musical realizing that an incredible talent in George Gershwin would be stilled very shortly. I do love that man's music so.

You'll keep the memory of this film long after seeing it even once.

Perhaps the best number in this is Fred and Ginger's dance 'n tap on roller-skates, but the terrific Gershwin score helps a lot (including 'Let's Call The Whole Thing Off', 'They Can't Take That Away From Me' and several others).

This is one of the pair's best, with the usual strong support from Edward Everett Horton, Eric Blore and Jerome Cowan. A silly plot, with Astaire as a Russian ballet dancer (not really Russian, his real name is Peter P Peters!) and Rogers as a musical revue star, who meet and get embroiled in a fake marriage run-around. Horton plays Astaire's fussy manager, Blore plays a pompous hotel manager (the scene in the jail prompting the cop to ask 'what is this, a spelling bee?' is hilarious), and Cowan plays Rogers' manager (a chap distractingly named Arthur Miller).

'Shall We Dance' showcases Ginger Rogers in particular and gives her chance to shine; Fred Astaire remains the usual unattractive pest until he breaks into singing and dancing; and the finale, with a bevy of masked honeys who look like Ginger, has a certain originality. A great team at their very best.