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Very few people have heard of it, but this is really one of my favorite Fred Astaire movies. In part because Fred does one of the best angry dance scenes that I've ever seen. He stumbles drunken, singing One More for my Baby, and smashes glass with his feet. He sways to the rhythm and leaps up on the metal bar to tap smash shattering glass. If you're lucky enough to see this movie keep in mind, that's real glass, not sugar glass like you normally see in movies. This was during WWII and sugar was rationed. Fred and Joan Leslie have a number of lovely romantic dance scenes. The background plot of WWII provides, well, a plot. By turns funny and bittersweet, a great dance movie.

This may conceivably be THE most under-rated film of all-time... NO ONE seems to love it as much as I do. Maltin, etc. all consider it one of Fred's worst movies. I don't understand why! He's great, Robert Benchley is on hand (doing one of his best patented befuddled speaker routines), and Joan Leslie is beautiful, sharp, and a great dancer (she really keeps up with Astaire, which is hard to do!) On top of that there are two immortal songs ("My Shining Hour", and "One For My Baby). It's not really a musical though, more of a romantic-comedy. Astaire and Leslie have a wonderful chemistry, especially in their debates over the importance of work in a man's life (Astaire is practically playing a gen-xer here!) Don't listen to the critics, watch this movie, it has biting wit, good music, and will leave you wistfully happy!

Another of the many World War Two films which was intended to demonstrate that everyone had to answer the call to duty, even the wealthy. This one contains characters who find themselves in glamorous places with clever lines and works of classical art. They are into champagne and penthouses, and mandatory dance scenes on ballroom size terraces. There is, and can be, only one star in this film: Fred Astaire. The finest part is his song and dance routine, "One For The Road." This scene is a classic movie moment of which one never tires. When it comes to dancing, the sky is indeed the limit.

Songwriter Alec Wilder once analyzed MY SHINING HOUR as one of the finest songs ever written, and THE SKY'S THE LIMIT serves this terrific song well. Johnny Mercer and Harold Arlen also contributed ONE FOR THE ROAD for this RKO World War II film that remains one of the most underrated and delicious musical comedies of the forties. Fred Astaire swings his way through the not-uninteresting plot, and he is joined by the wondrous Joan Leslie, who, here, once again demonstrates her skill at comedy, drama, and dance. There is a nice, goofy number for Astaire and Leslie early in the film, and a splendid love dance to MY SHINING HOUR later. Assisting them beautifully is Robert Bencheley giving one of his famed "lectures" that stays funny to this day. The ONE FOR MY BABY number by Astaire is pure choreographic genius. The whole enterprise is more relaxed than the Astaire-Rogers films of several years before, although those films cannot be put down. SKY'S... is lighter, frothier, and fun... but with a serious undertone that culminates in a farewell ending all too familiar to those who have sent their loved ones to war. Definitely catch this film....

THE SKY'S THE LIMIT (RKO Radio, 1943), directed by Edward H. Griffith, returns song and dance man Fred Astaire to the studio where history was made with his on-screen partnership opposite Ginger Rogers in their nine musicals from 1933 to 1939. Ten years since his introduction to the screen, and having acquired new dancing partners ranging from Eleanor Powell at MGM and Rita Hayworth at Columbia, Astaire takes a sentimental journey back to where it all began, with Joan Leslie, on loan from Warner Brothers, as his co-star in a war-time theme quite popular in the 1940s. A routine story that could very well have been used as any one of the Astaire and Rogers collaborations, THE SKY'S THE LIMIT, minus the lavish sets, with an in-joke reference to Ginger Rogers, is a shining hour and a half of old-fashioned screen entertainment.

Plot Summary: Set during World War II, Fred Atwell (Fred Astaire), a Flying Tiger pilot, along with his buddies, Reginald "Red" Fenton (Robert Ryan) and Dick Merlin (Richard Davies), becomes a celebrated war heroes and center of attention in a ticker tape parade. Because they are scheduled to do personal appearances during their ten day leave, with no time for themselves, Fred breaks away from a national tour on the next train stop, hitching rides into the city, changing into cowboy attire and having a perfect furlough for himself. He later encounters Joan Manyon (Joan Leslie), a photographer on assignment at the Colonial Club, and takes an interest in her. Coping with Fred's constant annoyance to get acquainted, she has her work cut out for her with her employer, Phil Harriman (Robert Benchley) who keeps her from important overseas assignments in order to keep her near him with the hope she'll say yes to his marriage proposals. As a toss-up, Joan starts dating Fred, who by now has moved into her apartment building to be near her. By the time Joan starts showing an interest in Fred, "Red" and Dick step in on Fred's territory, Dick dancing with Joan while "Red" forces Fred to do a snail dance on top of the table in public in order to keep Joan, who believes Fred to be an unemployed drifter, from learning his true identity. A strain in their relationship takes its toll with Joan wanting Fred to find work, but when he turns down good job offers, she starts doubting whether Fred cares for her or not.

The motion picture soundtrack with songs by Harold Arlen and Johnny Mercer include: "My Shining Hour" (sung by Joan Leslie); "My Shining Hour" (sung by Fred Astaire); "I've Got a Lot in Common With You" (sung and danced by Astaire and Leslie); "My Shining Hour" (danced by Astaire and Leslie) and "One for My Baby" (sung and danced by Astaire). While "My Shining Hour" received an Academy Award nomination as best song, it's "One for My Baby" that's as memorable as Astaire's now classic solo dance number. For an Astaire musical, the songs are few and far between, with the emphasis striving more on plot than music. An old song standard, "Three Little Words" can be heard instrumentally as dance music conducted in the night club sequence by Freddie Slack and his Orchestra.

The supporting cast consists of some familiar faces, including Elizabeth Patterson (Millie Fisher, the landlady); Marjorie Gateson (The Canteen Hostess); Clarence Kolb (Harvey S. Sloan), along with Paul Hurst, Olin Howland and Clarence Muse in smaller roles. For anyone familiar with the Astaire & Rogers musicals of the 1930s might get a feel of nostalgia seeing their co-star of five musicals, Eric Blore, working opposite Astaire for the last time, appearing briefly as Jackson, the valet, or as he phrases it, "a gentleman's gentleman." Blore's cameo lasts slightly over a minute and goes without any screen credit.

In spite of Astaire's name heading the cast, it is evident by the film's conclusion that THE SKY'S THE LIMIT belongs to Joan Leslie, a very popular leading lady during the World War II years. Still in her late teens and assuming the role of a woman in her twenties, she handles her assignment well, although she's much too young to be having the likes of middle-aged Benchley and slightly younger Astaire going after her. Nicely paced at 89 minutes, it's only slow point goes to humorist Robert Benchley acting as guest of honor of a Sloan Air Craft benefit where he attempts reading a 1936 chart to the guests, a routine reminiscent to one of his many comedy shorts that doesn't seem to work well by today's standards.

As entertaining as it is underrated, THE SKY'S THE LIMIT, distributed on video cassette through Turner Home Entertainment during the 1990s, and formerly shown on American Movie Classics prior to 2001, can be seen periodically on Turner Classic Movies. (***1/2)