La eterna tentación

The Belle of New York is not one of Fred Astaire's best movies but it is nowhere near his worst. Everything about the movie is sweet, charming and light. Vera Ellen is one of the best dancers in Hollywood and a great partner for Fred. The color is beautiful. The sets and the costumes are fantastic, and while it is true it is not one of the strongest stories, there are some good laughs along the way. The music is charming. The dancing is excellent. And the movie just glides along, mostly due to the very plentiful musical numbers. If you want some dramatic tension, look elsewhere. This movie has none. If you like musicals, if you like good dancing, in particular if you like Vera Ellen, this movie is a must see. The quality of the DVD release is excellent.

The Belle of New York is a romantic musical comedy about a rich playboy Charlie Hill, played by the legendary Fred Astaire, who very much falls in love with a girl called Angela Bonfils (Vera Ellen) and he does everything to get this girl to himself. No time and they're getting married.Fred Astaire was a great performer.He could sing, he could dance, he could jump to the sky and fly.In this movie love really makes him fly in the air. The Belle of New York is a nice musical.

It's a shame that someone couldn't have written a better screenplay for the Belle of New York, because there are some wonderful elements in this film. Fred Astaire and Vera-Ellen made a great team. A seductive, charming and talented dancer, Vera-Ellen's graceful yet physical style was a good match for Astaire's smooth elegance. As it is, we only get to see them dance together a few times in the Belle of New York, and most of the time Vera-Ellen is bound up in an unflattering Salvation Army-type uniform. But, hey, it's something. And they do have several good solo turns. Astaire dances on top of the Arch in Washington Square in New York City (or Hollywood's version of New York circa 1900), which is kind of fun. Vera-Ellen does a great job in "Naughty But Nice," finally shedding her austere clothes for a colorful and sexy French Can-Can outfit. And Astaire also sings and dances to what could have been his signature tune, Harry Warren and Johnny Mercer's "I Wanna Be a Dancin' Man."

Alice Pearce provides some much-needed comic relief in a secondary role, and Keenan Wynn and Marjorie Main do their best, but they're pretty much defeated by the weak writing and the undeveloped and uninteresting story. The score by Warren and Mercer is mostly strong. And, as always, Fred's sheer talent, joy and artistry make up for a lot. If you want to see Fred dance on a horse's back (or the Hollywood version of a horse's back) this is your film. But you'll have to get through some pretty campy and technically suspect special effects that show people "dancing on air." For the general viewer, I'd recommend about 20 other Astaire musicals before this one. The Belle of New York is mostly for serious Fred fans, Vera-Ellen fans or those who are in the mood for an inoffensive Technicolor musical about ye olde New-York.

The mostly negative reviews relating to this movie miss the mark. Although the script and special effects are undeniably weak, the partnered dancing of Fred Astaire and Vera-Ellen has never been equaled. One dance of particular note is the finale to the Currier and Ives number. It's simply breathtaking. Don't worry about the plot when you're watching the two best dancers in the history of Hollywood at the zenith of their powers.

This was one of Astaire's few critical and box office losers. The flaws, in hindsight, are obvious. The New York playboy Astaire plays is charming but an emotional light-weight. He finds love eventually and he never loses his charm. Still, he's a shallow guy. The Salvation Army-type lass he falls in love with is played by Vera-Ellen, who was always perky and a supremely proficient dancer. Still, there's something chilly, to my mind, about her dancing. She can do any step Astaire does, but does it with little spontaneity. The smile on her face while she dances never changes. The comedy relief doesn't seem very amusing. The story serves merely as a quick bridge between extended musical numbers. I don't mind this at all, but it does make the story seem like an afterthought.

But the good things are fine. The 1880's Currier and Ives look is warm and charming. The Harry Warren and Johnny Mercer songs are easy to listen to. Most of all, there is Astaire and his dancing. The film features, I think I got this right, eight musical sequences, most of them major productions. Astaire is in all but one. The highlights for me are:

--"Baby Doll," a sweet. wooing number sung by Astaire to Vera-Ellen and then danced in a relaxed and easy-going style by the two.

--"Seeing's Believing" has Astaire singing and dancing around and on the Washington Square Arch. The idea is that love has him floating. The routine uses camera tricks and false backgrounds to create the illusion he's on the top of the arch teetering and tapping. Not for viewers who suffer acrophobia, but this extended Astaire routine is a lot of fun.

--"I Wanna Be a Dancin' Man," is a classic. It's just Astaire, a stage and some sand on the floor. Everything works in this number, including the Warren-Mercer song:

I wanna be a dancin' man while I can, / Gonna leave my footsteps on the sands of time, / If I never leave a dime.

Never be a millionaire, I don't care, / I'll be rich as old King Midas might have been, / Least until the tide comes in.

The Belle of New York is a proficient movie, and you don't have to spend much time waiting for the next dance number to arrive.