Entrons dans la danse

Except this vehicle is nothing like their other films at RKO. This is a MGM musical in the big MGM tradition. The whole thing was an accident. Judy Garland was supposed to have Ginger Rogers' role, but her chronic illness made a replacement necessary. Rogers and Astaire have the same old chemistry even if it is a different studio. They play feuding song and dance team Josh and Dinah Barkeley who break up personally and professionally over Dinah's desire to do dramatic acting and Josh's jealousy over who the author of the play is - a flirty Frenchman, Jacques.

At first Josh says he wants Dinah to fall on her face. But when he sees her actually stumble in rehearsals when he sneaks in to catch a peek, he blames it all on Jacques, who he says does not know how to direct her. So Josh comes up with a ruse in which he calls Dinah after rehearsals and pretends to be Jacques, complete with fake French accent, giving her cues on how to improve her performance based on what he has seen. Unfortunately it works too well. Dinah thinks even more of Jacques since he is helping her out with great tips, and Jacques is bowled over by Dinah's inexplicable improvement. How will this work out? Watch and find out.

Of course MGM spared no expense in the late 40s with the Arthur Freed unit, which made this film. There is beautiful Technicolor, comedy and masterful piano work from Oscar Levant, a great piece of special effects work by MGM and dancing by Astaire in the number "Shoes with Wings On" in which Astaire seems to be dancing side by side with pairs of tap shoes, and a ballroom number in which Fred and Ginger dance to "They Can't Take That Away From Me". Fred sang it to Ginger but the two did not dance to it in 1937's "Shall We Dance". Finally, Ginger's recitation of "La Marseillaise" when she plays "Young Sarah Bernhardt" in Jacques' play is a (probably) unintentional camp classic. Fortunately the French are forgiving people.

It was an unexpected reunion, but for fans of the big MGM musicals of the period and of Fred and Ginger in particular, I would highly recommend it.

Nice to see that when Ginger Rogers put her dancing shoes on again for a reunion with Astaire, she was still a great trouper even though years had flown by in films without Fred. Lucky she was available! Seems that Judy Garland was unable to go on and had to be replaced by Ginger who was relaxing at her farm in Oregon. The script by Betty and Adolph Green had to be revamped to suit Fred and Ginger--and the result is pure gold! Rumors had it that Judy wasn't too happy about being replaced and gave Ginger a hard time by showing up on the set. None of the strain shows in Ginger's performance.

By no means is the storyline a new one--but the manner in which Fred, Ginger, Oscar Levant, Billie Burke and others play it is what makes the film so watchable. And the singing and dancing numbers can't be faulted. Fred has his solo routine with "Shoes With Wings On" (a number, by the way, which would have been impossible to perform on a real stage as he does here)-- but things like that never bothered filmgoers in the '40s. Ginger and Fred have a fine time with their 'My One and Only Highland Fling' routine (in kilts with brogues) and join forces for an elegant version of 'They Can't Take That Away From Me' in formal attire which -- for me at least -- was the highlight of their team effort. Acid-tongued Oscar Levant has plenty of chance to dazzle too with his nimble piano work on 'Sabre Dance' and even joins the two for "A Walk in the Country" which gets the story off to a jaunty start.

Though Judy's fans missed the opportunity to see her again with Astaire after "Easter Parade", nobody was disappointed with the results. For their fans, this was their only chance to see Fred and Ginger together in a Technicolor musical with no expense spared. The results were Grade A entertainment.

Ginger's Sarah Bernhardt recitation has become a camp classic--good for laughs! The less said about it, the better. Nevertheless, it's easy to see why Astaire welcomed her back with open arms.

I see written everywhere (thus replicating the words of Leonard Maltin in his 'Movie and Video Guide') that Ginger Rogers declaiming 'La Marseillaise' at the end of 'The Barkleys of Broadway' is the LOW POINT of the movie. Let me say that, as a French viewer, I totally disagree. What Miss Rogers does here is remarkable on the contrary: she actually brilliantly mimics her model, drama diva Sarah Bernhardt whose style of acting was pompous and bombastic. Such a style sure looks very outdated today but was very much admired and in demand at the time. Now, just imagine Sarah had underplayed her scene the way Ginger does so well in other circumstances, she would never have been accepted by the stiff and starchy jury of the Comédie Française! Even more impressive is the American actress's accent: she indeed delivers her tirade in more than passable French. Well, Americans may think this sequence ridiculous, but not French people. In any case, gallically speaking, it by no means constitutes a LOW but a HIGH POINT of this altogether excellent musical comedy.

Bickering husband and wife musical comedy team break up over her ambitions to become a dramatic actress. Final Fred & Ginger movie and their only film in color. Doesn't seem to get a lot of love but I enjoyed it. Fred and Ginger still play well off of each other, though admittedly the script doesn't have any of the sexual tension or playful banter of their more classic films. The bickering is nowhere near as bad as other reviewers have said, though. I felt the relationship between the two was very loving.

Ginger is absolutely gorgeous in Technicolor. I can't remember her ever looking so radiant. Her wardrobe was great, too. Speaking of beauties, I have to mention lovely Carol Brewster who had a small part but caught my eye. She looked quite fetching as well. Cutie Gale Robbins is fun as Ginger's understudy. Oscar Levant is great as their friend. He also has a couple of nice piano numbers.

The musical numbers are good. The Scottish number, Fred's solo number, and "They Can't Take That Away from Me" were all excellent. But whose brilliant idea was it to ruin the opening (and probably best) dance number by putting the opening credits over it? Regardless, it's a good movie with some solid musical numbers, luscious Technicolor, and the great Fred & Ginger in their last film.

The couple Josh (Fred Astaire) and Dinah Barkley (Ginger Rogers) are successful musical comedy artists in Broadway and perfect on stage. However, they frequently argue with each other backstage and at home and the perfectionist Josh usually questions the performance of his wife. Their close friend and pianist Ezra Millar (Oscar Levant) usually calms them down.

When Dinah is introduced to the playwright and director Jacques Pierre Barredout (Jacques Francois), he believes that she is a great dramatic actress and offers a lead role in his play to her. After an argument with Josh, Dinah splits up with her husband and decides to pursue the career of actress. The stubborn Josh misses Dinah and secretly helps her in her new career but none of them seems to give in.

"The Barkleys of Broadway" is another musical comedy with Fred Astaire and Ginger Rogers, but in Technicolor. This time, in addition to the beautiful numbers of Fred and Ginger, Oscar Levant wonderfully plays Tchaikovsky. My vote is six.

Title (Brazil): "Ciúme, Sinal de Amor" ("Jealousy, Sign of Love")