Voglio danzare con te

This film (one of the better ones Astaire and Rogers did) probably doesn't get quite the praise it merits because Top Hat and The Gay Divorcee are so widely praised (rightly so). But this movie is equally well executed and any movie that has in it's score the songs, "Shall We Dance", "Let's Call the Whole Thing Off" and especially "They Can't Take That Away" deserves to be warmly remembered. There's a score by Gershwin, dancing by Astaire, Rogers and others and Edard Everett Horton and Eric Blore in support (they appeared in so many of the Astaire-Rogers films that their casting must have been legally required!). Well worth your time. Recommended.

It was a delight to come across the movie on DVD. 'Shall We Dance' was the only Fred and Ginger movie of 1937 and didn't do as well as previous efforts, making less than half a million dollars profit at the time (ref. 'The RKO Story' by Jewell and Harbin). Obviously I'd never be able to pick a money-maker as I found it totally brilliant from beginning to end! A wonderful sound track and beautiful score - the only one George and Ira Gershwin ever wrote for Fred and Ginger, more's the pity.

The skimpy story involving romances, misunderstandings and a luxury liner across the Atlantic has been done numerous times but here it seems to work, thanks to the wonderful Eric Blore, Edward Everett Horton and a good supporting cast, with the exception of Ketti Gallian. This lady seems out of place, not unlike the unfortunate Randolph Scott in 'Follow the Fleet'. The musical numbers are a knockout, especially the ship's engine room and roller-skating sequences. Fred plays one of his most endearing parts while Ginger is spellbindingly gorgeous. Viewing a sharp transfer really does show up a lot of things missed when watching less than good prints on television. Ginger's eyes kept me transfixed whenever she appeared :)

A movie to be viewed, and enjoyed, again and again. As good as 'Swing Time' and not far short of my favourite Fred and Ginger movie, 'Flying Down to Rio'.

"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.

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.

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!