O Picolino

The dancer Jerry Travers (Fred Astaire) meets his friend and producer Horace Hardwick (Edward Everett Horton) at the conservative Thackeray Club in London and Horace invites Jerry to spend the night in his hotel. Jerry is excited with the show and has a "dance attack", tap dancing in the room and disturbing the guest Dale Tremont (Ginger Rogers) that is lodged in the room below. Dale goes upstairs to complain against the noise and meets Jerry and they flirt with each other.

On the next morning, Dale mistakes the single Jerry for the married Horace and becomes upset with her flirtation. When she learns that Horace is the husband of her friend Helen Broderick (Madge Hardwick), there are many complications and confusions in the lives of the two friends.

"Top Hat" is another wonderful film from the Golden Age of Hollywood, with delightful confusion and musical numbers. The gags are very funny and the song "Cheek to Cheek" was nominated to the 1936 Oscar in the category Best Music, Original Song. My vote is eight.

Title (Brazil): "O Picolino"

"Top Hat" is one of the best films Fred Astaire and Ginger Rogers made together. Jay Sandrich, the director of most of their films knew what to bring to the story to make it perfect. It also helps the genial Irving Berlin was on hand to write some of his most beautiful songs to be sung in Fred Astaire's usual impeccable style. The sets were designed by Van Nest Polglase, who is equally at home showing Manhattan interiors as well as the Venetian fantasy sets.

Much has been said in this forum about the film, so we'll only add that Fred Astaire's Jerry was one of his best creations. Ginger Rogers as Dale Tremont, the high fashion model, shows an exquisite figure and is fine in keeping pace with Fred Astaire's dancing "cheek to cheek". The other best thing about "Top Hat" are: Edward Everett Horton, Helen Broderick, and Eric Blore. These three character actors are at their finest in the film. They make everything work because they are always there to lend a hand for the stars to shine without being on the way.

"Top Hat" is a happy film that keeps delighting viewers any time one is lucky enough to fall under its spell.

When whipping up the froth of a musical comedy most creators and commentators forget that fateful second word . . . COMEDY. Not to take away from Astaire & Rogers' beautiful balletic grace, but no one ever gave more comedy more modestly yet more professionally than Edward Everett Horton. His triple-barreled name alone suggests haughty dignity and sniffing puritanism, and his role in this film, as in so many others, gives him ample scope to screw up his mouth in petty disdain, look aghast at social blunders, and sputter in disbelief over the foibles of others while generously ignoring his own idiocies. Horton is a reactor, one which boosts a fairly pedestrian plot to the Moon & beyond. Like Margret DuMont with the Marx Brothers, there is something about the pernickity Horton that begs us to tilt his top hat and fling a banana peel his way just for the delightful reaction we are sure of getting. Perplexed or chagrined, the hatchet-faced Horton is a monument to the lost art of supporting clown -- those dumb bunnies and prissy busybodies that used to inhabit movies and give them life & breath even when the big-shot stars were off the screen. Horton had impeccable timing in delivering a line or flashing a double-take -- you feel he could just as easily count the nano-seconds between the neutron pulses of an atom. If he seems to intrude too much into the musical numbers of this movie it's simply because the director/editor must have been overly fond of his coy mugging. I recommend that music lovers rewatch this film and concentrate on Edward Everett Horton. Your attention will be well-rewarded with deep chuckles and an abiding affection for this New England zany.

If you're a fan of FRED ASTAIRE and GINGER ROGERS and their predictable screwball comedies of the '30s, you'll find this one is easy to take. First of all, the score by Irving Berlin has a variety of catchy tunes although I can't say it's his greatest, and all of the mistaken identity plot is performed with such grace by the famous dancing duo and their marvelous supporting cast that it's all as light as the feathers on Ginger's "Cheek to Cheek" dress.

Speaking of which--for me, the "Cheek to Cheek" number is worth watching just to see how skillful the two dance the number although fully aware that Astaire objected strenuously to Ginger's feathered dress. Nevertheless, it's the dancing highlight of the film, much better than the "Piccolino" number that is used for the finale.

Eric Blore and Erik Rhodes outdo themselves in great comic support. Blore we almost take for granted at this point, but Rhodes with his silly Italian accent is a scene-stealer too. His Bettini, the dressmaker, offers some of the heartiest chuckles.

Astaire is top flight here--graceful, athletic, and young enough to be seen as a dancing Cary Grant--and Ginger matches him every dancing step of the way. She's particularly delightful in the rainy park sequence for "Isn't It A Lovely Day?" And for the "Cheek to Cheek" sequence she has a braided hairdo that gives her an ultra-sophisticated, princess-like look. When she and Astaire dance, they can do no wrong.

He, of course, is more skillful with a song than she is, his voice perfectly able to deliver all the Irving Berlin numbers assigned to him, while she barely gets by with her rendition of the "Piccolino".

Great fun to watch--rainy day or not. And those art deco backgrounds for hotel rooms and Venice are a knockout. The pristine print of the film shown on TCM recently really made them stand out in glowing splendor.

I'm only just now beginning to realize how silly the plot and some of the comedy was in this movie. When I watched it, it was perfectly wonderful, and I smiled all the way through. Fred and Ginger, of course, are perfect, whether dancing so memorably to the likes of "Isn't It a Lovely Day" and "Cheek to Cheek" or pitching woo. Edward Everett Horton, Eric Blore, and Helen Broderick kept it moving with their throughly entertaining comedy relief. Even almost 65 years after its premeire, it's still in tip-top condition, both in the print and in its impact, on first viewing, at least. (I'm afraid to watch it again, for fear the impact will be destroyed.)

I've seen almost all of Fred and Ginger's pictures since viewing this. Some are good, some less so, and all have their moments of excellence. But none of them matched this one in my mind for sheer feel-goodness. The ones that came closest were Swing Time, Shall We Dance, and The Story of Vernon and Irene Castle and The Barkleys of Broadway, the last two because they had quite plausible stories, (and in the case of Castle, one based on real life). But still, Top Hat is Fred and Ginger at their best, and hopefully will always stay that way in my mind.