Most Helpful Customer Reviews
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42 of 43 people found the following review helpful:
5.0 out of 5 stars
The best of the best!, 27 April 2006
If you like hollywood musicals then you will be in for treat! As with most musicals the plot is a little thin, however it has an engaging simplicity that sets it appart from most. In the film Fred Astaire and Eleanor Powell have a fantastic dance routine to Cole Porter's 'begin the beguine' which it has to be said is one of the most amazing tap dance routines of all time! If you watch it for nothing else you must see this!
The film also has a good supporting cast with George Murphy and a brilliant part for Frank Morgan (you will probably recognise him from the Wizard of Oz).
If you like a happy go lucky musical with great performances this is worth the buy!
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16 of 16 people found the following review helpful:
5.0 out of 5 stars
A benchmark in dancing choreography., 26 Jul 2007
This has to be one of the best dance films ever made. Eleanor Powell may not have had the looks of Ginger but judged on this film her footwork was better. Maybe it owes something to the dazzling choreography throughout. I doubt that Fred ever danced better. His male co-star George Murphy is also excellent in a good, though typically uncomplicated storyline. It seems harsh to knock this film but it does have a flaw in that with one notable exception, the songs are not especially memorable. The exception of course is 'Begin the Beguine'. Even so, I still give it 5 stars, its a classic!
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21 of 22 people found the following review helpful:
4.0 out of 5 stars
Astaire, Powell and Begin the Beguine!, 8 Aug 2007
There's little reason to see this Fred Astaire-Eleanor Powell movie except for the dance numbers--and they provide the best reasons in the world. The plot involves a song-and-dance team (Astaire and George Murphy), a Broadway show with a big star (Eleanor Powell), mistaken identity, true friendship and boy gets girl.
Most of the dance numbers, however, are extraordinary, with songs by Cole Porter. Powell sings and taps out "I Am the Captain" in a major production number featuring big sets and lots of chorus boys. She shows why she was a great tap dancer and a major musical star who could carry a movie by herself. Astaire and Murphy do "Please Don't Monkey With Broadway," a fine example of a song-and-dance tap act that involves intricate patterns, humor, even a mock duel. "I Concentrate on You" is a great Porter standard written for the movie. "I've Got My Eyes on You" is a first-rate light romantic ballad that is a solid Astaire solo number. He was a good piano player and shows it with this number. He's backstage and dances with a photograph of Powell over and around props and furniture, and at one point uses a small ball which he seems to have mesmerized to do his bidding. He was always great using objects, and he was great because he rehearsed endlessly. He's got that ball's number. The showstopper, of course, is "Begin the Beguine." It's a big production number that starts with Astaire and Powell in costume, then moves to singers, then moves back to Astaire and Powell. This is the portion that gets the raves. She's in a white dress, he's in a white tux. They're tap dancing on a mirror-finish black floor. Off camera Artie Shaw and his orchestra continues with the song. They start tapping together, move to a challenge tap, then come back together in an extraordinary tap routine that involves them circling each other, throwing up their arms in counterpoint to their tapping and to each other. This part is excerpted in That's Entertainment. Sinatra introduces the excerpt by saying that you won't see anything like it again. I don't think anyone would disagree.
Fans of Astaire might consider getting a copy of Arlene Croce's The Fred Astaire and Ginger Rogers Book. Croce was the dance critic for the New Yorker. She goes through each of the Astaire-Rogers movies explaining the background, how the dance numbers were developed and analysing why Astaire was as great as he was. It's an interesting book.
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