Shall We Dance (1937)

Why so much hype?

Save your money for something good and enjoyable

Good movie, but best of all time? Hardly . . .

Great movie. Not sure what people expected but I found it highly entertaining.

A really dull Astaire/Rogers vehicle that doesn't have anywhere near as much pizazz as "Top Hat" or their best film together, "Swing Time." The plot isn't worth summarizing, because there isn't much of one. There never is in movies like this, which doesn't necessarily have to be a problem. But there's not much of anything else in this film to make up for the lack of story, not humor, not energy, and not even really good musical numbers. It's a good half hour into the movie before Astaire gets to really cut loose in a full-blown production number, one set in the engine room of a ocean liner, and that ends up being the highlight. His dances with Ginger aren't especially memorable, except for one performed on roller skates, and that's only so because Ginger looks somewhat uncertain on them and close to wiping out a couple of times. Character actors Edward Everett Horton and Eric Blore, staples of these films, provide their requisite comedy schtick that feels tired this time around.Sorry to say, but the answer to "Shall We Dance" is "nah...I'll find another partner, thank you very much."Grade: C-

Fred Astaire plays a ballet dancer who falls in love with musical revue star Ginger Rogers. The two cross the Atlantic on the same ship with Fred managing to make some headway with her before rumors, misunderstandings, and publicity stunts come between them. The stars shine brightly with that wonderful chemistry they displayed in every movie. Fun support from Edward Everett Horton, Eric Blore, and Jerome Cowan. Great music by George and Ira Gershwin. Some of the classic musical numbers include "Let's Call the Whole Thing Off," "They All Laughed (at Christopher Columbus)", "Slap That Bass," and "They Can't Take That Away from Me." Really good stuff. Not my favorite Fred & Ginger movie but it's solid fun that should put smiles on the faces of most viewers.

One of the things about the RKO musicals is that, though they seem dated now, at the time they were the very epitome of chic modernity. Or at least, that's what they aimed to be. Shall We Dance begins by lambasting the "stuffy" world of ballet in favour of the "fun" of jazz. The Fred and Ginger series was itself starting to run out of steam a bit by now, and it's hard not to see this as part of an increasing desperation to seem trendy and relevant.Shall We Dance is arguably the most prestigious of the Astaire-Rogers musicals, with several large-scale dance numbers and music by the brothers Gershwin, high priests of early jazz. The big dance routines are all very well, but it seems a shame the Shall We Dance relies upon them so much when the magic of these pictures was in the simple couple numbers. The Gershwin contribution is of greater significance, and there are some lovely songs included here. George Gershwin's tendency to incorporate classical music forms is actually rather appropriate for the theme of ballet dancer turning to tap.In trying to keep the formula interesting, the writers of these musicals were always trying to come up with new things for Astaire to do. His ability to dance comically had already transformed the dance musical, but now there is more focus on his comic acting. His occasional delving into the extravagant Russian stereotype seems like a spiritual ancestor of Harrison Ford's Scottish Laird routine in Last Crusade. It's not exactly the sort of thing to kick off a career as a comedian, but it is amusing through its sheer badness. Unfortunately, it looks like many of Fred's shenanigans here were at the expense of decent screen moments for Ginger. Keeping some consistency in the series are appearances by Edward Everett Horton and Eric Blore, who are as wonderful as ever.Long-term Astaire-Rogers director Mark Sandrich brings his usual lyrical touch to proceedings. His flair with elaborate long takes is highlighted in the nice flowing opening scene, introducing Fred's "Petrov" alter-ego and Horton's character via paintings, in one sweeping camera move. His real forte was in beautifully discrete introductions to songs. "They Can't Take That Away from Me" is established with a long static dialogue scene, Ginger with her back to Fred. When Astaire slides into the song, the shot and angle don't change and it just seems a totally natural progression of the scene. Towards the end of it he throws in a pay-off with an emotional close-up of Rogers. Done like this, the number is worth more than all the over-sized dance-offs put together.All in all Shall We Dance is a fairly run-of-the-mill Astaire-Rogers musical. Falling short of classic status, it's really just a twee bit of 30s nostalgia – the music, the story, those big white sets like the interior of some art deco spaceship. It's far from bad, but the series had by now seen its best days.

In order to fend off an admiring ballerina, phony Russian ballet star Fred Astaire (as Peter "Petrov" Peters) falsely claims he's married to a beautiful American musical star he admires, Ginger Rogers (as Linda Keene). To complicate matters, and get closer to lovely Ms. Rogers, Mr. Astaire joins her on a ship leaving France for New York. On board, Rogers treats Astaire with disdain, while gossiping newspapers report their "secret wedding" and "blessed event". Can Astaire's elegant charm, and sweet singing, win Rogers' heart…for real? "Shall We Dance" dutifully duplicated the success of previous Astaire/Rogers box office hits.Astaire issued his standard three 78 RPM Brunswick singles, which proceeded to saturate radio waves, and effortlessly made "Hit Parades" during the spring of 1937 - peaking in the following positions: "They Can't Take That Away from Me" (#1) / "(I've Got) Beginner's Luck" (#13), "Shall We Dance?" (#3) / "Let's Call the Whole Thing Off" (#5), and Astaire's version of Rogers' film song "They All Laughed" (#6) / "Slap That Bass". The wonderful George & Ira Gershwin written songs, and the workmanship RKO/Astaire/Rogers delivery, is what really keeps the film's flimsy, formulaic story above board.******** Shall We Dance (1937) Mark Sandrich ~ Fred Astaire, Ginger Rogers, Eric Blore