Showman Jerry Travers is working for producer Horace Hardwick in London. Jerry demonstrates his new dance steps late one night in Horace’s hotel, much to the annoyance of sleeping Dale Tremont below. She goes upstairs to complain and the two are immediately attracted to each other.
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A milestone as far as entertainment as art goes. Every aspect of the film is crafted simply with the intention of light hearted fun but in doing so creates fantasy world that feels unsurpassed even in the face of today's blockbusters. While the art deco design is one of the great set designs in film, it's Astaire and Rodgers who are the auteurs sculpting a dreamlike quality with their mere presence. Masterpiece.
This is a delightfully fun romantic musical comedy that offers up some great laughs and gags. Astaire may have not been the best of actors but he had charisma coming out of his ears with more gracefullness than an angel and his chemistry with Ginger Rogers is unrivaled. Hollywood's golden age when movies were pure fantasy, literally the sets feel like you're in a whole other world of cinematic design.
Largely dull tap dance scenes, with bland and solo musical numbers. The one thing that separates dramatic realism from the often-irritating differentiation of ‘genre’ isn’t dramatic narrative or emotional affection... but the way it gives you something you cannot see in real life and therefore allows the narrative to slow down for those set pieces. So, where was the in-ordinary in the musical genre-film, Top Hat?
It is my first Fred Astaire & Ginger Rogers, and my first encounter with the visual embodiment of "Chick to Chick". I loved every bit of it, especially the routine in the park ("Isn`t it a lovely Day?")
Destructive tendencies are inherently masculine. A screwball comedy burdened with a convoluted narrative of mistaken identity that, regrettably, does not allow for as many virtuosic dance numbers as Swing Time, Blue Skies or Royal Wedding. E. Everett Horton's best work remains his Fractured Fairy Tales narrations, but his queer domestic relationship with Eric Blore's valet character is doubtlessly fabulous.
A marriage of music and film, comedy and dance, heart and soul; conveying the character development not through words, but through dance. Each number shot with breath-taking simplicity(the lack of cuts is astonishing), and where Astaire is technical, Rogers is emotive, revealing changing emotions in each movement, and the film wonderfully shows us how, when cheek to cheek, these two are perfect together.