Astaire & Rogers
Collector's Edition, Ultimate Collector's Edition
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The Astaire-Rogers films mix light romantic comedy (usually centered around mistaken identities and ending, inevitably, in blissful wedding promises) with elegant dinner wear and surreal sets intended to transport '30s audiences away from the Depression to such locales as Rio, Paris, and Venice. The two stars are also aided by a recurring stable of RKO players such as Edward Everett Horton (master of the double-take), Eric Blore, and Helen Broderick. And then there's that sensational dancing set to great songs by the likes of Irving Berlin, George and Ira Gershwin, and Jerome Kern, numbers that are not merely entertaining but also innovative for their time in that they reveal character and advance the plot. Add it all up, and you have a recipe for an irrepressible joie de vivre that practically defines the movie musical.
Flying Down to Rio (1933) headlined Dolores Del Rio and Gene Raymond, but it was the fourth- and fifth-billed stars who would rewrite cinematic history. Astaire and Rogers had limited screen time, but were still able to establish many of the trademarks of their later films. The heart of the film is "The Carioca," a company dance extravaganza in which they take the floor together for the first time; their eyes meet and their foreheads touch. Their dance lasts only a few minutes, but it was the highlight of the film and audiences wanted more. The Gay Divorcee (1934) is their best early picture, a loose adaptation of Astaire's stage show, 'The Gay Divorce.' The only song retained for the movie is Cole Porter's smash hit "Night and Day," which is the setting for a sublime pas de deux between Fred and Ginger. The closer is the sprawling 17-minute ensemble number "The Continental." Roberta (1935) was a step backward, with too much time spent on 1930s Parisian fashion and the romance between top-billed Irene Dunne (who gets the best Jerome Kern ballads, "Yesterdays" and "Smoke Gets in Your Eyes") and Randolph Scott. But as the second-banana couple Astaire and Rogers still get a tap battle, a romantic duet, and plenty of comic banter.
With a score by Irving Berlin, Top Hat (1935) is most famous for two numbers, Astaire's definitive tuxedo setting "Top Hat, White Tie, and Tails" and the feathery duet "Cheek to Cheek." But other joys include Astaire's "Fancy Free" declaration, "Isn't It a Lovely Day," and the grand finale "The Piccolino." Follow the Fleet (1936) changes the pace a bit, with Astaire playing a sailor, and it suffers from making him and Rogers the second-banana couple to the dull Randolph Scott and Harriet Hilliard. But it still has plenty of laughs and some classic Irving Berlin numbers, including "Let Yourself Go," which Rogers sings before she and Astaire compete in a dance contest; a Rogers solo tap number; "I'm Putting All My Eggs in One Basket," their best comic dance. The pièce de résistance is "Let's Face the Music and Dance," a show within a show in which the pair dons their customary evening formals. Effortlessly flowing from pantomime to song to dance, this sublime piece of storytelling is one of the series' defining moments. Maybe their most enjoyable picture, Swing Time (1936) features the set-piece "Pick Yourself Up," in which Rogers "teaches" Astaire to dance before they break into a spectacular number; the farewell ode "Never Gonna Dance," and the Oscar-winning "Just the Way You Look Tonight," from the team of Jerome Kern and Dorothy Fields.
Shall We Dance (1937) has a complex plot that has Astaire and Rogers actually getting married before the final credits roll, and turns George and Ira Gershwin's brilliant "They Can't Take That Away from Me" into a heartbreaking ode. Other great songs include "Slap That Bass," "They All Laughed," and "Let's Call the Whole Thing Off," unforgettably performed on roller skates. The eighth and ninth entries in the series tried some different approaches, with the underrated Carefree (1938) more of a comedy vehicle for Ginger (yet still including some fine dances and Irving Berlin songs as well as their first onscreen kiss) and The Story of Vernon and Irene Castle (1939) portraying the pair as historical dancing stars and using a score of turn-of-the-century standards. The Barkleys of Broadway (1949) is the oddity, reuniting the stars 10 years after their last RKO picture when Judy Garland had to be replaced due to health problems. It's trademark MGM: splashy colors, Fred in a gimmicky solo number (playing sorcerer's apprentice to a line of unoccupied shoes), Oscar Levant providing his usual dynamic pianism and acerbic personality, and a score that is at its best when it borrows songs from a previous generation (including the big ballroom number set to "They Can't Take That Away from Me"). The film falls short of their best work, but serves as a fond remembrance of the most glorious partnership in film history. --David Horiuchi
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I had read what others had said but I naively thought the problem would have by now been fixed. I can't see any way to get this collection with all the discs working. Shame on sellers who are knowingly shipping a broken product. I'd return it, but it looks like I'd get the same broken collection back for my trouble.
My rating is for the manufacturing quality of the disc set not for the wonderful movies. Fred and Ginger are five stars and their legacy deserves to be treated better than this defective offering from Warner.
To complete the set I took a chance and ordered the single disc of the Castle movie from Amazon. It turned out to be a perfect match of the defective disc in the set but it played through perfectly. I contacted Amazon about this and they refunded my price of the extra disc I had to buy to complete my set. Kudos to Amazon on that.
This scene from The Green Mile resonated for me because I can watch Astaire and Rogers dance in these wonderful films again and again. They move as one, both talented, both sure, both exuding a transcendent star quaility which will probably never be seen again. They are indeed angels. Sure, some of the plots are silly, even leaden. Sure, the dialogue can be contrived. But then these two legends begin to dance, and nothing else matters.
This terrific collection contains all of the movies Astaire and Rogers made together. It should be in every film-lover's library, to be enjoyed repeatedly and shared with children and grandchildren.
In addition to all ten Fred & Ginger films, each of which is its own work of art, there is a wonderful documentary called "Partners in Rhythm," which focuses on the extraordinary chemistry between Fred and Ginger. There are also collectible photos and pressbooks, and everything comes in a neat, small package.
Definitely worth every single penny spent. Any Fred and Ginger fan needs to have this collection. Special thanks to the retailer for shipping so quickly!
I'm glad I have their Ultimate Collection. I have nothing negative to say of this collection or their performances.