You'll Never Get Rich

Rating:
Summary: BETTER LOOKING THAN A LOT OF COLUMBIA "CLASSICS"!
Review: "You'll Never Get Rich" is the first of two musicals Fred Astaire made with Columbia's resident bombshell - Rita Hayworth and although it's light, breezy and brimming to the ceiling with comedy and music - ironically, there's not much for the lovely Ms. Hayworth to do, except tap one solo and dance all too briefly in a contrived song with Astaire. The plot focuses on Astaire's employer - Robert Benchley, whose roving eye gets him in perpetual hot water with his wife. Currently, his eye is on Sheila (Hayworth). But an unlikely affair begins, then stops, then starts up again when Sheila realizes she's falling in love - not with Benchley, but Astaire. How's it end? - with music, fun and good humor; all main staples of the Hollywood film musical at its zenith.
TRANSFER: Well, considering the pure garbage Columbia has been giving classic film buffs of late (Talk of the Town, You Can't Take It With You, The Awful Truth) this DVD is looking pretty snappy! The gray scale is accurately rendered - though several scenes look as though second or third generation film elements were used instead of an original camera negative. There is a definite grain structure to this presentation. Apart from that, the usual aliasing, edge enhancement and pixelization that has accompanied many Columbia titles is thankfully absent herein. The audio is MONO but very nicely balanced and - for its vintage - natural sounding.
EXTRAS: ONLY A COUPLE OF THEATRICAL TRAILERS!!!
BOTTOM LINE: The follow up to this movie (You Were Never Lovelier) is far more engaging musical entertainment but this film showcases Astaire's tapping at some of its very best and it's refreshing to see the lovely Ms. Hayworth in fine comedic and dancing form! Recommended.

Rating:
Summary: BETTER LOOKING THAN A LOT OF COLUMBIA "CLASSICS"!
Review: "You'll Never Get Rich" is the first of two musicals Fred Astaire made with Columbia's resident bombshell - Rita Hayworth and although it's light, breezy and brimming to the ceiling with comedy and music - ironically, there's not much for the lovely Ms. Hayworth to do, except tap one solo and dance all too briefly in a contrived song with Astaire. The plot focuses on Astaire's employer - Robert Benchley, whose roving eye gets him in perpetual hot water with his wife. Currently, his eye is on Sheila (Hayworth). But an unlikely affair begins, then stops, then starts up again when Sheila realizes she's falling in love - not with Benchley, but Astaire. How's it end? - with music, fun and good humor; all main staples of the Hollywood film musical at its zenith.
TRANSFER: Well, considering the pure garbage Columbia has been giving classic film buffs of late (Talk of the Town, You Can't Take It With You, The Awful Truth) this DVD is looking pretty snappy! The gray scale is accurately rendered - though several scenes look as though second or third generation film elements were used instead of an original camera negative. There is a definite grain structure to this presentation. Apart from that, the usual aliasing, edge enhancement and pixelization that has accompanied many Columbia titles is thankfully absent herein. The audio is MONO but very nicely balanced and - for its vintage - natural sounding.
EXTRAS: ONLY A COUPLE OF THEATRICAL TRAILERS!!!
BOTTOM LINE: The follow up to this movie (You Were Never Lovelier) is far more engaging musical entertainment but this film showcases Astaire's tapping at some of its very best and it's refreshing to see the lovely Ms. Hayworth in fine comedic and dancing form! Recommended.

Rating:
Summary: A fun, fast-paced and slightly risque comedy
Review: Fred Astaire meets the draft in this pre-war comedy, featuring Rita Hayworth as a chorine who capures his heart, although she naturally already has a beau, presenting Fred with a challenge he must overcome between stints in the stockade for going AWOL and various other infractions of military law. This tart, well-scripted comedy is a little light on the dancing, but features some of the best, briskest dialogue that came Astaire's way, and a fine supporting cast, including the famous Hollywood "double-talker," Cliff Nazarro, going through his routine in numerous scenes. Hayworth dazzles, as usual, and Fred is in top form. Cole Porter's compositions for this film are not his best work (in fact, I don't think a single tune stuck in my head after watching this one), but they don't detract from the overall charm of this super-fun, class act classic film. Definitely recommended!

Rating:
Summary: Definitely worth a look or two
Review: I'm one of those for whom a second tier Fred Astaire film is still more enjoyable than just about anything without him. And there is no question that Fred is at his best in this one. Unfortunately, he just isn't given first-rate musical material around which to wrap his massive dancing abilities. His partner is the extraordinarily capable Rita Hayworth, who spent her teenage years as her father's dance partner in the years when she was both abused by him and when she looked completely Hispanic (plastic surgery, skin lightening, and dying her hair transformed Rita Cansino into Rita Hayworth). They really do make a nice couple, though Fred had the rare ability to make almost anyone look like they were born to dance with him.

The plot is fairly silly, but anyone who loves thirties and forties movies knows when to cut a film a bit of slack. The cast is not outstanding beyond Fred and Rita, with the notable exception of Robert Benchley. This was actually a crucial point in Benchley's career. He had throughout the thirties maintained a dual movie career as the star of a string of hysterically funny one reelers, in which Benchley instructed the public on "How to" do things, such as "How to Vote" or "How to Read." He actually made one of the first talking shorts still to be seen occasionally, "The Sex Life of a Polyp" (1928, a short that obviously couldn't have been made after 1934 and the imposition of the Code). Benchley also made a host of appearances in rather unimportant films during the decade. Starting with Hitchcock's FOREIGN CORRESPONDENT, however, Benchley began appearing in much higher quality films, including such gems as THE MAJOR AND THE MINOR (in which he plays Ginger Rogers's nemesis) and I MARRIED A WITCH. Unfortunately, he died in 1945.

The film was also extremely crucial for the career of Fred Astaire. He had ended his mythic partnership with Ginger Rogers only two years earlier, and his two following films were both disappointments. SECOND CHORUS was probably the worst film in Astaire's career, and BROADWAY MELODY OF 1940, while containing many wonderful moments, teamed him with legendary tap dancer Eleanor Powell. Emending my statement above, these two did not mesh as dance partners. Powell was too individual a performer, and excelled as a solo dancer, not as part of a team. They also failed to generate any romantic chemistry. YOU'LL NEVER GET RICH, while not a massive success, nonetheless reestablished him as a romantic dance star, and made six more films before his "retirement" in 1946 (he broke it as a favor to Gene Kelly in 1948 when Kelly broke his leg and was unable to film EASTER PARADE--the film "unretired" Astaire and he went on to make ten more musicals before retiring as a dancer).

So, this won't be the greatest musical anyone has ever seen, but it certainly won't be the worst. No Astaire fan would dare to miss it.

Rating:
Summary: Definitely worth a look or two
Review: I'm one of those for whom a second tier Fred Astaire film is still more enjoyable than just about anything without him. And there is no question that Fred is at his best in this one. Unfortunately, he just isn't given first-rate musical material around which to wrap his massive dancing abilities. His partner is the extraordinarily capable Rita Hayworth, who spent her teenage years as her father's dance partner in the years when she was both abused by him and when she looked completely Hispanic (plastic surgery, skin lightening, and dying her hair transformed Rita Cansino into Rita Hayworth). They really do make a nice couple, though Fred had the rare ability to make almost anyone look like they were born to dance with him.

The plot is fairly silly, but anyone who loves thirties and forties movies knows when to cut a film a bit of slack. The cast is not outstanding beyond Fred and Rita, with the notable exception of Robert Benchley. This was actually a crucial point in Benchley's career. He had throughout the thirties maintained a dual movie career as the star of a string of hysterically funny one reelers, in which Benchley instructed the public on "How to" do things, such as "How to Vote" or "How to Read." He actually made one of the first talking shorts still to be seen occasionally, "The Sex Life of a Polyp" (1928, a short that obviously couldn't have been made after 1934 and the imposition of the Code). Benchley also made a host of appearances in rather unimportant films during the decade. Starting with Hitchcock's FOREIGN CORRESPONDENT, however, Benchley began appearing in much higher quality films, including such gems as THE MAJOR AND THE MINOR (in which he plays Ginger Rogers's nemesis) and I MARRIED A WITCH. Unfortunately, he died in 1945.

The film was also extremely crucial for the career of Fred Astaire. He had ended his mythic partnership with Ginger Rogers only two years earlier, and his two following films were both disappointments. SECOND CHORUS was probably the worst film in Astaire's career, and BROADWAY MELODY OF 1940, while containing many wonderful moments, teamed him with legendary tap dancer Eleanor Powell. Emending my statement above, these two did not mesh as dance partners. Powell was too individual a performer, and excelled as a solo dancer, not as part of a team. They also failed to generate any romantic chemistry. YOU'LL NEVER GET RICH, while not a massive success, nonetheless reestablished him as a romantic dance star, and made six more films before his "retirement" in 1946 (he broke it as a favor to Gene Kelly in 1948 when Kelly broke his leg and was unable to film EASTER PARADE--the film "unretired" Astaire and he went on to make ten more musicals before retiring as a dancer).

So, this won't be the greatest musical anyone has ever seen, but it certainly won't be the worst. No Astaire fan would dare to miss it.

Rating:
Summary: Lucky Fred
Review: Not only did Fred Astaire get Ginger and Cyd, he also got Rita Hayworth. But he is so charming in this, you believe he can get Rita, and she is stunning as ever.
Fred starred in two movies with Rita Hayworth, this and "You were Never Lovelier." The second beats this margially, just by having that cute matchmaker plot. But in a lot of ways this movie is almost the better one. The songs in this one don't come almost out of nowhere and the lipsyncing isn't downright obvious.
The writing in this movie was superb, witty lines all over the place. Not forced lines, hoping to be quotable, like you see in the movies today. The doghouse part in the movie was so lovable, didn't seem to look too much like punishment to me.
Martha Tilton sings a song at the end as well and definitely stands out. She didn't seem to be a miscelleanous musical singer...too professional.

Rating:
Summary: Lucky Fred
Review: Not only did Fred Astaire get Ginger and Cyd, he also got Rita Hayworth. But he is so charming in this, you believe he can get Rita, and she is stunning as ever.
Fred starred in two movies with Rita Hayworth, this and "You were Never Lovelier." The second beats this margially, just by having that cute matchmaker plot. But in a lot of ways this movie is almost the better one. The songs in this one don't come almost out of nowhere and the lipsyncing isn't downright obvious.
The writing in this movie was superb, witty lines all over the place. Not forced lines, hoping to be quotable, like you see in the movies today. The doghouse part in the movie was so lovable, didn't seem to look too much like punishment to me.
Martha Tilton sings a song at the end as well and definitely stands out. She didn't seem to be a miscelleanous musical singer...too professional.

Rating:
Summary: You'll never get rich
Review: The best of two pairings of Astaire and Hayworth on film. Though Astaire and Rogers claim primacy amongst dancing partners, it is hard to imagine any actress who generates more heat and incandescent charm onscreen than Hayworth. As lovely as he is talented, she holds her own surprisingly well in a film that finds Astaire spending most of his time in a stockade for going AWOL or somnabulent mishaps and mayhem. His centerpiece number "since I kissed my baby goodbye" by Cole Porter might be his greatest solo number of the 40's, beginning as a sly and ingenious bit of improvisation. The film also benefits from a superb supporting cast with Robert Benchley as Astaire's unctuous boss who attempts to pursue Hayworth while covering his adultery by passing off an unwilling (bold plot device for the breathing world) Astaire as her boyfriend. Astair e was eager to work with Hayworth due to his friendship with her father (a fellow choreographer) and it's not at all hard to discover why. A goofy mid-war comedy well worth using to stave off any rainy day.

Rating:
Summary: You'll never get rich
Review: The best of two pairings of Astaire and Hayworth on film. Though Astaire and Rogers claim primacy amongst dancing partners, it is hard to imagine any actress who generates more heat and incandescent charm onscreen than Hayworth. As lovely as he is talented, she holds her own surprisingly well in a film that finds Astaire spending most of his time in a stockade for going AWOL or somnabulent mishaps and mayhem. His centerpiece number "since I kissed my baby goodbye" by Cole Porter might be his greatest solo number of the 40's, beginning as a sly and ingenious bit of improvisation. The film also benefits from a superb supporting cast with Robert Benchley as Astaire's unctuous boss who attempts to pursue Hayworth while covering his adultery by passing off an unwilling (bold plot device for the breathing world) Astaire as her boyfriend. Astair e was eager to work with Hayworth due to his friendship with her father (a fellow choreographer) and it's not at all hard to discover why. A goofy mid-war comedy well worth using to stave off any rainy day.

Rating:
Summary: So Near And Yet So Far!
Review: This Cole Porter musical is one I've beening trying to get my hands on for a long time. Well, I finally saw it, and I must admit, I was somewhat disappointed. Now, don't get me wrong. I love Cole Porter's music. He's my favorite composer of all time. I love watching Fred Astaire movies, even ones without Ginger Rogers, "Three Little Words" or "Royal Wedding". But, there's something about this movie that's missing.
The beginning of the movie is fine. The story starts out with Robert Benchley (Playing an owner of a theathre Martin Cortland) who has a weakness for the ladies, despite the fact that he's married. Well, Cortland (Benchley) finds himself in trouble when his wife (Frieda Inescort) finds out about his advances, and not to mention a present to Sheila Winthrop (Rita Hayworth). Trying to clear himself, he tells his wife that he of course has no interest in any other woman, and that the present was really given by the director of the theathre, Robert Curtis (Fred Astaire). All of this sounds good, and it is enjoyable to watch. There are also some pretty funny lines along the way, but, the film has no sparkle. And, there are no songs!! Only 3 songs are sung by people, the rest are used for background, or danced to.
One of the reasons I like to watch musicals are for the songs, but, when there are no songs, how can you call it a musical?! Plus, there doesn't seem to be anything special in the dance scenes between Astaire & Hayworth. There's no glamour to it. And the songs are not at the first rate level we'd expect from Cole Porter. The only song I enjoyed was "So Near and Yet So Far", which is kind of like the movie itself. It comes close to being great, but, it escapes itself. The film did have one song that was nominated for an Oscar, "Since I Kissed My Baby Goodbye", which Astaire does not sing, only dances to. The rest of the songs are "The Wedding Cake Walk (Which is sung), Dream Dancing ( A charming song, that no one sings in this movie), & "Shootin' the Works For Uncle Sam (This is sung by Astaire, only it's second rate Porter, at best).
Since there are a few things about this movie I don't like, you have to be asking yourself, why am I giving it 3 stars (Which on my scale is a recommendation)? Well, I do think people should see this if they get the chance to. There are some funny moments to the film, and hearing Astaire sing "So Near and Yet So Far" is enjoyable. And the solo dance numbers by Astaire are fun to watch. The movie is not a total dud, but, we all know Fred Astaire has done better.
Bottom-line: A somewhat enjoyable musical with a score by Cole Porter that doesn't quite hit his high level. Some good dance solos by Astaire, and some nice one-liners by Benchley give the film it's charm. Worth a look.