Karry Best movie of this year hands down!

ThiefHott Too much of everything

BeSummers Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

vert001 THE BARKLEYS OF Broadway has a script written by Comden and Green for Astaire and Judy Garland as a followup to EASTER PARADE. The script doesn't seem to have been much changed when Ginger Rogers came on board to replace Judy. Ginger, having signed a contract with a new studio (Enterprise Studios, which to the surprise of the industry wound up making very few movies before going bankrupt) hadn't done much of anything for about 2 years other than reading possible scripts, and was available. Most of the musical numbers would receive a radical makeover, though 'A Weekend in the Country' still seems very much like a stroll down the Yellow Brick Road.At the ages of 38 and 50, Rogers and Astaire serve as the oldest couple that I know of to headline a musical comedy, and it was probably a good idea to make them an established married pair rather than to repeat the courting rituals of the usual (and the usual Astaire/Rogers) musical. Unfortunately, the musical numbers are not especially well-integrated into the plot. Oscar Levant's Tchaikovsky interlude, spectacular as the playing is in itself, does nothing but kill time as we wait for the emotional climax of 'They Can't Take That Away From Me'. Similarly, Astaire's solo with the dancing shoes is impressive, but it stops the plot cold immediately after a dramatic turning point, Dinah's walking out on Josh. These interludes, plus a generally pokey second half, stretch the proceedings out to an uncomfortable length. And there's no ultimate reward for it, as the great 'Let's Face The Music And Dance' had been for the overlong FOLLOW THE FLEET. And most of all, one must wonder at the idea of burying the first dance number beneath the opening credits! Decisions don't get any dumber than that.Whatever the movie may have been like with Judy Garland, it is laden with the mystic chords of memory with Ginger Rogers as one of its stars. For some reason, somebody seems to have had ROBERTA on their minds. The best number in BARKLEYS, 'Bouncing the Blues', sees Fred and Ginger dressed in very similar costumes to those they wore in the great tap dance number 'Hard to Handle' from ROBERTA. Where the earlier number is graced by spontaneous ejaculations from Ginger and Fred, 'Bouncing the Blues' is burdened by forced (recorded) interjections from Fred, and it's no accident that such echoes are on the final sound track. Also, the romantic ballad 'Smoke Gets In Your Eyes' dance ends with Fred taking Ginger's hand as they exit stage right to be met with her loving gaze as prelude to a comedic proposal and acceptance (she proposes, he accepts); in BARKLEYS, 'They Can't Take That Away From Me' ends exit stage left with Fred similarly taking Ginger's hand, but this time she turns her face down and away from him as prelude to rejecting his proposal to get back together. It's quite effective if you notice it, but I'm not sure that many will (John Mueller, author of ASTAIRE DANCING, thinks that the 'Highland Fling' number is a parody of the 'Night and Day' dance from THE GAY Divorcée. I've never been able to see that myself). For good or ill, the movie centers around the character of Dinah Barkley. That's mostly good, though Ginger's turn as Sarah Bernhardt must be the low point of her entire career (especially odd for an actress who regularly underplayed her most emotional scenes). However, she received the best contemporary notices for the film, and would have been considered the most important actor in it by contemporary audiences. The script isn't especially sharp, and the musical score is the least of all the Astaire/Rogers films, though this says more about the extraordinary quality of the music from their RKO efforts than it does about THE BARKLEYS OF Broadway in particular (for example, the song 'You'd Be Hard To Replace' seems to me a lovely tune that is pretty much thrown away in the film). Still, it's always great to see the wondrous Astaire/Rogers pairing, and it's nice to have a chance to see them in color. It says everything about the quality of this series that I give BARKLEYS an 8 out of 10 rating though I consider it only the 8th best of the 10 films they made together. There's simply never been anything like them.

utgard14 Bickering husband and wife musical comedy team break up over her ambitions to become a dramatic actress. Final Fred & Ginger movie and their only film in color. Doesn't seem to get a lot of love but I enjoyed it. Fred and Ginger still play well off of each other, though admittedly the script doesn't have any of the sexual tension or playful banter of their more classic films. The bickering is nowhere near as bad as other reviewers have said, though. I felt the relationship between the two was very loving.Ginger is absolutely gorgeous in Technicolor. I can't remember her ever looking so radiant. Her wardrobe was great, too. Speaking of beauties, I have to mention lovely Carol Brewster who had a small part but caught my eye. She looked quite fetching as well. Cutie Gale Robbins is fun as Ginger's understudy. Oscar Levant is great as their friend. He also has a couple of nice piano numbers.The musical numbers are good. The Scottish number, Fred's solo number, and "They Can't Take That Away from Me" were all excellent. But whose brilliant idea was it to ruin the opening (and probably best) dance number by putting the opening credits over it? Regardless, it's a good movie with some solid musical numbers, luscious Technicolor, and the great Fred & Ginger in their last film.

inhonoredglory Such a wonderful movie - everything was perfect about it! The dancing was magical, the drama so moving, the music breathtaking (Dig those Oscar Levant pieces! I literally got energized by his rendition of Tchaikovsky). Fred and Ginger were a perfect pair; their love, hate, and teasing were adorable and sharp. The plot kept up with the music, balancing neither too much. Ginger's drama scene almost brought me to tears, even though I didn't understand the language of her speech. And Levant's wise-cracks and truly brilliant talent really left an impression with me. Fred, as always, sparkles with dancing perfection and a few lovely vocal numbers. A beautiful movie all around! As the final Fred/Ginger pairing, it shows that "you can't take (the magic) away" and that these two will never stop dancing in our hearts.

lugonian "The Barkleys of Broadway" (Metro-Goldwyn-Mayer, 1949), directed by Charles Walters, goes down in history as one of Hollywood's biggest events, being the motion picture that reunited the ever popular song and dance team of Fred Astaire and Ginger Rogers, whose nine musicals for RKO Radio from 1933 to 1939, entertained as well as popularized the art of the dance on screen, and whose reputation continues to make this dynamic dual a legendary item.Plot Summary: Josh (Fred Astaire) and Dinah Barkley (Ginger Rogers) are a sensational husband and wife dancing team on Broadway who appear to be the most perfect couple while performing on stage, but in reality, come to arguments after the curtain goes down. It is up to Ezra Millar (Oscar Levant), composer and close friend, to act as their referee. Dinah feels Josh takes her for granted while Josh finds Dinah neglectful towards him, with instances finding Josh literally left out in the cold on a patio during a social function given by Mrs. Livingston Belney (Billie Burke), and later at the golf course waiting for Dinah's arrival only to remain there until he gets himself drenched from a sudden rain storm, each due to Dinah's meetings with playwright (Jacques Francois) who insists she's wasting her time in musical comedy and should pursue a dramatic career and become another legend like Sarah Bernhardt. At first she turns down his offer to star in his latest play, but after Josh belittles her, she decides to take the challenge, splitting up the team and causing the Barkleys partnership to go their separate ways.The Music and Lyrics by Ira Gershwin and Harry Warren: "The Swing Trot" (danced by Astaire and Rogers); "The Sabre Dance" (piano solo by Oscar Levant); "You'd Be Hard to Replace" (sung by Astaire); "Bouncin' the Blues" (instrumental); "My One and Only Highland Fling" (sung by Astaire and Rogers); "A Weekend in the Country" (sung by Astaire, Rogers and Levant); "Shoes With Wings On" (sung and performed by Astaire); "Concerto in "B" Flat Minor" (by Tchaikovsky/piano solo by Levant); "They Can't Take That Away From Me" (sung by Astaire/danced by Astaire and Rogers) by George & Ira Gershwin; "You'd Be Hard to Replace" (sung by Astaire from phonograph record) and "Manhattan Downbeat" (danced by Astaire and Rogers).Supporting casts consists of Gale Robbins as Shirlene May, Dinah's understudy; Clinton Sundberg as Bert; and George Zucco appearing briefly as the judge in the play portion of the film.For their tenth and final collaboration of Astaire and Rogers on screen, "The Barkleys of Broadway" could very well have been a sequel to any one of their earlier efforts, showing what's become of their characters after dancing to a happy conclusion. SHALL WE DANCE? (1937) comes to mind since it introduced one of their signature tunes, "They Can't Take That Away From Me," only this time having Fred and Ginger dancing to it, resulting as being one of the most moving and sentimental dance pieces ever recorded on film, illustrating the chemistry and magic they had over a decade ago is still quite evident in 1949. After many musicals, the genius of Astaire never ceases to amaze with his creativity, particularly the "Shoes With Wings On" number, one of the true classics in movie musical history. As for the dance numbers with Astaire and Rogers during the opening and closing segments, it a wonder why they're so brief.While screen reunions usually fail to recapture the magic of the "good old days," "The Barkleys of Broadway" is no exception. The writers had wisely avoided reliving the past for them with the typical boy meets girl plot that had become standard with most Fred and Ginger musicals. However, the film offers supporting players in the likeness and manner of those who have enacted with the team in the past. Billie Burke and Jacques Francois could easily be true reminders of GAY Divorcée (1934) co-stars Alice Brady and Erik Rhodes, although Hans Conried, seen briefly as a waiter, comes close as the Rhodes prototype. Edward Everett Horton might have been most welcome in the Levant role, but as far as it goes, new and younger faces of MGM players assumed center stage instead.Astaire's character comes as a little sarcastic at times, which he is supposed to be, thus offering him new direction from those easy going dancing guys he's portrayed so well and often. Rogers appears more youthful during the film's latter portion, and although a fine comedienne, her Sarah Bernhardt interpretation reading of "La Marseillaise" comes off as a bit forced. And then there's the droll and dry, yet sometimes amusing humor of Oscar Levant, whose piano solos slow down the pace, making one yearn for Chico Marx in piano playing to these classical compositions with his unique and lively style instead.In spite of its pros and cons, this is a satisfactory conclusion for Astaire and Rogers partnership, offering viewers a chance in seeing them together again, dancing on stage one last time on screen as the Barkleys of Broadway.Displayed on video cassette since the 1980s and later to DVD, "The Barkleys of Broadway" at 109 minutes, is one of the more revised classic films broadcast on Turner Classic Movies. (***1/2)