The Barkleys of Broadway [DVD]

Barkleys of Broadway reunite Fred Astaire and Ginger Rogers in their only color film. The production was originally meant for Judy Garland to rejoin Astaire, however, Ms. Garland was unable to participate in the film. Bringing Ms. Rogers into the production proved to be an inspired reunion. Neither lost their timing (or footing) during the years between Barkleys and their last film, a "biopic" of Irene and Vernon Castle.Lavish musical numbers, repartee with Oscar Levant--they make a good vehicle for Fred and Ginger to return to the screen, and when they dance "They Can't Take That Away from Me", one can see the regard they have for one another, whether it's due to that moment of the film (in a middle of a marital separation and coerced to perform together at a benefit by their colleague Millar) or regard for their previous work together. The chemistry remains and the song is performed with artistic affection.An excellent addition to one's musical library, especially a library of the greatest dance partnership of film. DVD includes a good retrospective on making the film and other film shorts to make a nice "evening at the movies".

Ginger Rogers was by no means Fred Astaire's best dance partner . . . but she was one of the best actresses ever partnered with the legendary dancer. This film not only foreshadows the break-up of that partnership, when Ginger would leave to pursue more dramatic roles and focus more on acting than dance (and song), but it also showcases her dramatic talents moreso than most of their other films.People who don't like musicals, especially musicals strong on dance, still won't like this. After all, this isn't the best format for story-telling . . . but it's a great format for entertainment for those who do appreciate exquisite dance and memorable music.

Betty Comden & Adolph Green's THE BARKLEYS OF BROADWAY was the last Fred Astaire and Ginger Rogers movie, and what a great finale it is.Filmed in Technicolor on lavish sets, with gorgeous costumes and music provided by Harry Warren and Ira Gershwin, a familiar story of a couple breaking up and later reconciling has an added post-WWII twist of the woman choosing her own career over being the lesser of two performing Barkleys.Song and dance man Josh Barkley's frequent reminders that his coaching was the key to wife Dinah's success is such a source of irritation to her, that when offered the lead in a legitimate drama Dinah chooses to leave musical comedy and her husband behind. Josh is jealous of playwright/director Jacques Barredout's doting on his wife, and even though they've officially separated, he lurks backstage during rehearsals of "Young Sarah Bernhardt."Dinah struggles in a serious role. Jacques loses patience and barks at her in front of other cast members. Sympathetic Josh secretly places a number of phone calls to Dinah and, by pretending to be Jacques, gives acting advice that helps her enormously. But it looks like the payoff is Josh will lose Dinah to his rival.Every musical piece in this film is a highlight. Co-star Oscar Levant amazes with his pianistic skill on two numbers, Khachaturian's "Sabre Dance" and the 1st movement of Tchaikovsky's Piano Concerto #2. Fred does a spot-on Harry Lauder impression on "My One and Only Highland Fling." Blue screen is used in the "Shoes with Wings On" number, where seven pairs of shoes (one is pink high heels) magically dance with Fred.A charity fund raiser is a perfect opportunity for Ginger and him to reprise the Gershwin brothers' "They Can't Take That Away from Me," a song first heard in  SHALL WE DANCE  (1937). This time however, the two also dance to it. Astaire is clearly older than in his RKO days and Rogers is a bit thicker in the waist, yet they haven't lost the magic that makes a Fred & Ginger picture such a treat. Don't miss this final pairing of the greatest cinematic dance team of all time.Parenthetical number preceding title is a 1 to 10 imdb viewer poll rating.(6.8) The Barkleys of Broadway (1949) - Fred Astaire/Ginger Rogers/Oscar Levant/Billie Burke/Gail Robbins/Jacques François/George Zucco (uncredited: Hans Conried)

Being a fan of this famous dancing couple, I was quite pleased by their comeback. As opposed to their popular films from the thirties, this film shows the couple already married. Thus, the screwball situation begins when Mrs. Barkley decides to become a dramatic and tragic actress on her own, free from her husband's influence. Things get complicated because there is a French playwright who not only encourages her, something that Barkley has neglected in doing, but also seems to be falling in love with her. Mr. Barkley adds tension to the plot when he helps his wife through telephone calls while pretending to be the French playwright. The plot is quite funny although it takes a while to take off.The musicals scenes, however, are brilliant. Starting with the opening credits Astaire and Ginger are dancing. They also get to tap-dance together Bouncin' the Blues. The most emotional pairing of the two is the revival of a George Gershwin's song from Shall We Dance, They Can't Take That Away from Me. While in Shall We Dance, Astaire only sings it to Ginger to express his falling in love with her, in this version, they do a ballroom dance and the lyrics take on a new meaning within the context making this scene more powerful. Astaire gets to a unique solo routine as he tap dances with lots of shoes, a memorable Astaire performance of Shoes with Wings on. Oscar Levant joins the couple to play majestically two classical tunes, the Sabre Dance and Concerto no. 1 by Tchaikovsky. Although the direction of Mark Sandrich in early classics, such as Top Hat, the Gay Divorcee, Carefree, and Shall We Dance is missed here, the performances of Ginger Rogers and Fred Astaire and the musical numbers lift this film from what could have been a mediocrity. I was able to see both dancers doing dramatic acting, particularly Ginger Rogers. The movie may not be there with Top Hat and Shall We Dance, but it is almost there.

Fred Astaire (Josh) and Ginger Rogers (Dinah) play a married showbiz couple. They perform musical acts written by Fred but Ginger wants to break free and be taken seriously as an actress. Enter respected director Jacques Francois (Barredout) who casts Ginger in the lead role in his play about the young Sarah Bernhardt. Meanwhile, Gale Robbins (Shirlene) is after a little more from Fred other than being Ginger's understudy. We all know how things will work out, especially after seeing Ginger Rogers recite "La Marseillaise"!Contrary to popular belief, this is not the first time Fred and Ginger played a married couple. They were married to each other in their previous outing - "The Story Of Vernon and Irene Castle". In this offering, the film starts well with a couple of entertaining dances. Sadly, the film loses momentum and the songs and dances that follow aren't really up to standard. We watch because it is Fred and Ginger. In fact, it is Oscar Levant who comes away with the musical honours with his two piano performances. He also provides some of the better comedic moments with his 'can't be bothered' attitude and his popularity with the ladies. He's with a different woman in every scene - good on him!The highlight from Fred and Ginger's set pieces comes at the beginning of the film as they rehearse a piece called "Bouncin' The Blues". It comes just after Gale Robbins has been introduced and at a point in the film where the humour is spot on as Ginger Rogers clearly doesn't take very kindly to her. It's a good beginning to the film, and I found myself surprised at how good this offering actually was. Downhill from there, I'm afraid. While there are still some occasional funny moments, we have to endure some crap - the Scottish number is embarrassing, there is a nonsense song about going away to the country which is so obviously ripped off from "The Wizard of Oz" and designed with Judy Garland in mind, Fred's solo in a shoe shop alongside sets of dancing shoes is different but uninspiring, and their dance to "They Can't Take That Away From Me" belonged to an earlier film and seemed pointless and geared towards soppy reminiscence.Overall, the film had a typical family musical feel to it (as opposed to a Fred and Ginger style of film) and I half expected Dick Van Dyke to show up at any moment. If it wasn't for the fact that it is a Fred and Ginger film, I would have to consign it to the reject pile. They are a magical couple and their reputation is what just keeps this film above water. Thank goodness for "Bouncin' The Blues".

You will miss the art deco sets and the innocence of the earlier films they made - you will also miss the comedy and unfettered inventiveness.This film is more serious because it involves a marriage under stress and a relationship that reverberates in everyday life; - what is the difference between control and encouragement, advice and instruction? How can a woman be a wife and still be herself? It is a testimony to Rodger's' acting skills that the story troubles the viewer. Judy Garland - the original star - could NOT have pulled this off. Give it a go - Astaire seems at see with the heavier stuff and the more subtle humour of theis film, but he dances like a dream!I missed the big numbers, and the integration of dance and drama/comedy we get in the RKO films, but this is more than made up for by the equal footing of these seasoned players where, for once, Ginger is the one who keeps the thing moving. Interesting that Astaire is quoted as attributing the success of the partnership to Ginger....Most of the music is only of the second class.

What dancing there was very good.....see flying shoes. Long drawn out storyline.Oscar Levant on piano...brilliant. Too little tap dancing. Overlong film. Not one of Fred and Ginger`s best. Mike Foster.

Really enjoyed this movie

now my ginger rogers and fred astaire collection of all their films is complete. after 10 years waiting for this film to come out on dvd it was worth the wait to see the george and ira gershwin number from shall we dance: they can't take that away from me. all of which proves they can't take away the astaire/rogers magic either.wayne