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Astaire, Powell and Begin the Beguine!
Review date: 2007-08-08 Rating: 8 out of 10
There's little reason to see this Fred Astaire-Eleanor Powell movie except for the dance numbers--and they provide the best reasons in the world. The plot involves a song-and-dance team (Astaire and George Murphy), a Broadway show with a big star (Eleanor Powell), mistaken identity, true friendship and boy gets girl.
Most of the dance numbers, however, are extraordinary, with songs by Cole Porter. Powell sings and taps out "I Am the Captain" in a major production number featuring big sets and lots of chorus boys. She shows why she was a great tap dancer and a major musical star who could carry a movie by herself. Astaire and Murphy do "Please Don't Monkey With Broadway," a fine example of a song-and-dance tap act that involves intricate patterns, humor, even a mock duel. "I Concentrate on You" is a great Porter standard written for the movie. "I've Got My Eyes on You" is a first-rate light romantic ballad that is a solid Astaire solo number. He was a good piano player and shows it with this number. He's backstage and dances with a photograph of Powell over and around props and furniture, and at one point uses a small ball which he seems to have mesmerized to do his bidding. He was always great using objects, and he was great because he rehearsed endlessly. He's got that ball's number. The showstopper, of course, is "Begin the Beguine." It's a big production number that starts with Astaire and Powell in costume, then moves to singers, then moves back to Astaire and Powell. This is the portion that gets the raves. She's in a white dress, he's in a white tux. They're tap dancing on a mirror-finish black floor. Off camera Artie Shaw and his orchestra continues with the song. They start tapping together, move to a challenge tap, then come back together in an extraordinary tap routine that involves them circling each other, throwing up their arms in counterpoint to their tapping and to each other. This part is excerpted in That's Entertainment. Sinatra introduces the excerpt by saying that you won't see anything like it again. I don't think anyone would disagree.
Fans of Astaire might consider getting a copy of Arlene Croce's The Fred Astaire and Ginger Rogers Book. Croce was the dance critic for the New Yorker. She goes through each of the Astaire-Rogers movies explaining the background, how the dance numbers were developed and analysing why Astaire was as great as he was. It's an interesting book.