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I love this movie so much

hyped garbage

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Top Fred & Ginger musical comedy; one of their best. Sparks fly when Mimi (Ginger Rogers) and Guy (Fred Astaire) meet. But things get complicated when Mimi mistakes Guy for the gigolo hired to help expedite her divorce. Fred and Ginger are terrific. That perfect chemistry, whether they're dancing or not, is something you don't want to miss. Phenomenal supporting players Edward Everett Horton, Alice Brady, Eric Blore, and Erik Rhodes ("Your wife is safe with Tonetti, he prefers spaghetti"). Great musical numbers includes "Night and Day," "The Continental," and my personal favorite, "Let's Knock Knees" with an early performance from an adorable Betty Grable. In addition to the lovely music, there's a very funny script. It's a bona fide classic I would recommend to everyone. A great starting off point to get into the movies of Fred & Ginger.

Well, Fred and Ginger were really beautiful together. Try to imagine this: clean, very clean environments with some evocative—artificial— horizons, here a seaside resort, lovers who are destined but fate dredges up all sorts of dreamlike illusion to keep apart, a plot that emphasizes both fate and multilayered worry about hidden selves, the illusion (the worry) conquered with persistent love and expressed with dance.And yet, what a striking thing that it doesn't work like noir, where fate and hidden selves play a similar function; the difference is that the viewer has too much control over the players and plot.Is this why it registers like magic? We trust that all is going to turn out well.. Like Fred's character, we persist with the story because we feel safe and happy that it will all turn up for the better.From this pov, mishap thrown up by the gods is not as in noir the cause of anxious hallucination, but small, glittering bubbles of fate. Of course it is all so sunny, because the protagonist is, and is unafraid to take chances—this infectious radiance colors the world.Top Hat is much more intricate, because you have two characters doubled with several more layers, here just one. This is easier to digest, more fun.

Mimi Glossop wants a divorce.Dancer Guy Holden's lawyer friend assists her in that.The dancer falls for Mimi.The Gay Divorcée (1934)Mark Sandrich and produced by Pandro S. Berman.The music is by Max Steiner. is directed by Fred Astaire and Ginger Rogers really hit it off.This is the second of their musicals, and the first one to feature the duo as the main attraction.The rest of the cast is great, too.Alice Brady is Aunt Hortense, who has been married to Egbert Fitzgerald, played by Edward Everett Horton.Erik Rhodes is Rodolfo Tonetti.Eric Blore is The Waiter.Betty Grable portrays Guest.Lillian Miles is Singer, Continental Number.William Austin plays Cyril Glossop.I really enjoyed the "Knock Your Feet" bit.Also "The Continental" was most amusing.That song won an Oscar.A really enjoyable musical delight.

Ginger's aunt concocts a scheme to get her out of her unhappy marriage, but complications arise. This film became the template for all the Astaire-Rogers films to follow - a silly plot involving mistaken identities, snappy musical numbers, and supporting cast featuring some combination of scene stealers Horton, Blore, and Rhodes. The formula would be perfected the following year with "Top Hat," but this is entertaining enough in its own right. The big musical number is "The Continental," which is enjoyable despite going on for more than 17 minutes. Sandrich directs the first of his five Astaire-Rogers films, borrowing a few tricks from Busby Berkeley.