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It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

it is finally so absorbing because it plays like a lyrical road odyssey that’s also a detective story.

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

The great irony here is that, today, if the professional dancing team of Vernon and Irene Castle is remembered at all, it is because Fred Astaire and Ginger Rogers played them in a movie. Plus,many people don't like "The Story of Vernon and Irene Castle", and just find it lacking something. This is probably because there is virtually no romantic conflict between the two in this film. Astaire & Rogers spend practically the entire film either allied or happily married. Because the two are happily married in the film, you're missing all of the fun of the misunderstandings, squabbling, and sexual tension of their other RKO starring vehicles. The conflict is first economic and professional as the pair struggled to get recognized as great dancers, and then there is World War I in which Vernon Castle, as an English native, feels compelled to enlist. The film is quite good, but it is very sentimental and atypical of Astaire & Rogers' other films. This was intended to be the pair's last film together, and was their last film together at RKO. It was just a series of accidental recasting decisions that led them to reunite in "The Barkleys of Broadway" at MGM ten years later, which was a big splash musical in the big splashy MGM tradition, quite different from their earlier films together.

What I loved about this movie was how funny, talented, sweet, and genuine Vernon Castle and Irene Castle were in real life. Along how very much in love they were. This films chronicles their life together along with the love they had for one another. From their struggle to becoming renown dancing sensations to them wanted to have a normal life after their rise to fame.Fred Astaire is just wonderful in this Musical Biopic and gives a very wonderful and touching dramatic role as well. Ginger Rogers is lovely in this movie and also gives a touching dramatic role too. Walter Brennan is funny as their friend Walter Ashe and does quite well in being dramatic also. Edna May Oliver is excellent portraying their agent Maggie Sutton as well.The dancing numbers in this movie are lovely and so romantic. Just watching Fred and Ginger dance is like being hypnotized. The way these two were in the ten films they did in truly enjoyable to watch. They knew how to capture an audience attention.If you love seeing a movie about actual dancers/actors, being portray by REAL dancers/actors. I suggest you see this wonderful movie with the late Astaire and Rogers.

Despite participation of the then still living Irene Castle on the costumes and the script (and acting as Technical Adviser), this is a typically Hollywoodized version of the lives of the famous dancing couple who started the craze for ballroom dancing, including the Fox Trot, the Tango, the Castle Walk.Even having pros like EDNA MAY OLIVER and WALTER BRENNAN in the supporting cast, can't conceal the fact that the screenplay is a trite affair, however accurate some of the incidents may be.Fans of FRED ASTAIRE and GINGER ROGERS are hardly likely to count this among the dancing couple's best films. Beginning with the dreadful "Yama Yama" number Ginger does in clown suit and make-up, none of the subsequent musical numbers have any of the style and class associated with Astaire and Rogers when they're being themselves.They both give it the old try, but Ginger has been seen to better advantage in any number of other musical comedy roles, as has Fred. Some of the familiar old-time songs ("You Great Big Beautiful Doll") and others are sprinkled throughout to give the story the needed period atmosphere, but even that period glow seems ineffective.Summing up: A misfire as both a biography of the Castles and an old-fashioned song and dance show. Something went very wrong.

Do people watch Astaire and Rogers films for more than the pleasure of their dancing and singing? Both performed the dialog parts in their musical comedies well too, but most people think of their movies as a series of opportunities to see great dance numbers and to hear music by Gershwin, Kern, Berlin, Porter, or Youmans. I doubt if they recall the plots."Flying Down To Rio" deals with a traveling orchestra that assists in advertising a hotel in Rio De Janairo. Nobody recalls that, but they recall Youmans' melody "Orchids in the Moonlight" and his dance (for Astaire and Rogers) "The Carioca". They also remember the big production number of the young women on the airplane wing ("Ah, Rio, Rio by the Sea - Oh!"). Except for that, few recall the hero is Gene Raymond and the heroine is Delores Del Rio. The running gag of the three agents of the bank that is trying to sabotage the new hotel (and who are only seen as top hatted shadows) may be recalled - but it isn't really worth recalling.In the later musicals the same problems exist. The story of "Gay Divorcée" (originally "Gay Divorce" on Broadway) is how Rogers hires Eric Rhodes to be found with her at a resort hotel so her husband can have grounds for divorce. The Porter score including "Night and Day" and "The Continental" was good - but who recalls the plot (though Rhodes is very funny as the perpetual hired "other man" for instant divorces. The final irony of the plot (almost like a flat joke's punch line) is that Eric Blore knows a nasty secret about the husband, who (for his own reasons) does not want a divorce.The series did try to tie the couple down to more than frivolous plots dealing with mistaken identities or fake personalities. FOLLOW THE FLEET and CAREFREE tried to have plots dealing with sailors putting on a show and with a psychologist falling in love with a patient who was engaged to his best friend (Ralph Bellamy, of course). Both were amusing, but rather slapdash. CAREFREE had a curious concluding moment, when a hypnotized Rogers is literally slapped out of her state of hypnosis. Rogers looks like she has been the victim of domestic violence as she is married.By 1939 Astaire and Rogers were tired of the series, and wanted to go their separate ways. The public was also getting tired of the series. So finally they were given a property that reversed the formula. Instead of the music and dancing ornamenting a bare plot, the plot incorporated the music and dance by telling the story of the greatest ballroom dance team of the first half of the 20th Century, Vernon and Irene Castle.I have often felt that had Vernon Castle lived beyond 1917 into the period of talkie movies, and stayed married to Irene, they might have been in some of the Astaire Rogers films (the choreography of two rival couples dancing would have been fascinating). Vernon might have played a mentor or rival or father to Fred. But it wasn't to be. As the film shows Vernon (who was English-born) enlisted in the Air Corps in 1917, and was killed in a freak accident saving the life of a pilot he was training (the scene in the film is quite savage in showing the crash).In the four years (1913 - 1917) when they swept the world with their mastery of dancing, Vernon and Irene Castle became leading celebrities. The film follows the slow steps to fame they took, including getting stuck for awhile in Paris because Vernon was hired only to be a comic actor, not to be a dancer. It shows how Edna Mae Oliver (as their agent and friend) gets them the breaks they deserve, and how they end as figures of social change (ballroom dancing regained popularity, and they did create not only fashions for men and women but also "the Castle Walk" dance step). That this all happened in four years suggests what their impact would have been if they lived into the 1940s together (Irene Castle died in the 1960s).There are some delightful moments in the film: Ginger Rogers auditioning for her date Fred Astaire by doing "Yama Yama Man" complete with a costume in her parlor. She is imitating the originator of the song, Bessie McCoy. Walter Brennan trying to protect Rogers from Astaire (whose intentions he constantly suspects). Watch him in a small scene watering the grass of the lawn, and ignoring Astaire's questions. Oliver noticing the rhythmic swaying of the overhead lamp in her apartment due to the dancing going on upstairs (where Fred and Ginger are dancing). But what is best is the feeling of impending doom over the couple. We know Vernon is going to die so that means their success and their life together will end soon.This sense of doom makes "The Story of Vernon and Irene Castle" unique among the Astaire - Rogers films - it is a downer. There is no getting away from the loss of happiness Irene Castle suffered, nor the loss of talent the theater and dance world suffered. The concluding moment of the film always haunted me - Irene and Vernon dancing in spirit together, twirling in a never-ending, eventually disappearing embrace. When I saw the film the first time, Irene Castle was still alive. The second time she was gone but the two stars were still living. Now Fred and Ginger are gone too. That final ghostly dance manages to encompass two sets of dance legends, and increases the sadness that surrounds this - to me - best of their films.