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hyped garbage

Yo, there's no way for me to review this film without saying, take your *insert ethnicity + "ass" here* to see this film,like now. You have to see it in order to know what you're really messing with.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

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

You'll Never Get Rich had a lot going for it, and while it is slightly disappointing with a very silly, contrived and thin story, Sidney Lanfield having moments when his direction was leaden, a couple of stale army jokes and Cliff Nazarro and his double-talk schtick starting off funny but grew irritating. But it is still makes for pleasant viewing. You'll Never Get Rich boasts lovely costumes for Rita Hayworth and beautiful photography, and probably a better-looking film than the second and superior Fred/Rita outing You Were Never Lovelier(and that was still a nice film to look at). Cole Porter's songs are not among his best, but Since I Kissed My Girlfriend Goodbye deserved its Oscar nomination, The Wedding Cake Walk is a lot of fun and So Near Yet So Far is just sublime. The score suits the tone of the film just fine. The choreography ranges from spirited to graceful, again the highlights being in those three songs, the tap-dancing routine between Fred and Rita being one of the main pleasures of You'll Never Get Rich. Although the script and story don't work entirely, they do have moments, Fred and Rita are really charming in their scenes and scenes like the restaurant one generate some amusement, and for all its flaws the film does have heart too. Of the supporting cast, the standouts are a hilarious Robert Benchley and a perfectly cast Frieda Inescourt. John Hubbard and Michael MacBride are good as well, only Nazarro didn't do much for me. The main attractions of You'll Never Get Rich were always Fred Astaire and Rita Hayworth, and they are also the best thing about the film. Fred is a suave and charming leading man and makes an effort to not make the comedy seem forced while Rita is effortlessly graceful and you totally see what Robert sees in Sheila in the first place. They are also just magical together. Overall, a decent and pleasant film but there was the potential for it to have been better than it turned out to be. 7/10 Bethany Cox

Barely five minutes into the film and only thirty seconds long, a small jewel is not to be missed in this vintage 1941 musical, as it ranks among the best dance numbers to be seen from the golden age of Hollywood. It's where Fred Astaire casually asks Rita Hayworth to follow him on a complex tap routine set to Cole Porter's "Boogie Barcarole". That Astaire performs flawlessly is to be expected, but the stunning 23-year old Hayworth is startling in her precision and élan. Not only is she absurdly beautiful in her crisp rehearsal togs, but she matches Astaire step for step with unbridled confidence and with her long, gorgeous gams perfectly synchronized with his. The rest of the number, performed with an army of similarly dressed dancers, is not nearly as interesting especially since the fusion between boogie-woogie and classical feels forced.The movie itself, directed by Sidney Lanfield and written by Michael Fessier and Ernest Pagano, is a silly mistaken identity affair that feels lifted from one of Astaire's earlier pairings with Ginger Rogers and then retrofitted into a military theme. Hardly a stretch, he plays Bob Curtis, a Broadway dancer and choreographer who works for philandering producer Martin Cortland, played by Algonquin wit Robert Benchley. Cortland has his eyes on chorus dancer Sheila Winthrop and attempts to give her a diamond bracelet until his wife Julia mistakes the gift for her. He pretends the bracelet is from Curtis, which of course, leads to larger complications, especially when Curtis gets drafted and his superior officer turns out to be Sheila's intended fiancé. Off the dance floor and in her first leading role, Hayworth, already in her 38th film, is charming as Sheila, although Frieda Inescort easily steals all her scenes as the deadpan Julia, a perfect match to the acerbic Benchley.Lowbrow comic shenanigans are interspersed with the Robert Alton-choreographed musical numbers. The highlights are an impressive Astaire tap solo set to "Since I Kissed My Baby Goodbye" and two more duets with Hayworth - the alluring rumba, "So Near and Yet So Far", and the infectious "Wedding Cake Walk" where the pair get married amid a dress-alike chorus, do a mean Harlem shuffle and tap-dance atop a white cake shaped like a tank. In fact, opening two months before Pearl Harbor, the film portends the upcoming war with patriotic ensemble numbers like "Shootin' the Works for Uncle Sam". The 2003 DVD includes trailers for this film as well as two classic Hayworth vehicles, the career-defining Gilda, and future husband Orson Welles' pulp classic, The Lady from Shanghai. The movie is very lightweight, but Astaire's artistry is always worthwhile in any setting, and it's easy to see why Hayworth became the fantasy figure of many an American soldier.

Regarding the comments made by a previous poster, Astaire and Rogers were THE BEST dance team together - but who cares? Rita Hayworth is hot and sizzling all on her own!!! Don't get me wrong... I love Fred and Ginger and all of their movies together (they were my first love and intro into the wonderful world of classic movies!) But I just have to clarify that Rita in her own rights was every bit as great a dancer as Ginger ever was - maybe even better... in at least this instance. The "So Near And Yet So Far" dance number by Astaire and Hayworth in this movie is my favorite. However, I can't help chuckling at the fact that it looks as though Fred is slightly uncomfortable in this latin themed song. Rita is heavenly shaking those gorgeous hips of hers and dancing rings around Fred....... and Fred... well Fred looks as though he can't quite keep up with Rita... hee hee hee! Fred dances up a storm from beginning to end of this movie....we all know he's the greatest dancer ever known to the silver screen. But his "gringo" hips just can't keep up with Rita in this number. It was a valiant try though! So Ginger can keep Fred..... who cares.....we're all looking at Rita.

You'll Never Get Rich finds Fred, as usual, working as a choreographer/dancer in NYC. Following one-too-many hot water situations cooked up by his boss, he gets his draft notice, and after some fancy non-footwork, gets inducted into the Army. From there it's off to basic training.The story follows the usual boy-meets-girl, boy-gets-girl, boy-loses-girl, boy-gets-girl-back musical comedy formula.What's fun is to see the very young Rita Hayworth and the always splendid Fred Astaire in an unusual setting. There are some swell dance numbers, and Astaire is said to have thought Hayworth one of his best partners. An especially nice bit has Fred dancing by himself in the guardhouse, while he listens to a group of Black soldiers playing and singing.This is a fun movie for anyone fond of either Fred Astaire or Rita Hayworth, but beautiful as she was, Rita just didn't bring out the best in Fred Astaire like Ginger Rogers did. Kathryn Hepburn is quoted as saying Rogers gave Astaire sex appeal, and Astaire gave Rogers class. I don't know whether that's the reason their movies are so much fun to watch, but she may well have been on to something.