Top Hat

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A nice movie with the iconic Fred Astaire. Very fun. Must see.

It's not much more than a series of contrivances and excuses to get Fred and Ginger to dance but it's not like that's a problem.

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My best loved Astaire Rogers film. It has the funniest script, fine supporting roles from Edward Everett Horton, Eric Blore and Helen Broderick and superb numbers/dance routines including Top Hat, White Tie and Tails, Isn't This A Lovely Day plus my all time favourite, Cheek To Cheek. 10/10

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The 1930s was also the perfect time for the fluffy escapism and froth of the musical. This was the decade of Depression when many people were struggling to survive. The general public welcomed the chance to go to the cinema to get away from their daily hardship and bask in the luxury of a good musical. This is what Top Hat offered in spades. A world of conspicuous consumption far removed from the daily grind of living opened up before the eyes of cinema audiences. This was a world where everyone dressed smartly, even the butler. Some characters got to wear the titular top hats, which were large and shiny. Hotel rooms were improbably large. A rich man could land a seaplane in the middle of Venice. Obviously that could never happen, but then Top Hat did not deal in the real. Compared to later movies such as Don't Look Now which were genuinely set in Venice, Top Hat offers an entirely absurd portrayal of the city which looks like nothing but a studio set. It is a multi-layered, spotlessly-clean Art Deco affair with a few tiny canals and gondolas available. The beautiful set ate up a large part of the budget for the film, and is a treat to look at, but it is certainly nothing like Venice, and the filmmakers did not care. These were the golden years of Fred Astaire and Ginger Rogers, that enormously popular dancing duo. Astaire was the charming and likable dancer and singer whose casual elegance would change fashions in male dress sense for some time to come. Rogers was his lovely partner who performed the same dances with him, often while wearing heels. Her shoes had to be frequently changed because they were filled with blood. The plot is really not that important to enjoying Top Hat. Astaire himself complained that the film had no substance or plot, and he is right. That is partly the difficulty faced by many musicals. They are not cinematic in a conventional sense. They are almost anti-cinema. Story, dialogue and tightly-constructed plots are anathema to the musical. The task of the director is to film the musical without getting in the way too much, which is why Mark Sandrich, director of half the Astaire/Rogers collaborations is not remembered as a great auteur. Astaire himself did not want too much attention being paid to clever cinematic techniques during the dances. This is why we do not see many cuts or unusual camera angles during these scenes. We only get one brief shot of the dancers' feet at the beginning of the movie's last dance. Mostly the camera stays at eye level, moving just enough to keep Astaire and Rogers in the centre of the screen. The focus here is on their performance, and not on fancy filmwork. While Top Hat is therefore unsophisticated as a work of cinema, it is not a worthless movie. The choreographed dance sequences were taken every bit as seriously and as meticulously planned as the work of any serious film director. The artistry lies in the dancing and the music, not in the moviemaking. At the head of it all was Fred Astaire, the perfectionist who insisted on recording the dances in long takes and without many breaks in the scenes. Think of the stamina required by Astaire and Rogers, and yet they do not even look tired. Astaire dances gracefully, his feet seeming to beat out a tune of their own, and his arms moving almost as much as his legs. Astaire was not averse to the use of props, most notably the cane that he uses to ‘shoot' the other dancers. To make the scene, Astaire kept thirteen canes to hand because he kept breaking them. Fortunately he completed the shot when he was down to the last cane. While musicals are often lengthy, Top Hat was ruthlessly cut, with eight songs removed and a number of scenes removed. Such cuts certainly help to keep the momentum of the story going, but what was left in is just as important. Top Hat contains some of the most memorable songs found in any Astaire movie. Many people who have not seen the film will have heard snatches of Top Hat or Cheek to Cheek, songs that have found a life of their own outside the movie. The credit for the songs goes to Irving Berlin, a composer of extraordinary talent who had not even learnt to read or write music. He wrote the songs, and Max Steiner wrote the score. Berlin developed a comfortable relationship with Astaire, and the collaboration between Astaire and Berlin was just as remarkable as that between Astaire and Rogers, albeit behind the scenes. Some critics would argue that Swing Time was an even better Astaire/Rogers movie. Nonetheless Top Hat remains a favourite with many, a sunny movie that continues to put a smile on people's faces over eighty years later. I wrote a longer appreciation of Top Hat on my blog page if you would like to read more: https://themoviescreenscene.wordpress.com/2019/08/11/top-hat-1935/