That was an excellent one.

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

There's a more than satisfactory amount of boom-boom in the movie's trim running time.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

About one hour and thirty minutes into "Follow the Fleet", there's a musical sequence that deserves attention: first Fred Astaire plays "I'm Putting All My Eggs in One Basket" on the piano, then he sings it, then Ginger Rogers sings it, and finally, they dance to it, including some comedic dance moves. It's a virtuoso display of talent that sums up the film. The story is not as important as their virtuosity.The Music by Irving Berlin is one of the film's main assets. It forms the melodic foundation of the film. This is fifth film pairing of Astaire and Rogers and they are wonderful together, to the final dance.Not to be missed by those who like A&R or anyone who enjoys musicals. Fred's vocals, which are underrated I think, shine on some songs that are difficult to sing.

Unfortunately, Fred Astaire and Ginger Rogers are dead and will no longer make films. Except movies that you can imagine, those who have this something called imagination, in this world polluted with superheroes, bad taste and a lot of stupidity. Ginger and Fred had something magical, unique, unmatched talent as dancers and singers. Their stories, simple, captivates and charm you in any movie of their own. Harriet Hilliard, in this Follow the Fleet, is also excellent in the role of Ginger Rogers' sister character. Great songs and great dance, the grace of Heaven on Earth, descended by these two angels named Ginger & Fred.

The 1930s were the golden age of the movie franchise – The Marx Brothers, Shirley Temple, Busby Berkely and of course Fred and Ginger. But as the decade wore on and these tried-and-tested formulae began to look a little too tested, and the creative teams behind them were forced to think up increasingly varied angles to come at the material, or else watch the series die a death.The most obvious innovations in Follow the Fleet are the changes in setting and character. Astaire has swapped his dinner suit for a naval uniform, and as oppose to Ginger being an out-of-his-leaguer who falls for his charms, the two are now former dance partners who rekindle the old magic. This is a more significant a difference than it first seems. Every movie these two did together, they became a little closer, a little more in step both as dancers and actors, and when their characters are reunited the rapport between them seems very authentic. There's even a hint of poignancy when we see them dancing together again, as we realise he should never have left her for a career at sea.The other big change is the introduction of an alternative romance between his buddy Randolph Scott and her sister Harriet Hilliard. This subplot isn't up to much, although the idea of giving Astaire a straight foil in Scott brings out some more exuberance from the star, as well as the sort of "bro" dynamics we hadn't seen in the earlier movies. And Hilliard was a singer who gets a few numbers to herself. Appropriate to the fluid, integrated style of modern musicals, she emotes through her singing on "But Where Are You?" but unfortunately it's overacting.It wasn't just the writers who had to come up with new tricks. The Hermes Pan choreography is becoming ever more elaborate. The final act, to Irving Berlin's Let's Face the Music, grows out of a stage performance as in Busby Berkely musicals. But he still makes such things embellishments to the main attraction of Fred and Ginger's dancing skills. Follow the Fleet also gives us the chance to see Ginger on her own, including a complex solo tapdance and a hearty rendition of "Let Yourself Go". This is very much the movie for variation. We even see Fred playing a jaunty little number on the piano.RKO has done a good job of finding new ways to keep the Astaire-Rogers partnership looking fresh, but in adapting it has lost as well as gained. The lack of Edward Everett Horton, Eric Blore, Erik Rhodes or any comparable replacement is glaring. And even as the dance numbers delight, there is a feeling of ideas being thrown in in the desperate hope that some will work. In itself, Follow the Fleet is not a bad entry in the series, but it represents the beginning of the end for Fred and Ginger. Their best work together had already been done, and it was all downhill from here on.

Follow the Fleet, an RKO production in 1936, stars Fred Astaire and Ginger Rogers in a complex romantic comedy. Although Fred Astaire and Ginger Rogers have had many similar romantic movies together, RKO helped them to once again create a worth-while storyline that incorporates relevant situations to society at the time it was made. The narrative of Follow the Fleet relies heavily on the use of layered story lines between the two sets of main characters to create a satisfying romantic comedy.The general plot of the movie revolves around Bake Baker, a Sailor in the U.S. Navy played by Fred Astaire, and Sherry Martin, Bake's former love and dance partner who is now a singer and dancer played by Ginger Rogers. Their story begins when Bake is on the ship and his shipmate Bilge Smith finds a photo of the two of them together, and Bake reveals that the last time he saw her he had asked her to marry him, so Bilge suggests that they try and meet up with her when they are on land, in hopes that she might have a friend. The next major scene begins the second plot of the movie when Connie Martin, Sherry's sister, is refused entry into Paradise where her sister works unless she is escorted by a gentleman. She turns around to find Bilge behind her with a bag full of beverages, so she plays it off like she was waiting on him and buys his entrance into Paradise as well. Connie then finds Sherry and tells her that she is depressed because she cannot have the luck Sherry does with men, so Sherry suggests she get a makeover from her friends while she is performing on stage. Connie gets made over, and enters the ballroom once again, and approaches Bilge again, who is awestruck by the sight of her. This commences the second romantic storyline between Bilge and Connie.Throughout the remainder of the movie the story and rising actions are transitioned between altering comedic reliefs of the two couples' troubles that create several mini rising and falling actions within the overall plot. Bake and Sherry hit it off their first moments together as they compete in a dance competition and end up winning it, reminding them of the success and pleasure the two have when they are together. Similarly, Bilge is able to swoon Connie through his romantic attempts of pleasing her, and they retire to her house. This series of happy events is soon followed by unsettling measures that brings the rising action back down. Bake left Sherry the previous night to retire to the ship before midnight, and told her that he would come for her in the morning. Unfortunately the ship sets course after the shipmates have returned, upsetting Sherry and leaving her to think Bake was still being a typical sailor looking for a good time when he's on land. The mood is again changed as another subplot is entered into the film when a "party of big shots" is taking a tour of the ship. This alternate storyline is used to create a buffer between the stories of the two main relationships of the film, as well as help build confidence and fondness of Bake's overall good intentions. The party is interrupted by the oblivious music playing coming from Bake and his companions when they missed the sounding to report on deck for the company. The ladies are intrigued and ask to hear them play, and Bake gladly begins to entertain them with some dancing, which ultimately helps brighten the mood of the film, as well as bring happiness to the sailors. After returning to the couple's intertwined stories, Sherry is trying to prove to Bake that she does not need his help with landing a job. Unfortunately Bake is unaware that she is auditioning, and goes to put in a good word for Sherry when he overhears his friend at the studio talking about the remarkable lady auditioning. Bake takes it upon himself to help Sherry out by tampering with her water, making her unable to sing correctly and destroying her audition. In addition to Bake's mistake, Connie spent all of her money to repair a ship that she was hoping Bilge would take over as captain. She had also planned a remarkable dinner date for him when he was supposed to come over, but Bilge was aware of her intentions and hopes of soon marrying and was no longer interested, so he stood her up. The remainder of the movie continues in the same format of mini rising and falling actions until the climactic point is reached between the two couples, ending the movie with the happiness of both couples. The use of the altering stories helps to build interest and emotion within each couple as they deal with both happiness and pain through each of their struggles. The intertwining stories are also able to relate with one another, as well as incorporate other unrelated subplots to help carry the narrative through to the concluding scenes. Although Fred Astaire and Ginger Rogers have countless films together that incorporate romance, comedy, song, and dance, Follow the Fleet is a unique film for the two actors that successfully use the technique of subplots to aid the narrative between the two main characters.