best movie i've ever seen.

As Good As It Gets

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.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

A really dull Astaire/Rogers vehicle that doesn't have anywhere near as much pizazz as "Top Hat" or their best film together, "Swing Time." The plot isn't worth summarizing, because there isn't much of one. There never is in movies like this, which doesn't necessarily have to be a problem. But there's not much of anything else in this film to make up for the lack of story, not humor, not energy, and not even really good musical numbers. It's a good half hour into the movie before Astaire gets to really cut loose in a full-blown production number, one set in the engine room of a ocean liner, and that ends up being the highlight. His dances with Ginger aren't especially memorable, except for one performed on roller skates, and that's only so because Ginger looks somewhat uncertain on them and close to wiping out a couple of times. Character actors Edward Everett Horton and Eric Blore, staples of these films, provide their requisite comedy schtick that feels tired this time around.Sorry to say, but the answer to "Shall We Dance" is "nah...I'll find another partner, thank you very much."Grade: C-

The story is rather thin and silly and Ketti Gallian's performance came across as vapid; the rest however is sheer pleasure. The film is beautifully shot with extravagant, if not quite as sophisticated as Top Hat and particularly Swing Time, production values, particularly apparent in Let's Call the Whole Thing Off. George and Ira Gershwin's score and songs don't disappoint either, really quite wonderful actually. Standing out were the catchy Let's Call the Whole Thing Off and the touchingly melancholic They Can't Take That Away From Me. The choreography dazzles and shows great energy and poise, just seeing Fred and Ginger in roller skates for Let's Call the Whole Thing Off makes one envious of how they were able to do that and make it seem so easy. The dialogue has a real warmth and wit, the dialogue during the jail scene is just hilarious and that scene came across as the best from a comedic point of view, and the gags and such are good-natured and enjoyably daft. Shall We Dance is not without heart either, it is very difficult not to be moved by You Can't Take That Away From Me. Fred Astaire is immensely charming and likable and dances a dream as always, it more than makes up for that he's not all that convincing as a Russian. Ginger Rogers looks gorgeous and interacts and dances with Astaire wonderfully, you are not quite as emotionally invested in Linda Keene as you are with some of her other characters but Rogers still gives everything she's got. In supporting roles, Eric Blore was a joy and provided some of the film's funniest moments(the aforementioned jail scene), though Edward Everett Horton and Jerome Cowan are very enjoyable as well. To conclude, a great piece of escapism. 9/10 Bethany Cox

Its fun walking through movies from an era where the stage had not yet migrated away from the screen. It was possible, for instance for Fred Astair to be in the funky bowels of a coal- fired ship and have us presented with a polished floor and musically clanking stage engine parts. This sort of stage/reality merger is not possible today, even in "musicals" and its quite a cinematic jolt, even though expected.But supposing you aren't tuned the way I am, there are still three very nice things here. In the order they appear:— The story is about a man (a dancer) who sees a picture of a woman (who happens to also be a dancer) and falls in love with her. But her appeal should be something to do with how she dances, right? And pictures don't dance. Ah, but they do; we are shown a flip book, consisting of photos from a film. Flip the pages and you see her dance. Stare a moment and the flipbook seamlessly transforms into the film of her dancing. Its a film within that could as easily from that point be the guy's fantasy. This ability to play fast and loose with reality, film and show is unique, I think, to the 30s.— We've come to see Fred and Ginger dance. But we've seen them before, and the truth is that no matter how talented they are, its much the same from one film to the next. So what to do? Well, you add two gimmicks. One is not interesting to me: Fred "mixes" ballet and tap. The other is pretty amazing: Fred and Ginger dancing as a couple on roller skates! Now this is pretty darn amazin'. They both seem to completely understand gravity as visionary mystics. That's what its all about, is transcendence. Its what makes her sexy as heck and he classy.— The final big number has two devices that impressed. The first and most visually cinematic is the set. It is a huge cylinder with many vertical doors behind which dancing girls appear and vanish. This is expertly designed and photographed, the only thing here that is. The other device is that the scores of girls wear Ginger masks. She has left him and re-appears behind one of the masks. Oh, you should know that the story, thin as it is, is based on false presentations like this.Ted's Evaluation -- 2 of 3: Has some interesting elements.

My second film starring Fred Astaire and Ginger Rogers {following the magnificent 'Top Hat (1935)'} confirms what I had initially suspected: I don't think I'll ever get sick of these guys! Throughout their careers, the pair co-starred opposite each other on no less than ten occasions, and 'Shall We Dance (1937)' marked their seventh collaboration. Brimming with catchy, stupendously-entertaining musical numbers, and a lightweight screwball storyline highlighted by a slew of accomplished comedy performers, the film was the brainchild of George Gershwin, who wrote the score, and his older brother Ira Gershwin, who penned the lyrics. Director Mark Sandrich returned, once again, to helm the production, which offers little different from the previous Astaire-Rogers pictures, but, in doing so, gave audiences precisely what they wanted. The society inhabited by Petrov and Linda Keene glitters with wealth, class and elegance, presenting American audiences – still suffering the effects of the Great Depression – with a sophisticated fantasy world in which they could immerse themselves.Notably, the film was the first in which Fred Astaire experimented with the blending of ballet and tap-dancing, his character expressing the desire to "combine the technique of ballet with the warmth and passion of this other mood." In this, Astaire proves moderately successful, though he obviously appears most comfortable when tappin' away on a hardwood floor, and it would eventually fall to Gene Kelly to perfect the combination in such films as 'An American in Paris (1951)' and, of course, 'Singin' in the Rain (1952).' Astaire's efforts are culminated in a wonderful and elaborate ballet-hybrid stage show, which features the title song, a Depession-era number that appeals to the audience to look on the brighter side of life by slipping on a pair of dancing shoes, and which concludes with a brief reprisal of "They All Laughed (At Christopher Columbus)" – an ode to the triumphant nature of love against all adversity. "Slap That Bass" is an unusual but gratifying mixed-race musical number, in which Astaire watches an African American jam-session in the engine room of their ship, demonstrating that happiness lies not with those with money, but rather with those possessing "rhythm."The story itself often wanders into rather silly territory {only Hollywood could possibly think to dispel marriage rumours by actually getting married}, but there is more than enough fun to go around. Edward Everett Horton is absolutely hilarious as Jeffrey Baird, Petrov's (Astaire) proud and indignant ballet manager, who not only detests the tap-dancing of which Astaire is so fond, but also disapproves of his budding relationship with Linda Keene (Rogers). Horton's reaction to seeing the scandalous nighttime photograph of the pair - a silent and completely unexpected offscreen pass-out - made me laugh so hard that I started to choke on my glass of water. Jerome Miller is also exceedingly likable as Linda's scheming manager, despite his suspect motivations in aiding Petrov's plight to marry her. Also amusing is Eric Blore, whose accommodating hotel manager Cecil Flintridge finds himself tormented by the conflicting gossip about the two stars' marital status, and later encounters much trouble trying to have himself bailed out of gaol. 'Shall We Dance' makes for an immensely enjoyable musical evening, and you'll find yourself humming "Let's Call The Whole Thing Off" for days afterward.