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'''''Follow the Fleet''''' ([[RKO Pictures|RKO]]) is a [[1936]] Hollywood [[Musical film|musical]] comedy [[film]] with a nautical theme and stars [[Fred Astaire]], [[Ginger Rogers]], [[Randolph Scott]], [[Harriet Hilliard]], [[Astrid Allwyn]] and [[Betty Grable]], with music and lyrics by [[Irving Berlin]]. [[Lucille Ball]] also appears, in a bit part. The film was directed by [[Mark Sandrich]] with script by [[Allan Scott]] and [[Dwight Taylor]] based on the [[1922]] play ''Shore Leave'' by [[Hubert Osborne]].
'''''Follow the Fleet''''' ([[RKO Pictures|RKO]]) is a [[1936]] Hollywood [[Musical film|musical]] comedy [[film]] with a nautical theme and stars [[Fred Astaire]], [[Ginger Rogers]], [[Randolph Scott]], [[Harriet Hilliard]], [[Lucille Ball]], and [[Betty Grable]], with music and lyrics by [[Irving Berlin]]. [[Lucille Ball]] also appears, in a bit part. The film was directed by [[Mark Sandrich]] with script by [[Allan Scott]] and [[Dwight Taylor]] based on the [[1922]] play ''Shore Leave'' by [[Hubert Osborne]].


Dance commentators [[Arlene Croce]] and [[John Mueller]] point out that, aside from the obvious weakness<ref>Croce: "it's plot is a dead weight," p.82; Mueller: "bogged down by a sour, labored plot," p.89</ref>: a discursive and overlong plot lacking quality specialist comedians<ref>Mueller p.90</ref> to bring its whimsical elements to life - a flaw which also characterised<ref>Croce: "the story makes very little sense" p. 46</ref>''[[Roberta]]'' - this film contains some of the Astaire-Rogers partnership's most prized duets, not least the iconic "[[Let's Face the Music and Dance]]." According to Croce: "One reason the numbers in ''Follow the Fleet'' are as great as they are is that Rogers had improved remarkably as a dancer. Under Astaire's coaching she had developed extraordinary range, and the numbers in the film are designed to show it off."<ref>Croce, p.82</ref> That this film's remarkable<ref>Astaire: "one of his best" p.218</ref> score was produced immediately after his smash-hit score for ''[[Top Hat]]'' is perhaps testimony to Berlin's claim<ref>Mueller p.78</ref> that Astaire's abilities inspired him to deliver some of his finest work. As an actor, however, Astaire makes a somewhat unconvincing<ref>Mueller: "no one is taken in", p.89</ref> attempt at shedding the wealthy man-about-town image by donning a sailor's uniform, while Rogers, in this her fifth pairing with Astaire - brings her usual comedic and dramatic flair to bear on her role as a nightclub entertainer.
Dance commentators [[Arlene Croce]] and [[John Mueller]] point out that, aside from the obvious weakness<ref>Croce: "it's plot is a dead weight," p.82; Mueller: "bogged down by a sour, labored plot," p.89</ref>: a discursive and overlong plot lacking quality specialist comedians<ref>Mueller p.90</ref> to bring its whimsical elements to life - a flaw which also characterised<ref>Croce: "the story makes very little sense" p. 46</ref>''[[Roberta]]'' - this film contains some of the Astaire-Rogers partnership's most prized duets, not least the iconic "[[Let's Face the Music and Dance]]." According to Croce: "One reason the numbers in ''Follow the Fleet'' are as great as they are is that Rogers had improved remarkably as a dancer. Under Astaire's coaching she had developed extraordinary range, and the numbers in the film are designed to show it off."<ref>Croce, p.82</ref> That this film's remarkable<ref>Astaire: "one of his best" p.218</ref> score was produced immediately after his smash-hit score for ''[[Top Hat]]'' is perhaps testimony to Berlin's claim<ref>Mueller p.78</ref> that Astaire's abilities inspired him to deliver some of his finest work. As an actor, however, Astaire makes a somewhat unconvincing<ref>Mueller: "no one is taken in", p.89</ref> attempt at shedding the wealthy man-about-town image by donning a sailor's uniform, while Rogers, in this her fifth pairing with Astaire - brings her usual comedic and dramatic flair to bear on her role as a nightclub entertainer.

Revision as of 01:51, 8 April 2007

Follow the Fleet
File:Follow the Fleet DVD Cover.jpg
Follow the Fleet DVD cover
Directed byMark Sandrich
Written byAllan Scott
Dwight Taylor
Hubert Osborne (play)
Produced byPandro S. Berman
StarringFred Astaire
Ginger Rogers
Randolph Scott
Harriet Hilliard
CinematographyDavid Abel
Edited byHenry Berman
Music byIrving Berlin
Max Steiner
Distributed byRKO Radio Pictures Inc.
Release dates
February 20, 1936 (U.S. release)
Running time
110 min.
LanguageEnglish

Follow the Fleet (RKO) is a 1936 Hollywood musical comedy film with a nautical theme and stars Fred Astaire, Ginger Rogers, Randolph Scott, Harriet Hilliard, Lucille Ball, and Betty Grable, with music and lyrics by Irving Berlin. Lucille Ball also appears, in a bit part. The film was directed by Mark Sandrich with script by Allan Scott and Dwight Taylor based on the 1922 play Shore Leave by Hubert Osborne.

Dance commentators Arlene Croce and John Mueller point out that, aside from the obvious weakness[1]: a discursive and overlong plot lacking quality specialist comedians[2] to bring its whimsical elements to life - a flaw which also characterised[3]Roberta - this film contains some of the Astaire-Rogers partnership's most prized duets, not least the iconic "Let's Face the Music and Dance." According to Croce: "One reason the numbers in Follow the Fleet are as great as they are is that Rogers had improved remarkably as a dancer. Under Astaire's coaching she had developed extraordinary range, and the numbers in the film are designed to show it off."[4] That this film's remarkable[5] score was produced immediately after his smash-hit score for Top Hat is perhaps testimony to Berlin's claim[6] that Astaire's abilities inspired him to deliver some of his finest work. As an actor, however, Astaire makes a somewhat unconvincing[7] attempt at shedding the wealthy man-about-town image by donning a sailor's uniform, while Rogers, in this her fifth pairing with Astaire - brings her usual comedic and dramatic flair to bear on her role as a nightclub entertainer.

Follow the Fleet was extremely successful[8] at the box office, and during 1936, Astaire's recorded versions of "Let Yourself Go", "I'm Putting All My Eggs In One Basket", and "Let's Face The Music And Dance" reached their highest positions[9] of 3rd, 2nd, 3rd respectively in the US Hit Parade.

Synopsis

Bake (Fred Astaire) and Sherry (Ginger Rogers) are former dance partners, now separated, with Bake in the Navy and Sherry working as a dance hostess in a San Francisco ballroom. Bake visits the ballroom with his Navy buddy Bilge (Randolph Scott) during a period of "liberty", re-uniting with Sherry while Bilge is initially attracted to Sherry's sister Connie (Harriet Hilliard). When Connie begins to talk about marriage, Bilge quickly diverts his attention towards a friend of Sherry's, Iris (Astrid Allwyn), a divorced socialite. The sailors return to sea while Connie seeks to raise money to salvage her deceased sea-captain father's sailing ship. When the boys return to San Francisco, Bake attempts to get Sherry a job in a Broadway Show, and fails amidst a flurry of mistaken identities and misunderstandings. He redeems himself by staging a benefit show which raises the final 700 dollars needed to refurbish Connie's late father's ship. Following the concert, Bake and Sherry are offered a show on Broadway and decide to re-team.

Key songs/dance routines:

Hermes Pan collaborated with Astaire on the choreography, which dwells on themes of sudden changes in tempo, rhythm and direction. Competitive challenge is another important component.

  • "We Saw The Sea": The film loses not a minute in introducing Astaire the sailor, and his mates, in this cheerful ditty. A separate recording exists of Irving Berlin singing this song to his own piano accompaniment, a recording which was featured by Hermes Pan and Hal Borne in the 2004 ARTE documentary l'Art de Fred Astaire.
  • "Let Yourself Go": Backed by a trio which includes Betty Grable, a nautically-attired Ginger sings this bright and bubbly Berlin standard, which is followed after a short interlude by a comic tap duet with Astaire. This routine begins as a competitive challenge between Astaire-Rogers and another couple (Bob Cromer and Dorothy Fleischman, who soon withdraw) and develops into an energetic duet with much emphasis[10] on galloping kicks, leg wiggling and scampering moves.
  • "Get Thee Behind Me, Satan": Sung by Harriet Hilliard, this number was originally intended for Ginger in Top Hat.
  • "I'd Rather Lead A Band": After singing this jaunty number Astaire embarks on a virtuoso tap solo in which he makes great play with the challenges of dancing on, off and around the beat - an ability for which he had long been famous in theatre. Complicating the task are frequent and sudden changes of tempi[11]. This concept would be explored further in his "conducting solo" finale of Second Chorus. After leading the band in the song, he discards the baton and begins the solo part of his routine. After this, he is joined by a chorus of sailors who are alternately led and challenged by him.
  • "Let Yourself Go" (solo dance): Ginger Rogers' only solo tap dance in her ten films with Astaire is an engaging[12] routine which permits comparison[13] of Pan's independent choreography with his joint efforts with Astaire.
  • "I'm Putting All My Eggs In One Basket": Berlin's remarkable[14] ability to combine endearing melodies with syncopated rhythms, complex key modulations and verbal dexterity is showcased in lines such as: "I've tried to love more than one/Finding it just can't be done/Honey, there's one I lie to/When I try to/Be true/To/Two". As in the "I Won't Dance" number from Roberta, the song is preceded by a solo piano display by Astaire - a playing style he termed his "feelthy piano". Then Astaire and Rogers sing alternate choruses before embarking on an affectionate comic dance duet which plays on the notion of both dancers being unable to keep in step with each other. Incidentally, Lucille Ball appears just before this number to put a sailor admirer down with the line "Tell me little boy, did you get a whistle or a baseball bat with that suit".
  • "But Where Are You?": Sung by Harriet Hilliard.
  • "Let's Face The Music And Dance": One of the Astaire-Rogers partnership's most famous routines, this may be seen as a study in dance of Art Deco poses as portrayed by figurine sculptors of the day. Other Art Deco touches include the beautiful hand movements early on which recall those depicted in ancient Egyptian wall paintings. From a choreography standpoint, it has some elements in common with the "Smoke Gets In Your Eyes" number from Roberta. Astaire sings the poignant lyrics to Ginger after which the dance begins slowly and builds to a hedonistic climax, culminating in a flamboyant[15] static exit pose. The dance is filmed in one continuous shot lasting two minutes and fifty seconds. During the first take, Ginger's dress, which was heavily weighted so as to achieve a controlled swirling action, hit Astaire in the face[16] midway through the routine, though the effect is barely discernable. He nonetheless selected[17] this take out of twenty overall for the final picture. The set - designed by Carroll Clark under the direction of Van Nest Polglase - is frequently cited as a leading example of Art Deco-influenced art direction known as Hollywood Moderne. Film clips of this routine were featured in the 1981 film Pennies from Heaven, where it was also reinterpreted by Steve Martin and Bernadette Peters with revised choreography by Danny Daniels.

Note: Two songs, "Moonlight Maneuvers" and "With a Smile on My Face" were written for the film but unused.

References

  • Fred Astaire: Steps in Time, 1959, Heinemann, London
  • Arlene Croce: The Fred and Ginger Book, Galahad Books 1974, ISBN 0-88365-099-1
  • John Mueller: Astaire Dancing - The Musical Films of Fred Astaire, Knopf 1985, ISBN 0-394-51654-0

Notes

  1. ^ Croce: "it's plot is a dead weight," p.82; Mueller: "bogged down by a sour, labored plot," p.89
  2. ^ Mueller p.90
  3. ^ Croce: "the story makes very little sense" p. 46
  4. ^ Croce, p.82
  5. ^ Astaire: "one of his best" p.218
  6. ^ Mueller p.78
  7. ^ Mueller: "no one is taken in", p.89
  8. ^ Croce: "with all its flaws Follow the Fleet was a shattering hit", p.84
  9. ^ Mueller p.412
  10. ^ Mueller p.92
  11. ^ Mueller p.93
  12. ^ Croce: "splendid and perky" p.88; Mueller: "sweet and winning" p.94
  13. ^ Mueller p.94
  14. ^ Mueller p.95
  15. ^ Croce: "a Joos-type lunge" p.89; Mueller: "daring and extraordinary pose" p.99
  16. ^ Astaire: "I got the flying sleeve smack on the jaw and partly in the eye", p.220
  17. ^ Astaire: "The No. 1 take was perfect. It was the one we all liked best.", p.220
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