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Dance arranger escapes to the army after his daffy boss can't seem to keep his women properly sorted.

Expert mix of comedy, dance, and glamour. The glamour's supplied by Hayworth who's—in a word—simply dazzling (okay, two words). Her appearance in Gilda (1946) may have supplied the smoldering sex appeal, but this one supplies the sheer beauty. Plus she cuts a pretty good rug with the incomparable Astaire who turns in his usual nimble footed magic. Of course, putting the rail-thin danceman in the army is a stretch, but the script doctors manage to turn his weight trick into a chuckle.

Then there's the terminally befuddled Robert Benchley (Mr. Cortland) who can't seem to tell a backscratcher from a bracelet or his wife from a chorus girl. Pairing his nonsense with the classy, no-nonsense Inescort (Mrs. Cortland) is a comedic masterstroke. I love his I'm-caught-again stammer as he withers under her glare. Then too, the chorus girls send-off for the soldier boys in the train station is a real eye-catcher and masterpiece of staging. It may not be the dance centerpiece, but it does brim over with genial high spirits.

If I didn't know better (release date, Sept. 1941), I would have guessed this was a WWII morale booster. But clearly the big one is on the horizon, and I'll bet this 90-minutes of escape played in a ton of overseas bases. After all, what GI would not fight to keep the Hayworths back home safe and secure. But happily you don't need to be a GI or his girl to enjoy this expert blend of dance and whimsy, courtesy a stellar cast, a clever script, and Columbia studios.

I have to differ with the viewer who feels that though Rita Hayworth was a marvelous dancer she did not measure up to Ginger Rogers as the partner of Fred Astaire. Rita's dancing was so graceful that she was the perfect match for the stupendous Astaire. Her beauty in this movie is a thing to behold. Now after all these years we can only wish that they included a bunch of other dances instead of all the silliness. How can it be that such a lovely as Rita would have such a difficult life? I wonder if the talented Hayworth ever realized that it would be her early dancing that would really be her lasting legacy and if she did would she have given us more to appreciate for the years. Watching her dance as a young woman is a joy that will be repeated for generations.

I initially thought this one was the lesser of the two pairings. But I have to admit this film- which puts its audience squarely into the start of World War II- is quite sharp, script-wise, and quite lyrical, music-wise. Astaire's dance director shows an early but distant attraction to chorus dancer Hayworth (and vice-versa), but is drafted into the Army (not to mention repeatedly banished to the guardhouse for various insubordination) before they can live happily ever after. They were a sweet coupling, despite their 19-year age difference, and Hayworth, as others have mentioned, was quite a revelation as a tap and ballroom dancer. All of their dances are performances only, not love scenes (which are the duets I have always preferred), but they are sensational. The requisite 'big number' is the finale, the "Wedding Cake Walk" (you'll do a double-take at the last image of the tank-shaped wedding cake), and there is an ensemble dance at the start of the film called "Boogie Barcarolle." But two numbers stand out: Astaire's solo dance in the guardhouse, sung by a black jazz chorus (uncredited, called the Delta Rhythm Boys) and entitled "Since I Kissed My Baby Goodbye." Elegant tapping by Astaire is blended with a rich bass vocal by Lucius Brooks. The other number is Astaire and Hayworth's dress rehearsal "So Near and Yet So Far," a stunning rumba which shows off Hayworth in a sheer black gown and expands into intricate layers of choreography. This is one of the last films to show Ms. Hayworth as a brunette; her hair is no longer black, but it is not yet red either, but shortly after this outing her tresses went completely red as she began doing doing Technicolor films. Their follow-up film, "You Were Never Lovelier," had more of the standard romantic shenanigans and more lyrical dance numbers, but this first one was more screwball comedy and, in a sense, more of a challenge to pull off.

Ginger Rogers may have been Fred Astaire's ultimate dance partner, but Rita Hayworth makes a very worthwhile play for that title in 'You Were Never Lovelier'. This fun wartime comedy-musical has a very contrived plot that is as flimsy as tissue paper, but when the two stars Hayworth and Astaire are on screen together all faults are forgiven for the sheer brilliance they show together as dancing partners.

Hayowrth, early in her career, shows little sign of nervousness before the camera and handles her role as Sheila Winthrop very well, she imbues her with charm, grace and just a hint of sass. Astaire is equally likable as Robert Curtis, Rita's love interest from the beginning. As with all of Astaire's films with Rogers the lovestruck couple experience a series of misdemeanours that hinder their romance, until a romantic finale reunites the pair. Light moments of comedy work well to compliment the bursts of energetic dancing, and Hayworth's and Astaire's charisma shine through perfectly when they are needed to lift the action.

The army base setting is refreshing, yet also distracting. A little too much time is given to the rather unamusing antics of Astaire's servicemen buddies. The film isn't overly influenced with visual style, the sets look as if they have been used time and time again, yet Hayworth and Astaire are sublime whatever the situation. Rita looks very beautiful in this one, and she displays a natural acting talent. Astaire was never much of an actor but he lights up the screen like no other. Nice supporting work from Frieda Inescort is a highlight, as is the dancing finale for Hayworth and Astaire atop an army tank. Yes, the army sub-plot came in handy in the end.

Margarita Cansino was still undergoing the 'Rita Hayworth' transformation while this film was being made, so Rita still looks quite Latin in most scenes, with darker hair than we are normally accustomed to from the famous redhead. Fred often said that Rita was the best dancer he ever worked with, and at times he does seem in awe of her capabilities that definitely match his. Rita considered this one of the two jewels in her film career (the other being 'You Were Never Lovelier' with, you guessed it, Fred), and it is a gorgeous film.

A feel-good musical that isn't a mind-blowing film experience, yet is definitely an enjoyable one.

7/10.

Though the 42 year old Fred Astaire was certainly not eligible for the peacetime draft still he plays the would be soldier very well in You'll Never Get Rich. Leaving Rita Hayworth is certain to be a problem though.

The first peacetime draft in American history forms the background for this film in the same way as Universal's Abbott and Costello classic, Buck Privates. You'll Never Get Rich bares some resemblance to Buck Privates in the comedy portions of the film though it does stay away from the burlesque aspects that Abbott and Costello brought to it.

Remember this is a Fred Astaire film and in the plot it has a lot of resemblance to what Astaire had been recently doing over at RKO with Ginger Rogers. The same kind of kittenish romantic complications with humorist Robert Benchley taking the Eric Blore/Victor Moore part as the one who causes all the problems.

The dance numbers bear a strong resemblance to the routines Astaire did with Rogers. But here he is being brought over to Columbia to showcase the woman who would be Columbia Picture's mealticket for the next decade and a half.

Rita Hayworth was just coming into her own as a box office attraction when this film was done. On the dance floor she complements the elegant Mr. Astaire divinely. This was the first of two films she did with Astaire and while I like You Were Never Lovelier a lot better than this one, You'll Never Get Rich is still entertaining.

Cole Porter wrote the score for this film and it's probably one of his lesser efforts for the screen and stage. Still it did have an Oscar nominated song in Since I Kissed My Baby Goodbye. It's not a song that immediately brings Cole Porter to mind for today's audience though.

Will both Rita Hayworth and Uncle Sam get the services of Fred Astaire? See You'll Never Get Rich and find out.