Ciúme, Sinal de Amor

The couple Josh (Fred Astaire) and Dinah Barkley (Ginger Rogers) are successful musical comedy artists in Broadway and perfect on stage. However, they frequently argue with each other backstage and at home and the perfectionist Josh usually questions the performance of his wife. Their close friend and pianist Ezra Millar (Oscar Levant) usually calms them down.

When Dinah is introduced to the playwright and director Jacques Pierre Barredout (Jacques Francois), he believes that she is a great dramatic actress and offers a lead role in his play to her. After an argument with Josh, Dinah splits up with her husband and decides to pursue the career of actress. The stubborn Josh misses Dinah and secretly helps her in her new career but none of them seems to give in.

"The Barkleys of Broadway" is another musical comedy with Fred Astaire and Ginger Rogers, but in Technicolor. This time, in addition to the beautiful numbers of Fred and Ginger, Oscar Levant wonderfully plays Tchaikovsky. My vote is six.

Title (Brazil): "Ciúme, Sinal de Amor" ("Jealousy, Sign of Love")

For their reunion and final screen pairing, Fred Astaire and Ginger Rogers were teamed again by MGM in The Barkleys of Broadway. They play a pair of musical comedy performers who do have their occasional spats off the stage.

One thing Arthur Freed at MGM did for the pair was give them a better and more mature story to work with than they ever did at RKO back in the Thirties. That was part of the charm though, you didn't really care about the silliness of the plots with music written by folks like, Kern, Gershwin, Porter, and Berlin.

As in real life Fred was the creative one of the pair and he's criticizing Ginger a bit too much at times. So much so that she's very receptive to French director Jacques Francois's overtures to star in a straight dramatic play about young Sarah Bernhardt. This presents quite the dilemma for Fred in his professional and personal life.

Harry Warren and Ira Gershwin wrote the score for The Barkleys of Broadway. I like very much the song You'd Be Hard To Replace it so fits Fred and Ginger for singing and dancing.

Creative continuity was established with the RKO films as They Can't Take That Away From Me which was introduced in Shall We Dance and written by Ira and George Gershwin sung and danced elegantly here. It's one of my favorite ballads ever.

Oscar Levant is his usual laconic and witty self here who inflicts the Saber Dance on party guests and later does Tschaikovsky's Concerto in B Flat in the grand and classical style. Levant's reputation as a wit overshadows his very real skill as a pianist, but not in this film. Also his close association with the Gershwin brothers gives some more official continuity with this film.

I suppose Fred and Ginger could have done more films together, but I suppose that in The Barkleys of Broadway they left their fans on a high note. They'll never dancing partners like them ever again.

Bickering husband and wife musical comedy team break up over her ambitions to become a dramatic actress. Final Fred & Ginger movie and their only film in color. Doesn't seem to get a lot of love but I enjoyed it. Fred and Ginger still play well off of each other, though admittedly the script doesn't have any of the sexual tension or playful banter of their more classic films. The bickering is nowhere near as bad as other reviewers have said, though. I felt the relationship between the two was very loving.

Ginger is absolutely gorgeous in Technicolor. I can't remember her ever looking so radiant. Her wardrobe was great, too. Speaking of beauties, I have to mention lovely Carol Brewster who had a small part but caught my eye. She looked quite fetching as well. Cutie Gale Robbins is fun as Ginger's understudy. Oscar Levant is great as their friend. He also has a couple of nice piano numbers.

The musical numbers are good. The Scottish number, Fred's solo number, and "They Can't Take That Away from Me" were all excellent. But whose brilliant idea was it to ruin the opening (and probably best) dance number by putting the opening credits over it? Regardless, it's a good movie with some solid musical numbers, luscious Technicolor, and the great Fred & Ginger in their last film.

THE BARKLEYS OF Broadway was originally written to reunite Fred Astaire and Judy Garland after their smash hit EASTER PARADE; however, Judy was having a lot of health problems at the time and was unable to do the film, which paved the way for Ginger Rogers to reunite with her former film partner for the first time in ten years and for the first time in color. Sadly, this would also be their last film together but it is quite the send off for these dancing legends. The film, written by Betty Comden and Aldoph Green (SINGIN IN THE RAIN)follows a Broadway song and dance team named Josh and Dinah Barkley, who are at the peak of their careers, but Dinah feels like she's suffocating from Josh's Svengali-like grip on her career and decides she wants to become a serious actress. Of course, this story does parallel what happened with Astaire and Rogers ten years earlier when Rogers yearned to become a dramatic actress and actually won an Oscar the following year for KITTY FOYLE. The road to their inevitable reunion is predictable (and as for Ginger's interpretation of some French play, the less said the better)but the team;s dancing is still spectacular even after ten years away from each other. Their comic duet in Scottish kilts "Me One and Only Highland Fling" is a delight and Fred's solo "Shoes with Wings On" is brilliant, even though realistically, this number would be physically impossible to do in a theater as it is presented here, but I digress. And their final dance to "They Can't Take That Away From Me" is one of the loveliest pas de deuxs ever filmed. Not up to par with SINGIN IN THE RAIN or THE BAND WAGON, but classy entertainment with that beloved MGM gloss.

Nice to see that when Ginger Rogers put her dancing shoes on again for a reunion with Astaire, she was still a great trouper even though years had flown by in films without Fred. Lucky she was available! Seems that Judy Garland was unable to go on and had to be replaced by Ginger who was relaxing at her farm in Oregon. The script by Betty and Adolph Green had to be revamped to suit Fred and Ginger--and the result is pure gold! Rumors had it that Judy wasn't too happy about being replaced and gave Ginger a hard time by showing up on the set. None of the strain shows in Ginger's performance.

By no means is the storyline a new one--but the manner in which Fred, Ginger, Oscar Levant, Billie Burke and others play it is what makes the film so watchable. And the singing and dancing numbers can't be faulted. Fred has his solo routine with "Shoes With Wings On" (a number, by the way, which would have been impossible to perform on a real stage as he does here)-- but things like that never bothered filmgoers in the '40s. Ginger and Fred have a fine time with their 'My One and Only Highland Fling' routine (in kilts with brogues) and join forces for an elegant version of 'They Can't Take That Away From Me' in formal attire which -- for me at least -- was the highlight of their team effort. Acid-tongued Oscar Levant has plenty of chance to dazzle too with his nimble piano work on 'Sabre Dance' and even joins the two for "A Walk in the Country" which gets the story off to a jaunty start.

Though Judy's fans missed the opportunity to see her again with Astaire after "Easter Parade", nobody was disappointed with the results. For their fans, this was their only chance to see Fred and Ginger together in a Technicolor musical with no expense spared. The results were Grade A entertainment.

Ginger's Sarah Bernhardt recitation has become a camp classic--good for laughs! The less said about it, the better. Nevertheless, it's easy to see why Astaire welcomed her back with open arms.