Carefree

If you attempt to look at the plot carefully (never a good idea in a musical) this is a rather repellent movie. The practice of Psychotherapy wasn't as well known or as well respected as it is today, and the film was clearly written by someone who seemed to think of it as some fad medical cure indulged in mainly by rich and foolish women. As such we get to see Fred Astaire, the therapist, subjecting Ginger Rogers, the patient, to all manner of barbaric (to modern eyes) treatments in order to find out why she won't marry his best friend. Eventually Astaire uses hypnosis to force her to marry him, and then force him not to. Clearly, movie doctors were not subjected to as severe a code of ethics as are real ones.

Its a pretty typical outing for Astaire and Rogers. Astaire's dancing is extraordinary (the dance scene on the golf course is great, as is the one where he dances with a hypnotized Rogers). Rogers' comic timing is, as always, wonderful. The secondary characters are all two-dimension cut-outs, but they're entertaining ones. If the characters didn't have quite the same sparkle to their interplay, remember, this was Astaire and Rogers' eighth film together and artistic differences were beginning to create a strain.

My biggest issue with this movie was the scene in which they sing the song "I Used To Be Colorblind". This was dream sequence, and it lasted about five minutes. "Carefree" is a black and white movie and the intent originally was to film the dream sequence in color a'la "Wizard of Oz". Apparently, somewhere in the production process, people balked at the cost and it was produced in black and white along with the rest of the film. Being filmed in black and white makes the song, and the entire sequence makes not one lick of sense, because the song is about how crisp and clear the world seems in color. Not only that, but since it was designed to be viewed on color film, not in black and white, the sets weren't designed with that same high degree of contrasts they would have if they had been designed to be viewed in black and white. As such, things in the dream sequence are LESS clear than in the rest of the movie, not more. I'm just appalled that the studio could spring for a few minutes of color footage for a film with such proved money-makes as Astaire and Rogers.

this is one of my favorite fred astaire/ginger rogers films. it's highly amusing how she toys with him at the beginning of the film, and then once he begins hypnosis, they have one of the best dance scenes i've ever seen between them. as always, their magic together is astounding.

CAREFREE (RKO Radio, 1938), directed by Mark Sandrich, a screwball comedy set to music, reunites the song and dance team of Fred Astaire and Ginger Rogers for the eighth time in a sort of welcome change from their previous efforts: Astaire plays a doctor, psychiatrist by profession, rather than his usual lovesick American dancer, although the doctor in question DOES have a talent for dancing. Rogers, breaking away from sophisticated humor, makes her mark in broader comedy. She's been funny before, usually sassy with nifty comebacks, but this time in the dizzy-dame mode, but fortunately, not to the extreme.

The plot focuses on Stephen Arden (Ralph Bellamy), a witless attorney. He becomes drunk after his engagement to popular radio star, Amanda Cooper (Ginger Rogers), has been broken for the third time and stumbles to the Medical Foundation building to ask his good friend, Dr. Tony Flagg (Fred Astaire), a psychiatrist assisted by his white coated Connors (Jack Carson), to have Amanda "what's 'er name" analyzed. While waiting in his office, Amanda, accidentally stumbles upon Flagg's phonograph record, listening to a diagnosis about his last patient, closing with his comment about his next patient, Miss Cooper, being a "maladjusted woman." Upset, Amanda turns the tables around by sitting behind his desk and the doctor uncomfortably on the other end in a question and answer session. While bicycling in the park with Steven and her Aunt Cora (Luella Gaer), Amanda and Tony meet again, coming come to friendly terms. Agreeing to Tony's treatments, Amanda goes through a dinner special diet (lobster with mayonnaise and buttermilk) so to have her dreams analyzed, and hypnotism that turns to disaster when roaming the streets in a trance.

With plenty of comedy written into the screenplay, it's a wonder how dance numbers could fit into an overall "screwball" comedy, especially with a score by Irving Berlin. This is where CAREFREE stands apart from the other Astaire and Rogers films. The first number, "Since They Turned 'Loch Lamond' Into Swing" finds Astaire at a golf course accomplishing several things at the same time by playing the harmonica and tap dancing to a Scottish underscoring while teeing off several golf balls in rhythm, all to perfection without once missing his mark. There is no vocal to this number. "I Used to Be Color Blind" is very interesting mainly because it takes part as Rogers' dream dance, with Astaire, singing and dancing in slow motion. While "The Yam" sung by Ginger Rogers at the country club, is an upbeat number, followed by dancing with Astaire on wooden floors rather than the traditional glossy ones. It didn't become a memorable duet as "The Carioca," "The Continental" or "The Piccolino," but unlike these earlier dance numbers, which Fred and Ginger are the main focus, they invite dinner guests to join in with them. The final number, "Change Partners," a more appropriate title than "Carefree," is a beautiful love dance, or trance dance, where the hypnotized Rogers dances in a motionless manner with Astaire. While "Change Partners" is in slower tempo, it's one of the film's most memorable tune, it not, their most sentimental dance sequences. "Change Partners" earned an Academy Award nomination as Best Song.

Luella Gear, as Rogers' matron aunt, Cora, comes across as a middle-aged Kay Francis but speaking like Helen Broderick. Gear, in her movie debut, had very few films to her credit. She's reportedly best known for her role as Aunt Hortence in the stage version of THE GAY DIVORCE (1932) that starred Astaire. Ralph Bellamy, who by this time was usually type-cast as stuffy suitors, happens to be the most masculine of Rogers' rejected beaus thus far. His character, however, becomes very unlikable towards the second half, bogging down the story.

Rounding out the cast in smaller roles are Franklin Pangborn (Roland Hunter); and Hattie McDaniel (Hattie, the maid); and Kay Sutton (Miss Adams). Clarence Kolb takes support as the no-nonsense Judge Joe Travers, Stephen's friend who pleasure himself by telling corny jokes. Although credited, the Robert B. Mitchell and the St. Brendan's Boy Choir seem to have become victims of the editing process consider how they're nowhere to be seen, only heard on the soundtrack singing "Change Partners" near the film's close.

In spite of numerous pros and cons, CAREFREE ranks the team's most underrated film as shortest (83 minutes). It's occasionally funny in spots with imaginable, if not too successful, dance numbers. Other than CAREFREE being available on video cassette and DVD, and formerly found on American Movie Classics prior to 2001, it turns up occasionally (with close casting credits restored) on Turner Classic Movies. Next in the Astaire and Rogers series, THE STORY OF VERNON AND IRENE CASTLE (1939). (***)

Tony Flagg (Fred Astaire) agrees to psychoanalyze the girlfriend of his pal Steve (Ralph Bellamy) because she can't make up her mind as to whether or not she wants to marry him. The girlfriend, Amanda (Ginger Rogers), decides in short order that she actually loves Tony, but he has decided she's perfectly normal and doesn't need his help. So she contrives a ridiculous dream so that he thinks she is abnormal and will continue to treat her.

This film should have been renamed "Conscience Free" as none of the three central players seems to have one. Astaire comically abuses his license to heal to hypnotize Rogers to try to control her emotions. When he realizes he's fallen for her, he tries to re-direct her affections for Bellamy to him. Rogers, when told under hypnosis to follow every impulse, escapes Astaire's office before she can be taken out of her trance, decides it would be fun to knock the canes away from old people and watch them fall down and to throw rocks through windows. And Bellamy, upon hearing that Rogers really loves Astaire, and that she is only marrying him as a result of hypnosis, is perfectly OK with that.

The Irving Berlin music, what there is of it, is fine. But there is little of the usual chemistry between Astaire and Rogers. Bright spots include an early career appearance by Jack Carson showing his flair for comedy and Clarence Kolb as a family friend and judge acting like The Monopoly Man personified. This was the only Astaire & Rogers film to lose money at the box office.

Hilarious and very stylish, this spellbinding art moderne musical is a real experiment in RKO craftsmanship. Did you know the dream sequences to the song "I used to be color blind" were originally filmed in color but the release abandoned because RKO couldn't get the tech specs right and the cost was going to be too high for the budget already set. It was a great idea and today might have made CAREFREE a more enduring success as there is no color footage of them as a dancing pair until 1949 at MGM.. Apart from the snazzy look of the art direction, Ginger's fantastic 'hearts and arrows' outfit and big black bewitching hat and the RKO world of the stone and timber country club, the music here is just terrific. The swing antics of the golf club bagpipe sequence had one audience I saw it with in rapturous applause. But I defy anyone to stay seated during THE YAM as they wing and swing their way all over the BIG SET Country club. CAREFREE is just great.