User Reviews

When Fred Astaire first appeared in a movie it was "Dancing Lady", where he (and Nelson Eddy, and The Three Stooges) were supporting the backstage story concerning Joan Crawford and Clark Gable and Franchot Tone. MGM did not keep Astaire on the roster, and he drifted to RKO. In his first film where Ginger Rogers also appeared, they were not really teamed, but did their numbers together, and in "Flying Down To Rio" they were supporting Gene Raymond and Dolores Del Rio. The film was good entertainment and RKO noted that Fred and Ginger were popular. So they soon had a film in the leads "The Gay Divorcée" (based on a musical by Cole Porter on Broadway that Astaire and his sister Adele appeared in called "Gay Divorce"). It was a big success. "Top Hat" followed. It would seem a formula had been created.

So suddenly they were in "Roberta" with Irene Dunne and Randolph Scott. The question becomes why were they suddenly in relative support roles again? I cannot answer that - except to note that in 1935 Irene Dunne did have a reputation for her singing ability too. In a year she'd do her musical peak with Allan Jones, Hattie MacDaniel, Paul Robeson, Helen Morgan and Charles Winninger in "Showboat". Dunne and Scott seemed a likable couple too. They would reunite for "High, Wide, and Handsome" in 1937. And since the score of "High, Wide, And Handsome" (as well as "Showboat")was by Jerome Kern, possibly the combination made sense. Ironically it would be tried again in the "Follow the Fleet" and it did not do as well (Dunne was not in it). That next was the last film that Astaire and Rogers played parts...in support.

"Roberta" is a good musical. You can't beat Kern's music - only match it by his "Golden Age" contemporaries like Porter, Gershwin, Youmans, Berlin, and Rodgers (with Hart or Hammerstein). This one has "Lovely to Look At",and "Smoke Gets In Your Eyes" (a favorite of mine). The scene at the café-restaurant where Dunne sings it is perfect, with Astaire and Rogers dancing to it and Dunne singing the tune flawlessly, but then finding the all too true lyrics applying to her presently collapsing relationship with Scott, she collapses as she sings the chorus again...only her friends comfort her.

The musical was about a Parisian couturier (played by Helen Westlake) who is the aunt of Scott. "Roberta's" is one of the leading fashion shops in the world, and Scott and his friend Astaire (and the band they are connected to) are stuck in Paris after a job falls through. Dunne is Westlake's leading aide and the guiding spirit behind her designs. She is also a Russian aristocrat, squired around by Victor Varconi. Their biggest client is a Polish Countess and entertainer (Rogers, in a kind of foreign imitation of her "Anytime Annie" in "42nd Street"). When Westlake dies she leaves the store to Scott (as her nearest relative). Scott offers Dunne an equal partnership (which Dunne is reluctant to take - she is already feeling she wants a closer relationship to Scott than that).

The story develops when Scott actually designs a rather overly revealing gown (for 1935) that is actually sewn up and presented in the shop. Scott is interested in Dunne too, but he has a girlfriend in the states. Hw also notices Varconi. The girlfriend (Claire Dodd) shows up and rekindles her control of Scott (what's left of it), and tries to patronize Dunne and "Roberta's". But the result turns out to be rather disastrous for all concerned.

It is all cleared up in the end. And there are those dance numbers and Dunne's singing. It's a grand show.

Astaire in his later career would twice appear in films with Bing Crosby. Late in his career he would also nearly appear in a television movie with Bob Hope (ill health prevented it). Hope actually was in the stage version of "Roberta" and traces of his role are in Astaire's. For example when Astaire makes a bet with Dodd for 100 francs he does it knowing something she does not, and scoops up the cash just when she finds out. That was done precisely as Hope would have done it. How do I know? In the 1980s there was a television production of Roberta, and Hope (still being active) did a walk-on repeat of his performance on the stage. He used the same mannerisms as Astaire did in that sequence.

Jerome Kern provides his wonderful and inimitable music for the screen adaptation of his famous stage smash hit.

John Kent (Randolph Scott) an all American football player, is in Europe with his friend Huckleberry 'Hunk' Haines (Fred Astaire) a band leader who's band have been left stranded and jobless in Paris. Desperate for a job and a place to stay, John turns to his Aunt Minnie who is otherwise known to the world as the famous Roberta, chic fashion designer extraodinaire and owner of the most exclusive boutique in Paris.

Irene Dunne plays Stephanie, an exiled Russian Princess who has become a sort of adopted daughter to Roberta and is practically running the business in the ailing Roberta's stead.

When however Roberta suddenly passes away, she leaves the fashion business entirely to John who, knowing absolutely nothing about female evening attire goes into partnership with Stephanie, and the two slowly start to fall in love.

However, with fame comes the inevitable hangers on and John's ex girlfriend Sophie (Claire Dodd) turns up in Paris out of the blue to see if she can extract her own slice of John's new lucrative piece of pie.

What problems will Sophie cause to John's up and coming romance with Stephanie and in turn what effect will this have on the future of Roberta's?

Ginger Rogers brings her comic expertise to the forefront as she plays Parisean socialite Comtesse Scharwenka, who turns out to be nothing more than Lizzy Gatz, Huckleberry's long lost girlfriend all the way from Anytown U.S.A.

Fred and Ginger revert to third and fourth billing once more, therefore becoming nothing more than a novelty act in what is primarily a love story built around Dunne's and Scott's characters, but they are given the opportunity to perform some memorable dances, most notably 'Smoke Gets in Your Eyes'

Jerome Kern's wonderful ballad has been cited by many of his contemporaries as the best and most perfectly constructed love song ever, and it is certainly showcased here, not only as one of Astaire and Rogers' slower tempo dance classics, but it is wonderfully sung by Irene Dunne, who's obvious appreciation for the lyrics stand out.

Look out also for 'I'm Too Hot to Handle' a delightful comic number sung brilliantly by Rogers which she then taps out delightfully with Astaire.

Not one of the best of the Astaire/Rogers series due to their position in billing and scenario, but still an entertaining and enjoyable film.

ROBERTA (RKO Radio, 1935), directed by William A. Seiter, from the then current Broadway play, and from the novel, "Gowns by Roberta," marks the third pairing of Fred Astaire and Ginger Rogers, but a return to playing comedic supporting roles, yet, having more footage than from their initial pairing in FLYING DOWN TO RIO (RKO, 1933). Not as well known nor popular as their other musical outings, ROBERTA may come off today as a disappointment, in fact, a rather dull musical film, but in reality, it's a different kind of Astaire-Rogers film, which centers mostly on displaying the latest fashions from Paris than on dance numbers. It is also a rare case found in their musicals where one of the central characters dies. When Astaire and Rogers dance on screen, they succeed into making every precious moment count, while the romantic plot involving its leading stars, Irene Dunne and Randolph Scott, presents itself as satisfying but not entirely interesting. And as with the early Astaire and Rogers musicals, this one, too, has the Continental flavor or European background, this time opening in La Havre and later settling down to Paris, France. Again, this is a reworking of a stage play and looks it, without the use of real projection backdrops of the streets of Paris nor a car chase to speed up the pacing.

Let's begin: John Kent (Randolph Scott), an All-American football player and coach comes to Paris to visit his Aunt Minnie (Helen Westley), known nationally as "Roberta," who has left the United States years ago earning her fortune in Paris as a dressmaker. Accompanying John is his friend, band-leader Huckleberry "Hunk" Haines (Fred Astaire), and his group of Wabash Indianians. John later becomes acquainted with Stephanie (Irene Dunne), Roberta's head designer, and her cousin, Ladislaw (Victor Varconi), who works as a doorman. Unknown to John, Stephanie and Ladislaw are both of Russian royalty. Along the way is a Polish countess, Scharwenka (Ginger Rogers), who shows she's hard to handle towards Stephanie when unsatisfied with the dresses presented to her. When Hunk is introduced to the countess, he recognizes her as Elizabeth "Lizzie" Gatz, a former girlfriend from back home. Because of her influence in Paris, Lizzie helps Hunk and the band obtain jobs at the Cafe Russe. All goes well until Roberta dies, leaving John to inherit the dress shop, and the visitation of Sophie Keel (Claire Dodd), a snobbish girl John once loved, now back in his life, complicating matters between him and Stephanie.

While the plot plays at a leisure pace, the songs, by Jerome Kern, with additional lyrics by Dorothy Fields and Jimmy McHugh, help it along. The musical program includes: "Let's Begin" (sung by Fred Astaire and Candy Candido); "Russian Folk Song" (sung by Irene Dunne); "I'll Be Hard to Handle" (sung by Ginger Rogers/danced by Astaire and Rogers); "Yesterdays" (sung by Irene Dunne); "I Won't Dance" (sung by Rogers and Astaire/ dance solo by Astaire); "Smoke Gets In Your Eyes" (sung by Irene Dunne); "Lovely to Look At" (sung by Dunne, later reprised by Astaire and Rogers); "Smoke Gets In Your Eyes" (instrumental dance by Astaire and Rogers); and "I Won't Dance" (finale, danced by Astaire and Rogers).

Many of the songs presented are pleasing to the ear, with Irene Dunne solos hitting the high note. ROBERTA plays more like a 1940s MGM musical, in slower tempo scoring and minus Technicolor. In fact, it was MGM that later purchased the rights to ROBERTA and remade it as LOVELY TO LOOK AT (1952) starring Kathryn Grayson, Red Skelton and Howard Keel. Both film versions are currently presented on cable's Turner Classic Movies for comparison.

Of the ten Astaire and Rogers musicals, ROBERTA was the only holdout to commercial television, destined not to ever be seen again. Whether it was because MGM had a hold on it so not to have it compared with its splashing Technicolored remake, or that the movie itself would not hold any interest towards a newer generation of movie goers, is anybody's guess. Fortunately, ROBERTA was brought back from the entombment of a studio vault in the 1970s, first at revival movie houses, then to commercial television. When ROBERTA made its New York television premiere September 25, 1977, on WOR, Channel 9 (the former home of the RKO Radio film library), and for Astaire and Rogers devotees, it was a long awaited event. Unseen commercially since the early 1940s, one critic of a local newspaper complimented Channel 9 for bringing back this long unseen musical gem, and writing, "It's about time!" Availability on both VHS and DVD should assure lasting appeal.

With a combination of Irene Dunne's singing, Randolph Scott's repeatedly reciting the catch phrase of "swell," and a very lengthly fashion show finale with models (one of them being the very blonde Lucille Ball) in fashion gowns pacing the floors back and forth, the classic moments, which are few, are Astaire's solo dancing to "I Won't Dance," and the beautiful duet of Astaire and Rogers dancing to "Smoke Gets In Your Eyes."

One final note, Ginger Rogers displays some fine comedic talent playing a Polish countess and supporting an thick accent that echoes that of comedienne Lyda Roberti. And why not? It was Roberti who appeared as Scharwenka in the Broadway production. Because the Astaire and Rogers combination was hot, it was obvious that Roberti would not get to reprise her original role, nor anyone else for that matter.

ROBERTA does have its moments of greatness when it comes to dances, and slow points when it comes to its plot, but all in all, it's worth viewing. And to get to hear the songs, like "Opening Night," "The Touch of Your Hand" and "You're Devastating," which were all discarded from this version, but heard as instrumental background, one would have to sit through the 1952 remake. While LOVELY TO LOOK AT (1952) has color, ROBERTA (1935) has class. (****)

Early in their careers, Fred Astaire and Ginger Rogers were not a dance team. Ginger made quite a few small-time films without Fred and Fred started out as a bit player in a musical named DANCING LADY which starred Clark Gable and Joan Crawford (the 3 Stooges were also bit players in this film). No one yet realized what a hot property there two were going to be together.

Rather accidentally, Astaire and Rogers were teamed in FLYING DOWN TO RIO. They were NOT the stars of the film (Gene Raymond and Delores Del Rio were) and the film was an amusing yet bizarre musical with some of the strangest dance numbers in the history of film. While worth seeing, it wasn't until their next film that they were in the leads. THE GAY Divorcée was a wonderful film--one of their best--and it set the stage for several more exceptional musicals together. The problem, though, was that they had just finished THE GAY Divorcée and RKO didn't realize that it would be a hit, so they assigned them to ROBERTA. Sure, it was becoming obvious they they were excellent when paired together, but it still hadn't been established that they were major stars--and big enough to get top billing. As a result of this uncertainty, ROBERTA is like a transitional film--not the pattern the team would soon be in but showing many aspects of a true Astaire-Rogers film.

For me, the biggest problem with the film was putting Irene Dunne and Randolph Scott in the leads. Ms. Dunne's singing was frankly pretty awful--very operatic and hard on the ears. And, unfortunately, Scott wasn't given much to do and he came off as nice but wooden. So what about Fred and Ginger? Well, they dance a lot (often NOT together) and they have a few small good moments together but that's about it. And poor, poor Ginger--her role was simply awful. Someone had the bright idea of having her be an American pretending to be French or was it Russian or maybe Chinese. Her accent was dreadful and the part just seemed silly. As a result of all these short-comings, the film is rather limp but historically important--and a must-see for fans of Astaire and Rogers. All others, think twice before you watch this film--it might turn you off the dance team altogether!

1930's french haute couture blended with music/dance, portraited perfectly in a light-hearted rom-com. 🌸 🖤 Randolph Scott's charm & modesty ~ paired with Irene Dunne's chicness, propriety and princessy classical voice. 🖤 Fred Astaire's loveliness & orchestral/choreographical talent ~ dueting with Ginger Roger's aristocratic allure. -- A 'swell' film noir. -- 🌸

1935 film ruined by the ridiculous plot.

Fred Astaire and Randolph Scott land in Paris for a gig only to be turned down. Astaire's friend, Ginger Rogers, gets them and their band a job. Suddenly, we're told that Scott is a football player coming with Astaire to visit his Aunt Roberta, the owner of a fine dress shop with Irene Dunne as her assistant.

Dunne's voice was never lovelier. Rogers masquerading as a European lady with an accent does her dance routines with Astaire so admirably well. The story goes down hill once the aunt, Helen Westley, dies in her sleep and Scott inherits the business.

Scott falls for Dunne but his old flame appears and that sets the stage for conflict.

They both walk out on the business and Astaire is left holding the bag to run it until cooler heads prevail. Yes, the plot is ludicrous, but Can't Dance, Smoke Gets in Your Eyes and other melodies are memorable.

Is it any wonder that Scott stuck mostly to westerns after this film?