Perhaps because it was Fred Astaire and Ginger Rogers's penultimate picture together for RKO, or perhaps because it is more romantic comedy than musical, Carefree tends to be a neglected entry in the series. This is unfortunate, because it retains many of the elements that made the duo so popular while also breaking new ground. Fred plays Tony Flagg, a psychoanalyst who is asked by his friend Steve (Ralph Bellamy) to try to figure out why his fiancée, Amanda Cooper (Ginger), keeps breaking off their engagement. During the course of treatment, and in a reversal of the usual pattern, Ginger falls for Fred and begins to pursue him. The emotionally repressed doctor resists, leading to a number of comic encounters, as well as a moment of genuine heartbreak. Other innovations include Fred's dance on a driving range, a slow-motion dream sequence (which was going to be shot in color until budget concerns won out), Fred and Ginger's first screen kiss, and some of Ginger's best turns as a comic actress. More familiar elements include Ginger fronting the band at the start of a large company dance number ("The Yam," which failed to catch on as a dance craze), an expert if skimpy Irving Berlin score including the lovely ballad "Change Partners," and of course fabulous, high-flying dancing. Fred and Ginger fans can't afford to miss Carefree. -David Horiuchi.

They don't make the most obvious screen couple-if you squint, you might think Stan Laurel had gotten together with Lauren Bacall-but their differences only serve to make this effervescent musical all the more entertaining. You'll Never Get Rich is the first of two that Fred Astaire and Rita Hayworth made together (followed by You Were Never Lovelier). Astaire, who stars as choreographer-turned-soldier Robert Curtis, has rarely been looser, and Hayworth, as dancer Sheila Winthrop, has rarely been more graceful. As in Royal Wedding, Astaire also engages in some fancy solo footwork. Robert Benchley and Frieda Inescort provide priceless support as Robert's philandering boss and his clever wife, and Cole Porter composed the music, including "So Near and Yet So Far," "Dream Dancing," and the Oscar®-nominated "Since I Kissed My Baby Goodbye. " You'll Never Get Rich is timeless, escapist fun that also serves to prove that sometimes opposites don't just attract-they can make beautiful music together. -Kathleen C. Fennessy.

This semi-remake of Holiday Inn (the first movie in which Irving Berlin's perennial, Oscar-winning holiday anthem was featured) doesn't have much of a story, but what it does have is choice: Bing Crosby, Danny Kaye, Rosemary Clooney, an all-Irving Berlin song score, classy direction by Hollywood vet Michael Curtiz (Casablanca, The Adventures of Robin Hood), VistaVision (the very first feature ever shot in that widescreen format), and ultrafestive Technicolor! Crosby and Kaye are song-and-dance men who hook up, romantically and professionally, with a "sister" act (Clooney and Vera-Ellen) to put on a Big Show to benefit the struggling ski-resort lodge run by the beloved old retired general (Dean Jagger) of their WWII Army outfit. Crosby is cool, Clooney is warm, Kaye is goofy, and Vera-Ellen is leggy. Songs include: "Sisters" (Crosby and Kaye do their own drag version, too), "Snow", "We'll Follow the Old Man", "Mandy", "Count Your Blessings Instead of Sheep" and more. Christmas would be unthinkable without White Christmas. -Jim Emerson.

One of the finest American musicals, Vincente Minnelli's Meet Me in St Louis is an intentionally self-contained story set in 1903, in which a happy St Louis family is shaken to their roots by the prospect of moving to New York, where the father has a better job pending. Judy Garland heads the cast in what amounts to a splendid, end-of-an-era story that nicely rhymes with the onset of the 20th century. The film is extraordinarily alive, the characters strong and the musical numbers are so splendidly part of the storytelling that you don't feel the film has stopped for an interlude. -Tom Keogh, Amazon. com In Easter Parade, Don Hewes (Fred Astaire) is devastated when his longtime dancing partner, Nadine Hale (Ann Miller), breaks up the team to set out on her own. Determined to prove that he can succeed without her, Astaire vows that he can pick any random chorus girl and make her a star. Fortunately for him, the chorus girl he picks happens to be one of the greatest entertainers of the 20th century, Judy Garland (playing Hannah Brown). Easter Parade turned out to be the first and only collaboration between the two screen legends. Garland made the 1948 film despite ongoing health problems then had to pull out of a planned follow-up, The Barkleys of Broadway (Ginger Rogers replaced her); Astaire had retired following Blue Skies in 1946 but was brought in for this film as an emergency replacement after Gene Kelly broke his ankle playing touch football. Fortunately, Easter Parade always feels like an Astaire film rather than a Kelly film, from its Pygmalion-esque plot (which helps explain the principals' 23-year age disparity) to its score of Irving Berlin standards (some new, some recycled from earlier films). [+]

Martin Scorsese took a daring turn from the mean streets that made his reputation in the early 70s with New York, New York, his homage to the big-band era. And what a homage it is: the dazzling production design by Boris Leven continues to impress over the film's nearly three-hour length. And there's no denying the anthemic appeal of Kander and Ebb's title song, belted with winning bravado by costar Liza Minnelli in a show-stopping finale. But as valiantly as Minnelli and Robert De Niro try, they can't elevate the shaky plot beyond its two-dimensional construct. It purports to be a Star Is Born-like tragedy of colliding careers but too often it feels like inadvertently eavesdropping on a marriage counsellor's most truculent clients. (There are times you want someone-anyone-to slap Minnelli upside the head with a copy of Women WhoLove Too Much. ) The film is for diehard Minnelli (or Scorsese) fans only. -Anne Hurley.

The Elvis formula was well in place by the time of 1964's Roustabout, a concoction of undistinguished songs (anyone remember "Poison Ivy League"?), pretty girls, tight pants, a colourful setting and a little bit of karate to prove that Elvis really had been studying his martial arts. With that understood, Roustabout is a better-than-average work-out for the King-not as peppy as Viva Las Vegas, but a good deal livelier than the sleepwalking It Happened at the World's Fair. Elvis plays a bad-boy singer roaming the highways on his Japanese motorcycle; laid up after an accident, he joins a carnival owned by the feisty Barbara Stanwyck. ("This is not a circus, it's a carnival. There's a big difference. ") The cast goes from high to low: both giant-sized future James Bond villain Richard Kiel and tiny Billy Barty are carny regulars, and Raquel Welch has a small role in the opening scene. Teri Garr is one of the carnival dancers behind Elvis. The legendary costume designer Edith Head puts Elvis in a series of snappy windbreakers, but thank goodness he's also in black leather a lot. As if that weren't enough to recommend it, the movie has a sequence involving Elvis riding a cycle inside the "Wall of Death", a huge wooden cylinder with high walls. This bit actually inspired an entire Irish film in 1986, Eat the Peach, in which friends build a similar contraption after they watch Roustabout on tape. [+]

Vincente Minnelli's 1958 adaptation of Colette's story about a girl (Leslie Caron) groomed as a courtesan-but desired as a wife by a Parisian playboy (Louis Jordan)-won a lot of Oscars, but it also has the unusual distinction of being an MGM musical shot on location in the City of Lights. What a musical it is (by Lerner and Loewe): Maurice Chevalier and Hermione Gingold crooning "Ah, Yes, I Remember It Well", plus the songs "Thank Heaven for Little Girls", "Gigi", "I'm a Bore", and "She's Not Thinking of Me". Director Vincente Minnelli (Some Came Running, Meet Me in St Louis) makes a sumptuous, dreamy, almost laid-back affair of it all and the indispensable cast is forever etched into memory. Hollywood's long-running infatuation with continental grace and manners, the memory of a much earlier time imported to American movies through such immigrant directors as Ernst Lubitsch, may have finally come to a gentle end with this film. -Tom Keogh Gigi, Vincente Minnelli's 1958 adaptation of Colette's story about a girl (Leslie Caron) groomed as a courtesan but desired as a wife by a Parisian playboy (Louis Jordan), won a lot of Oscars, but it also has the unusual distinction of being an MGM musical shot on location in the City of Lights. What a musical it is (by Lerner and Loewe): Maurice Chevalier and Hermione Gingold crooning "Ah, Yes, I Remember It Well", plus the songs "Thank Heaven for Little Girls", "Gigi", "I'm a Bore", and "She's Not Thinking of Me". Director Minnelli makes a sumptuous, dreamy, almost laid-back affair of it all and the indispensable cast is forever etched into memory. Hollywood's long-running infatuation with continental grace and manners, the memory of a much earlier time imported to American movies through such immigrant directors as Ernst Lubitsch, may have finally come to a gentle end with this film. -Tom Keogh.

The first film directed by Vincente Minnelli (who directed the original Broadway version), this musical offers its pleasures but also may make you squirm at the racial stereotypes that were considered both acceptable and entertaining in 1943. A story of the struggle between good and evil for the soul of a man named Little Joe (Eddie "Rochester" Anderson), the film plays with the same kind of racial notions that made Stepin Fetchit a star. Still, there's much to recommend it, particularly performances by some of the greatest musical stars of the day: Lena Horne, Ethel Waters, Louis Armstrong, and Duke Ellington, among others. The film also includes a terrific score, a combination effort by Ellington, Harold Arlen, Vernon Duke and E Y Harburg that includes the song "Taking a Chance on Love. " -Marshall Fine.