Published via Ecency

(source: tmdb.org

Great actors can elevate the quality of otherwise mediocre films, but only to a certain degree. This includes even Fred Astaire and Ginger Rogers, one of the most formidable screen couples in the history of cinema. Roberta, a 1935 musical directed by William A. Seiter, their third film together, left much to be desired, at least compared with their two previous pairings.

The film is based on the eponymous 1933 Broadway musical by Jerome Kern and Otto Harbach, itself based on Gowns by Roberta, a novel by Alice Duer Miller. The plot begins in the French port of Le Havre, from where Huck Haines (played by Astaire) and his jazz band, the Wabash Indianans, arrive on their way to Paris. They are booked to perform at the elite nightclub Caffe Russe, owned by Alexander Voyda (played by Luis Alberni). However, when Voyda realises that the Indianans aren’t the Indians he had expected, he cancels the gig.

Thankfully, Huck has travelled from America with his friend, Harvard football player John Kent (played by Randolph Scott), whose wealthy and influential aunt, Minnie (played by Helen Westley), owns Roberta, a highly respectable Parisian fashion house. John asks her for help, and during the visit to her apartment, he stumbles upon her chief designer, Stephanie (played by Irene Dunne), an exiled Russian princess, and immediately falls in love with her. At the same time, Huck discovers that “Countess Scharwenka” (played by Ginger Rogers), one of Roberta’s clients, is actually Lizzie Gatz, his former sweetheart. Scharwenka/Gatz helps Huck finally book a gig at Caffe Russe.

When Aunt Minnie dies, John inherits her business, but since he doesn’t know a thing about fashion, he leaves the business to Stephanie. However, she becomes jealous of John’s shallow American girlfriend, Sophie (played by Claire Dodd).

Astaire and Rogers are the stars of the film, but not the only ones, and they are actually credited under Irene Dunne, an immensely popular and respected actress who was at the time enjoying the nickname “First Lady of Hollywood.” Dunne is very good in the film and actually sings a couple of songs, including “Smoke Gets in Your Eyes,” which would later become an everlasting pop standard. However, she is clearly overshadowed by Astaire and Rogers, who, despite their characters appearing relatively little in the film, easily steal the show. This includes the finale, which combines music and dance numbers with a fashion show (with a young Lucille Ball as one of the models), but it is not as spectacular and memorable as the biggest numbers in the previous two Astaire-Rogers films. In order to enjoy this scene, viewers have to endure a rather unremarkable, unimaginative, and clichéd romantic plot, which is resolved in a predictable manner.

Fans of Randolph Scott might appreciate the opportunity to watch the future Western icon in one of his early roles, where he played a physically imposing but immature young man instead of the stoic, silent heroes from his later years.

Roberta was produced by RKO after outbidding rival studios MGM and Paramount for the film rights, but the large sum paid off, and the film became a massive hit at the box office. In 1952, MGM bought the rights for a remake, produced under the title Lovely to Look At, and also purchased all copies of the 1935 version, making it unavailable until the 1970s. Because of that, Roberta was, for decades, one of the most obscure Astaire-Rogers films.

RATING: 5/10 (++)