Damsel in Distress had a lot going for it, and while not all my high expectations were met, most were. Not everything works here, but the good things are a great many and come off pretty splendidly.
There's actually not an awful lot wrong here. The story does get rather silly and contrived, with romances where while sweet it is not hard at all figuring out the outcome, and is occasionally more of a slow-mover more than a smooth-mover (a vast majority of the time it is the latter though). Harry Watson did to me come across like he was trying too hard and eager to please, and it irritated rather than amused. Am in agreement however that Joan Fontaine was the biggest flaw, have nothing against her overall as an actress and while there are signs of an aristocratic presence which suited the role just fine her acting inexperience here does show, her comic timing is flat (barely keeping up with the energy of the rest of the cast), her chemistry with Astaire is at times stilted and she is very ill at ease as a dancer, her work in Things are Looking Up is basically a walk-through.
Fred Astaire however absolutely sparkles, who cannot love the grace and poise of his dancing or his charming, suave screen presence? He shines particularly in Stiff Upper Lip, his unconventional but quite clever routine with the drums and especially A Foggy Day. George Burns and Gracie Allen are hilarious in their comic relief supporting roles and their dancing comes off remarkably well, more than holding their own against Astaire in Stiff Upper Lip in a way where two different styles gel surprisingly effectively. In other supporting roles, Reginald Gardiner is brilliantly funny with a conniving character that could easily have been over-played, and the conniving side of the character is more than convincing, and Montagu Love is equally great value.
George Stevens directs with grace and care throughout, the comedy elements are appropriately light and he doesn't lay it too thick or sentimental for the drama and romantic elements. Damsel in Distress looks lovely, with elegant production values and crisp, beautiful photography. The photography actually dazzles in Stiff Upper Lip, and is more than an ideal match for the cleverness of the choreography. The script is witty and light-hearted, enough to induce a number of laughs easily, and it's sweet and heart-warming as well.
Other than Astaire, George Gershwin's songs and Hermes Pan's Oscar-winning choreography are what stand out. The songs are typically fine, as can be expected from Gershwin, One Foggy Day and Nice Work If You Can Get It are classic standards for good reason. The choreography is every bit as superb, Astaire's scene with the drums will delight and surprise fans but the highlight is indeed Stiff Upper Lip, set in a funhouse, it is so much fun and is the most imaginative and colourful the choreography gets.
All in all, while Fontaine is disappointing, Astaire, the songs and the choreography are winning on every level. While not a must-watch, it is still highly recommended but the many good things are so impressive. 7/10 Bethany Cox
There's actually not an awful lot wrong here. The story does get rather silly and contrived, with romances where while sweet it is not hard at all figuring out the outcome, and is occasionally more of a slow-mover more than a smooth-mover (a vast majority of the time it is the latter though). Harry Watson did to me come across like he was trying too hard and eager to please, and it irritated rather than amused. Am in agreement however that Joan Fontaine was the biggest flaw, have nothing against her overall as an actress and while there are signs of an aristocratic presence which suited the role just fine her acting inexperience here does show, her comic timing is flat (barely keeping up with the energy of the rest of the cast), her chemistry with Astaire is at times stilted and she is very ill at ease as a dancer, her work in Things are Looking Up is basically a walk-through.
Fred Astaire however absolutely sparkles, who cannot love the grace and poise of his dancing or his charming, suave screen presence? He shines particularly in Stiff Upper Lip, his unconventional but quite clever routine with the drums and especially A Foggy Day. George Burns and Gracie Allen are hilarious in their comic relief supporting roles and their dancing comes off remarkably well, more than holding their own against Astaire in Stiff Upper Lip in a way where two different styles gel surprisingly effectively. In other supporting roles, Reginald Gardiner is brilliantly funny with a conniving character that could easily have been over-played, and the conniving side of the character is more than convincing, and Montagu Love is equally great value.
George Stevens directs with grace and care throughout, the comedy elements are appropriately light and he doesn't lay it too thick or sentimental for the drama and romantic elements. Damsel in Distress looks lovely, with elegant production values and crisp, beautiful photography. The photography actually dazzles in Stiff Upper Lip, and is more than an ideal match for the cleverness of the choreography. The script is witty and light-hearted, enough to induce a number of laughs easily, and it's sweet and heart-warming as well.
Other than Astaire, George Gershwin's songs and Hermes Pan's Oscar-winning choreography are what stand out. The songs are typically fine, as can be expected from Gershwin, One Foggy Day and Nice Work If You Can Get It are classic standards for good reason. The choreography is every bit as superb, Astaire's scene with the drums will delight and surprise fans but the highlight is indeed Stiff Upper Lip, set in a funhouse, it is so much fun and is the most imaginative and colourful the choreography gets.
All in all, while Fontaine is disappointing, Astaire, the songs and the choreography are winning on every level. While not a must-watch, it is still highly recommended but the many good things are so impressive. 7/10 Bethany Cox