This is my all-time favorite Fred Astaire and Ginger Rogers film. The dialogue between the two is so cute and funny and very clever. Not to mention this film contains some of the best songs recorded by the two; like I'm Putting All My Eggs in One Basket and Let's Face the Music and Dance. If I remember correctly, this was the film that introduced me to Fred Astaire so I suppose because of that it will always hold a special place in my heart (sorry for the sentimental cr*p but I'm woman so get over it)All in all this film gets an 8/10 from me. The choreography was superb and also the fact that Lucille Ball is in it makes it even more awesome.
78 Reviews
One Of My Favorite Astaire-Rogers Films
ccthemovieman-128 October 2006
This is one of the best Fred Astaire-Ginger Rogers films, or at least one of my favorites. Most of the A-R movies feature great dancing but sappy romance stories. This still has the courtship corniness but not as pronounced as the other films.
This movie features not just great dancing but likable characters and a bunch of good songs. The music is the central theme here and what's nice is the addition of a tap solo by Rogers. She not only was a super dancer but a very pretty woman and one with tremendous figure. She dances also with Fred, of course, and they're always a fun pair to watch on the dance floor.
Growing up in the 1950s watching "Ozzie & Harriet" on television, it was a real kick the first time I saw this to see such a young Harriet Hilliard. No surprise than Ozzie fell for this beauty. Although she had that short early '30s hairstyle, I recognized her voice right away. Also in this movie are quick appearances by Betty Grable and Lucille Ball, but I have to admit that I have yet to out Ball. I can't find her, but I know she's in here.
Astaire, except for some obnoxious gum-chewing in the first third of the film, was fun to watch and Randolph Scott - although better in westerns - is likable, too.
This is simply a nice, feel-good film and good one if you want to to enjoy the great talents of Astaire and Rogers.
This movie features not just great dancing but likable characters and a bunch of good songs. The music is the central theme here and what's nice is the addition of a tap solo by Rogers. She not only was a super dancer but a very pretty woman and one with tremendous figure. She dances also with Fred, of course, and they're always a fun pair to watch on the dance floor.
Growing up in the 1950s watching "Ozzie & Harriet" on television, it was a real kick the first time I saw this to see such a young Harriet Hilliard. No surprise than Ozzie fell for this beauty. Although she had that short early '30s hairstyle, I recognized her voice right away. Also in this movie are quick appearances by Betty Grable and Lucille Ball, but I have to admit that I have yet to out Ball. I can't find her, but I know she's in here.
Astaire, except for some obnoxious gum-chewing in the first third of the film, was fun to watch and Randolph Scott - although better in westerns - is likable, too.
This is simply a nice, feel-good film and good one if you want to to enjoy the great talents of Astaire and Rogers.
Fred and Ginger play the people they really are!
Calysta25 January 2000
The plot intellect is about as light as feather down. But the advantage here is the boy and girl classic refusal we have become accustomed to in "The Gay Divorcee" and "Top Hat" is now absent. Instead of the typical accidental acquaintance, the dancing duo are the former lovers Bake Baker and Sherry Martin, who are still in love since their dancing days.
Of course, being a 30s musical, there's the problems of misunderstood romance, classy courtship and the slight irritation of a sabotaged audition with bicarbonate soda has costing Ginger something rather special. And then in the grand tradition of dwindling finances, there's nothing better for Hollywood's best entertainers than put on a show.
Delightful numbers from Irving Berlin are sprinkled throughout the show. Top hats and evening dresses are saved right until the end, which remains a refreshing change. Fred and Ginger are out again to charm the world...and charm the navy. Everyone and everything is once again just so enjoyable.
Pure classic silliness at its best. But with Astaire and Rogers, we just know it's got to work.
Rating: 8.25/10
Of course, being a 30s musical, there's the problems of misunderstood romance, classy courtship and the slight irritation of a sabotaged audition with bicarbonate soda has costing Ginger something rather special. And then in the grand tradition of dwindling finances, there's nothing better for Hollywood's best entertainers than put on a show.
Delightful numbers from Irving Berlin are sprinkled throughout the show. Top hats and evening dresses are saved right until the end, which remains a refreshing change. Fred and Ginger are out again to charm the world...and charm the navy. Everyone and everything is once again just so enjoyable.
Pure classic silliness at its best. But with Astaire and Rogers, we just know it's got to work.
Rating: 8.25/10
Facing the music.
movibuf196225 October 2004
This film is nice because there are two love stories-- something of a plot departure, and the second couple (Randolph Scott and Harriet Hilliard Nelson) are given the bulk of the dramatics, which allow our stars to be looser, more comical. Astaire chews the gum a little too severely, but he was anxious to make a departure from his customary tuxedoed playboy. Rogers is much more at ease in the role of struggling dancer-singer, and plays well opposite sister Hilliard. (The history is that Ms. Hilliard had to darken her naturally blond hair to distinguish her from Ms. Rogers. But wouldn't they better resemble sisters if they were both blonds?) The Irving Berlin numbers are quite good, ranging from light and airy ("Let Yourself Go," "I'd Rather Lead A Band") to elegant ("Let's Face The Music And Dance"). This final number is the film's bewitching finale, performed on a lovely Art-Deco rooftop and illustrates Astaire's penchant for full-frame, single-take dancing. It is, in a nutshell, singularly gorgeous. The trivia history goes that Rogers' metallic thread gown had weights in the sleeves and hem to make the skirt wind and unwind; the dress was unintentionally difficult to perform in because its flared sleeves hit Astaire across the face IN THE FIRST TAKE- and after many re-shoots trying to cover it up, they ended up printing that first take (we have to assume that was apparently the best performance of the dance, but you can see the sleeves brush across Astaire's face). It loses one-half point from me, because Randolph Scott says 'bebby' once too often.
Fred, Ginger, Harriet and Irving
henry-girling11 August 2004
One of several musicals about sailors on leave, it is the usual sailor meets girl, complications ensue, sorted out happily kind of plot. It proceeds along smoothly enough but it does drag in places too. The dialogue is not as zippy as 'Top Hat' for example and Randolph Scott seems out of place.
There are compensations. It has some of Irving Berlin's choicest songs including 'Let Yourself Go', 'I'm Putting all My Eggs in One Basket' and 'Let's Face the Music and Dance'. It has Fred and Ginger who when they are dancing take any film into heavenly heights and they don't disappoint here. They do a snappy tap dance, a knockabout comic dance and a swirling graceful dance, all in the same film! Great versatility and artistry.
It also has Harriet Hilliard who is rather good in her role. She had a varied career, becoming the more famous Harriet Nelson with Ozzie. Here she is touching without being sentimental.Her two songs are simply and effectively delivered. She makes a good contrast with Ginger but you can believe they are sisters in the film.
More tightening up have made the film even better. Pretty good though.
There are compensations. It has some of Irving Berlin's choicest songs including 'Let Yourself Go', 'I'm Putting all My Eggs in One Basket' and 'Let's Face the Music and Dance'. It has Fred and Ginger who when they are dancing take any film into heavenly heights and they don't disappoint here. They do a snappy tap dance, a knockabout comic dance and a swirling graceful dance, all in the same film! Great versatility and artistry.
It also has Harriet Hilliard who is rather good in her role. She had a varied career, becoming the more famous Harriet Nelson with Ozzie. Here she is touching without being sentimental.Her two songs are simply and effectively delivered. She makes a good contrast with Ginger but you can believe they are sisters in the film.
More tightening up have made the film even better. Pretty good though.
Fred, you didn't tell me Ginger had a sister?
bkoganbing25 April 2006
Musically speaking Irving Berlin gave Fred Astaire and Ginger Rogers another pluperfect musical after Top Hat if that was possible. Although in this case like that Jerome Kern confection Roberta that they were in, Follow the Fleet retained Randolph Scott with another singer, this time Harriet Hilliard.
Randolph Scott is a career Navy CPO and Fred Astaire is an ex-vaudevillian who enlisted in the Navy to forget Ginger Rogers his former partner. But now the two are on shore leave. Fred and Ginger take up right where they left off, and Randy accidentally meets Ginger's dowdy sister Harriet who blossoms into a real beauty. But Randy's a typical love 'em and leave 'em sailor.
Again Irving Berlin wrote a hit filled score with him tightly supervising the production. Ginger gets to do some really outstanding vocalizing with Let Yourself Go which she and Fred later dance to. But the real hit of the show is Let's Face the Music and Dance which is a number done at a Navy show. Sung first by Astaire and later danced to by the pair, Let's Face the Music and Dance is one of the great romantic numbers ever written for the screen. Their dancing on this one is absolute magic.
I'm sure that when I mention Harriet Hilliard a few younger people might ask who that was. But they will know immediately when I mention her in conjunction with her famous husband Ozzie Nelson. That's right Ozzie and Harriet. It's something of a mystery to me why Harriet stopped singing when she just became David and Ricky's mom on television. Then again she didn't even keep her own name.
Neither Ozzie or Harriet sang on television. Ozzie was a pale imitation of Rudy Vallee as a singer, but Harriet could really carry a tune. She sings Get Thee Behind Me Satan and The Moon and I Are Here, But Where Are You, both with real feeling and class. I recommend you see Follow the Fleet if for no other reason than to hear a dimension of Harriet Hilliard incredibly forgotten today.
Randolph Scott is a career Navy CPO and Fred Astaire is an ex-vaudevillian who enlisted in the Navy to forget Ginger Rogers his former partner. But now the two are on shore leave. Fred and Ginger take up right where they left off, and Randy accidentally meets Ginger's dowdy sister Harriet who blossoms into a real beauty. But Randy's a typical love 'em and leave 'em sailor.
Again Irving Berlin wrote a hit filled score with him tightly supervising the production. Ginger gets to do some really outstanding vocalizing with Let Yourself Go which she and Fred later dance to. But the real hit of the show is Let's Face the Music and Dance which is a number done at a Navy show. Sung first by Astaire and later danced to by the pair, Let's Face the Music and Dance is one of the great romantic numbers ever written for the screen. Their dancing on this one is absolute magic.
I'm sure that when I mention Harriet Hilliard a few younger people might ask who that was. But they will know immediately when I mention her in conjunction with her famous husband Ozzie Nelson. That's right Ozzie and Harriet. It's something of a mystery to me why Harriet stopped singing when she just became David and Ricky's mom on television. Then again she didn't even keep her own name.
Neither Ozzie or Harriet sang on television. Ozzie was a pale imitation of Rudy Vallee as a singer, but Harriet could really carry a tune. She sings Get Thee Behind Me Satan and The Moon and I Are Here, But Where Are You, both with real feeling and class. I recommend you see Follow the Fleet if for no other reason than to hear a dimension of Harriet Hilliard incredibly forgotten today.
Sappy, Naive and Delightful
claudio_carvalho7 November 2011
The dancer Bake Baker (Fred Astaire) has joined the navy to forget his former partner and love Sherry Martin (Ginger Rogers) that has declined to marry him, but he misses her. Now his ship is anchored in San Francisco and he goes with his pal, the sergeant Bilge Smith (Randolph Scott), to the Paradise nightclub.
Meanwhile at Paradise, the intellectual teacher Connie Martin (Harriet Hilliard), who has just come from Bellport, visits her sister Sherry that is working there and she stumbles with Bilge at the entrance. She goes to Sherry's dress room and her sister produces Connie with a new dress and make-up, changing her old-fashioned style to a modern look. Sherry meets Bake in the joint and they rekindle their love, and Bake decides to get a better job for Sherry. Meanwhile Connie is infatuated with Bilge, but he is not ready to commit to marriage.
When Bake returns to the vessel, he is ordered to sail and leaves Sherry unemployed without any notice. Meanwhile Connie repairs a salvage to give her to Bilge after their wedding. However, Bilge is dating the divorced and wealthy Mrs. Iris Manning (Astrid Allwyn) and is not ready to settle down. When Sherry has an audition with New York theatrical producer Jim Nolan (Russell Hicks) and is ready to sign a contract with him, Bake arrives in the office and overhears that a girl will sign a contract with Nolan without knowing that she is Sherry. He decides to sabotage her audition with bicarbonate soda. But sooner their misunderstandings resolve and they dance together again.
Like most of Fred Astaire and Ginger Rogers films, "Follow the Fleet" is sappy, naive and delightful. The story is a silly romance, but supported by funny gags and wonderful musical numbers.
The blonde Harriet Hilliard makes fun with blondes in her debut in a feature. The sabotage of Bake Baker with bicarbonate soda is hilarious. And Bake Baker luring Mrs. Manning and Bilge Smith in her apartment is also very funny. My vote is seven.
Title (Brazil): "Nas Águas da Esquadra" ("In the Fleet's Waters")
Meanwhile at Paradise, the intellectual teacher Connie Martin (Harriet Hilliard), who has just come from Bellport, visits her sister Sherry that is working there and she stumbles with Bilge at the entrance. She goes to Sherry's dress room and her sister produces Connie with a new dress and make-up, changing her old-fashioned style to a modern look. Sherry meets Bake in the joint and they rekindle their love, and Bake decides to get a better job for Sherry. Meanwhile Connie is infatuated with Bilge, but he is not ready to commit to marriage.
When Bake returns to the vessel, he is ordered to sail and leaves Sherry unemployed without any notice. Meanwhile Connie repairs a salvage to give her to Bilge after their wedding. However, Bilge is dating the divorced and wealthy Mrs. Iris Manning (Astrid Allwyn) and is not ready to settle down. When Sherry has an audition with New York theatrical producer Jim Nolan (Russell Hicks) and is ready to sign a contract with him, Bake arrives in the office and overhears that a girl will sign a contract with Nolan without knowing that she is Sherry. He decides to sabotage her audition with bicarbonate soda. But sooner their misunderstandings resolve and they dance together again.
Like most of Fred Astaire and Ginger Rogers films, "Follow the Fleet" is sappy, naive and delightful. The story is a silly romance, but supported by funny gags and wonderful musical numbers.
The blonde Harriet Hilliard makes fun with blondes in her debut in a feature. The sabotage of Bake Baker with bicarbonate soda is hilarious. And Bake Baker luring Mrs. Manning and Bilge Smith in her apartment is also very funny. My vote is seven.
Title (Brazil): "Nas Águas da Esquadra" ("In the Fleet's Waters")
Shipmates Forever
lugonian10 October 2002
FOLLOW THE FLEET (RKO Radio, 1936), directed by Mark Sandrich, marks the fifth pairing of Fred Astaire and Ginger Rogers, and one of their top musicals of the era with a bright score by Irving Berlin, the composer of their last outing, TOP HAT (1935). Reworking the formula from their earlier effort, ROBERTA (1935), Astaire and Rogers not only share screen time with another couple closer to their own age, but are characters already acquainted with one another from the start, instead of the usual boys meets girl outing. Unlike ROBERTA, Astaire and Rogers have equal status with the other couple in question, played by Randolph Scott (of ROBERTA) and Harriet Hilliard (making her screen debut). Another welcome change of format to the series is not only finding Astaire switching his elegant presence of top hat, white tie and tails for a sailor's uniform, but in changing its locale from European settings to down-to-earth San Francisco.
In the basic plot, Bake Baker (Fred Astaire) and Bilge Smith (Randolph Scott) are shipmates in the U.S. Navy who go on shore leave. Bake reunites himself with Sherry Martin (Ginger Rogers), his former dancing partner now working as a vocalist at the Paradise Club. Sherry's sister, Connie (Harriet Hilliard), a lonely schoolteacher, comes to visit her sister at the club, and with some encouragement, gets herself groomed into an attractive young lady. Connie makes the acquaintance with Bilge, who had earlier ignored her due to her plain looking appearance. Now with the glasses gone and all dolled up, Bilge takes notice and escorts her home for some smooching. Once Connie mentions something about "wanting a husband at the helm," Bilge gets cold feet and makes an about face. Before going, he makes an acquaintance with Iris Manning (Astrid Allwyn), a society girl who later takes him on a scenic route back to his ship, causing him to be late from liberty leave. During the course of the story, lovesick Connie, who has salvaged her late father's ship for Bilge, falls victim of his neglect while Sherry has troubles of her own with Bake.
The motion picture soundtrack is as follows: "We Saw the Sea" (sung by Fred Astaire and sailors); "Let Yourself Go" (sung by Ginger Rogers, with a singing trio, one of them being Betty Grable); "Get Thee Behind Me, Satan" (sung by Harriet Hilliard); "Let Yourself Go" (danced by Astaire and Rogers); "I'd Rather Lead the Band" (sung by Astaire); "Let Yourself Go" (reprise by Rogers); "But Where Are You?" (sung by Hilliard); "I'm Putting All My Eggs in One Basket" (sung and danced by Astaire and Rogers); "Let's Face the Music and Dance" (sung by Astaire/ danced by Astaire and Rogers) and "We Saw the Sea" (finale, sung by sailors).
Of the musical interludes, "Let's Face the Music and Dance" is the most memorable. It's a production number played to an audience in the story which finds Astaire and Rogers in a Monte Carlo setting sporting their signature costume attire, Astaire well-suited and Rogers in elaborate dress with bell-type sleeves, that's been said in one of the documentaries on their careers, to have slapped Astaire across the face as Rogers twirls around during their dancing sequence. "I'd Rather Lead the Band" echoes Astaire's "Top Hat" number from TOP HAT. Instead of him taking front center stage tapping in front of a bunch of debonair swells, he does the same with a bunch of white uniformed sailors. Harriet Hilliard (later TVs Harriet Nelson of OZZIE AND HARRIET fame in the 1950s) has two solos. Her rendition of "Where Are You?" ranks one of the best sentimental love songs ever written for the screen. She sings it beautifully, with sincerity and heart. Of her subsequent films, FOLLOW THE FLEET is the only one she'll be best remembered. With the presence of Astaire and Rogers, and Berlin songs, it was a worthy start to her career.
The supporting players consist of Harry Beresford, Russell Hicks, Jack Randall and Brooks Benedict. Look closely for a young Tony Martin as one of the sailors, and Lucille Ball as the wisecracking blonde Kitty Collins. It's interesting to note that in the cast credits, Ball, who's name is right down in the bottom, has more screen time than Betty Grable, billed sixth, with only two brief appearances earlier in the story.
Formerly presented on American Movie Classics prior to 2001, FOLLOW THE FLEET, can be seen regularly on Turner Classic Movies or acquired in either VHS or DVD format. One final note, FOLLOW THE FLEET, which was founded by the 1922 play "Shore Leave," consisted of two earlier screen adaptations, SHORE LEAVE (First National, 1925) and HIT THE DECK (RKO, 1930), but it's this version that has become a classic. Although close to two hours, the story drags a bit. However, it's the great dancing and lively score that makes up for it. (****)
In the basic plot, Bake Baker (Fred Astaire) and Bilge Smith (Randolph Scott) are shipmates in the U.S. Navy who go on shore leave. Bake reunites himself with Sherry Martin (Ginger Rogers), his former dancing partner now working as a vocalist at the Paradise Club. Sherry's sister, Connie (Harriet Hilliard), a lonely schoolteacher, comes to visit her sister at the club, and with some encouragement, gets herself groomed into an attractive young lady. Connie makes the acquaintance with Bilge, who had earlier ignored her due to her plain looking appearance. Now with the glasses gone and all dolled up, Bilge takes notice and escorts her home for some smooching. Once Connie mentions something about "wanting a husband at the helm," Bilge gets cold feet and makes an about face. Before going, he makes an acquaintance with Iris Manning (Astrid Allwyn), a society girl who later takes him on a scenic route back to his ship, causing him to be late from liberty leave. During the course of the story, lovesick Connie, who has salvaged her late father's ship for Bilge, falls victim of his neglect while Sherry has troubles of her own with Bake.
The motion picture soundtrack is as follows: "We Saw the Sea" (sung by Fred Astaire and sailors); "Let Yourself Go" (sung by Ginger Rogers, with a singing trio, one of them being Betty Grable); "Get Thee Behind Me, Satan" (sung by Harriet Hilliard); "Let Yourself Go" (danced by Astaire and Rogers); "I'd Rather Lead the Band" (sung by Astaire); "Let Yourself Go" (reprise by Rogers); "But Where Are You?" (sung by Hilliard); "I'm Putting All My Eggs in One Basket" (sung and danced by Astaire and Rogers); "Let's Face the Music and Dance" (sung by Astaire/ danced by Astaire and Rogers) and "We Saw the Sea" (finale, sung by sailors).
Of the musical interludes, "Let's Face the Music and Dance" is the most memorable. It's a production number played to an audience in the story which finds Astaire and Rogers in a Monte Carlo setting sporting their signature costume attire, Astaire well-suited and Rogers in elaborate dress with bell-type sleeves, that's been said in one of the documentaries on their careers, to have slapped Astaire across the face as Rogers twirls around during their dancing sequence. "I'd Rather Lead the Band" echoes Astaire's "Top Hat" number from TOP HAT. Instead of him taking front center stage tapping in front of a bunch of debonair swells, he does the same with a bunch of white uniformed sailors. Harriet Hilliard (later TVs Harriet Nelson of OZZIE AND HARRIET fame in the 1950s) has two solos. Her rendition of "Where Are You?" ranks one of the best sentimental love songs ever written for the screen. She sings it beautifully, with sincerity and heart. Of her subsequent films, FOLLOW THE FLEET is the only one she'll be best remembered. With the presence of Astaire and Rogers, and Berlin songs, it was a worthy start to her career.
The supporting players consist of Harry Beresford, Russell Hicks, Jack Randall and Brooks Benedict. Look closely for a young Tony Martin as one of the sailors, and Lucille Ball as the wisecracking blonde Kitty Collins. It's interesting to note that in the cast credits, Ball, who's name is right down in the bottom, has more screen time than Betty Grable, billed sixth, with only two brief appearances earlier in the story.
Formerly presented on American Movie Classics prior to 2001, FOLLOW THE FLEET, can be seen regularly on Turner Classic Movies or acquired in either VHS or DVD format. One final note, FOLLOW THE FLEET, which was founded by the 1922 play "Shore Leave," consisted of two earlier screen adaptations, SHORE LEAVE (First National, 1925) and HIT THE DECK (RKO, 1930), but it's this version that has become a classic. Although close to two hours, the story drags a bit. However, it's the great dancing and lively score that makes up for it. (****)
Fred and Ginger!
jem13211 April 2008
Warning: Spoilers
Another fun, witty, frothy RKO musical with Astaire and Rogers, FOLLOW THE FLEET is a charming film. While it lacks the stand-out great tunes of SWNG TIME (although the final number "Face the music and dance" is one of the team's best and rightfully so), it is hugely enjoyable, as these two could virtually do no wrong together in the 1930's. Once again, the plot is lightweight and forgettable, but watching Fred and Ginger dance together is sheer heaven. These two conveyed more romance and magic in dance than many couples in films do in a huge love scene. While there are better Fred and Ginger musicals, this is certainly a must-see.
Guaranteed Charmer from Astaire & Rogers
movieman-20011 August 2005
Warning: Spoilers
1936 was the most prolific year for Astaire and Rogers. Their second film for RKO that year is the third film in this collection Mark Sandrich's 'Follow The Fleet.' This time out Astaire is painfully uncomfortable as Bake Baker, a seaman on leave who just happens to stumble into the seedy waterfront café where Sherry Martin (Rogers) is warbling romantic sweet nothings in everyone's ear. Yep, you guessed it they're hot for each other once again. Only this time Sherry's spinster sister, Connie (Harriet Hillard) threatens the whole fine romance by falling for Bake's robust seafaring buddy, Bilge Smith (Randolph Scott); a sort of use 'em up and toss 'em out kind of guy, thus forcing Sherry to reconsider her opinion of all sailors in general. Irving Berlin lends immeasurable class to the proceedings with his classic, classy score, including standards 'Let Yourself Go', 'I'm Putting All My Eggs in One Basket' and 'Let's Face the Music and Dance;' the latter a divinely inspired skit about suicide that turns into another immediately recognizable and thoroughly sublime pas deux for Fred and Ginger.
The transfer on 'Follow The Fleet' is a tad weaker. The gray scale remains nicely balanced but now it's a tad thick looking with not nearly as much tonal variation as the previous titles. Grain is still present. So are age related artifacts. Once you've settled into to the slightly dense and sometimes more softly focused image quality, the overall impression is more than acceptable for a film of this vintage. The audio is Mono but very nicely balanced. Extras include a featurette, theatrical trailer and short subject, but oddly no audio commentary. Considering the importance of this film in the overall canon of Astaire/Rogers this is an uncharacteristic oversight from Warner Home Video.
The transfer on 'Follow The Fleet' is a tad weaker. The gray scale remains nicely balanced but now it's a tad thick looking with not nearly as much tonal variation as the previous titles. Grain is still present. So are age related artifacts. Once you've settled into to the slightly dense and sometimes more softly focused image quality, the overall impression is more than acceptable for a film of this vintage. The audio is Mono but very nicely balanced. Extras include a featurette, theatrical trailer and short subject, but oddly no audio commentary. Considering the importance of this film in the overall canon of Astaire/Rogers this is an uncharacteristic oversight from Warner Home Video.
Astaire and Rogers dazzle the Navy
Deacon7 June 1999
Once again, Fred Astaire and Ginger Rogers showcase their talents and chemistry in Mark Sandrich's musical comedy, Follow the Fleet. Astaire plays Bake Baker, a Navy man whose on-again off-again relationship with Sherry Martin (Rogers) is the source of many laughs. The two also have the task of playing Cupid to Bake's buddy Bilge (Randolph Scott before his cowboy days) and Sherry's sister, Connie (Harriet Hilliard).
My advise: Skip the story, sit back, and enjoy the dance numbers and music by Irving Berlin. Astaire and Rogers are a site to behold. Ginger also shows that she has a equally talented voice when it's not filled with bicarbonate soda (see the movie). Words simply cannot describe their grace before the screen. Have fun.
My advise: Skip the story, sit back, and enjoy the dance numbers and music by Irving Berlin. Astaire and Rogers are a site to behold. Ginger also shows that she has a equally talented voice when it's not filled with bicarbonate soda (see the movie). Words simply cannot describe their grace before the screen. Have fun.
Follow Fleet-Footed Fred
writers_reign22 February 2007
Warning: Spoilers
This was the second of three films that Irving Berlin wrote for the Astaire-Rogers franchise and it has by far the largest score and is somewhat unusual in that two of the numbers are performed by Harriet Hilliard leaving the rest to be divvied and/or shared between the principals. As usual the storyline needn't detain us though for the record it was based on a play, Shore Leave, that also served as the basis for a Broadway Musical, Hit The Deck. Anyone who actually saw Shore Leave in the theatre may have been momentarily bemused inasmuch as the roles played by Fred and Ginger were created for the movie but what matters, as always, is the music, lyrics and hoofing and this is all out of the right bottle. It's a departure from the other titles in the franchise in that 1) we get to see Astaire play the piano - in real life he was an accomplished pianist and composed several songs, one of which, I'm Building Up To An Awful Let-Down, had a lyric by Johnny Mercer and spent a couple of weeks in the charts - and it is the only one of the series in which he played a serviceman, albeit an ex-hoofer who enlisted in the navy after being dumped by dancing partner Ginger before the story starts. He gets to perform a little-known but excellent Berlin number, I'd Rather Lead A Band as well as duetting on I'm Putting All My Eggs In One Basket but the ultimate number is the prophetic - in 1936 rumbles of World War II were already being felt - Let's Face The Music And Dance, one of the most potent ballads ever performed by the team. So what if Randolph Scott is a little wooden and fish-out-of-water without either a horse or a six-gun within easy reach and Harriet Hilliard doesn't exactly set the screen on fire; we came to see Fred and Ginger and the only question is, do they deliver. Answer: In spades.
a little long, but some beautiful dancing
blanche-226 December 2005
Had this film been put together a tad better, it would be up there with the best of Astaire and Rogers. As it is, it's a fine movie but overly long with a tedious subplot, i.e., Randolph Scott romancing Rogers' sister, played by Harriet Hilliard (that's Ozzie Nelson's wife to you baby boomers).
Astaire and Scott are two Navy men. Scott meets Hilliard the first time when she looks like a stereotypical librarian, and later on after Ginger Rogers has asked her friend (a blond but unmistakable Lucille Ball) to glamor her up. Meanwhile, Astaire tries to pick up where he and his old dancing partner left off. The result is some wonderful dance numbers, with Astaire and Rogers as a team as well as separately: "I'm Putting All My Eggs in One Basket," "Let Yourself Go," and "I'd Rather Lead the Band." Hilliard is sweet but a little lethargic as a plain Jane turned glamor girl, although she sings her two songs well, "But Where Are You?" and "Get Thee Behind Me, Satan" - one poster didn't care for that song, but I love the title. Rogers is vivacious, and a youthful Astaire is a dynamo.
The highlight of the movie comes at the end with "Let's Face the Music and Dance," one of the most achingly beautiful songs ever written and certainly one of the most brilliantly executed by Rogers and Astaire. In it, they epitomize '30s glamor and fantasy. It is truly to be treasured and watched again and again.
Astaire and Scott are two Navy men. Scott meets Hilliard the first time when she looks like a stereotypical librarian, and later on after Ginger Rogers has asked her friend (a blond but unmistakable Lucille Ball) to glamor her up. Meanwhile, Astaire tries to pick up where he and his old dancing partner left off. The result is some wonderful dance numbers, with Astaire and Rogers as a team as well as separately: "I'm Putting All My Eggs in One Basket," "Let Yourself Go," and "I'd Rather Lead the Band." Hilliard is sweet but a little lethargic as a plain Jane turned glamor girl, although she sings her two songs well, "But Where Are You?" and "Get Thee Behind Me, Satan" - one poster didn't care for that song, but I love the title. Rogers is vivacious, and a youthful Astaire is a dynamo.
The highlight of the movie comes at the end with "Let's Face the Music and Dance," one of the most achingly beautiful songs ever written and certainly one of the most brilliantly executed by Rogers and Astaire. In it, they epitomize '30s glamor and fantasy. It is truly to be treasured and watched again and again.
Catchy songs, but tough to like Astaire's character
miss_sonja6 September 2005
Despite being a huge fan of Fred Astaire and Ginger Rogers' movies, it wasn't until about 6 years ago that I first saw 'Follow the Fleet'. I knew all the songs from an old Astaire/Rogers record (yes, vinyl) but knew nothing of the plot.
Unfortunately, while the songs are catchy and Ginger Rogers' character is sweet and funny, you just can't like 'Bake Baker'. While trying to make up to his longtime partner, he continually sabotages her career. His character doesn't have the usual humour and elan of the other films' Astaire characters.
Worth watching for the songs and a great solo tap routine by Ginger Rogers.
Unfortunately, while the songs are catchy and Ginger Rogers' character is sweet and funny, you just can't like 'Bake Baker'. While trying to make up to his longtime partner, he continually sabotages her career. His character doesn't have the usual humour and elan of the other films' Astaire characters.
Worth watching for the songs and a great solo tap routine by Ginger Rogers.
Final dance number is unforgettable.
kerrym318 May 2003
Although I enjoyed seeing Harriet Hilliard and Lucille Ball as other characters than Desi's "Lucy" and Ozzie's "Harriet", I would be happy to just watch the final dance number over and over and never see the rest of the movie--it's hauntingly beautiful and the most touching I've ever seen.
It's not just a dance number! With body language alone they act out a very emotional, but unspoken drama.
It's not just a dance number! With body language alone they act out a very emotional, but unspoken drama.
Great songs, great dances, but poorly paced and I could do without Randolph Scott
zetes12 September 2005
Definitely one of the lesser of the Astaire/Rogers musicals. It's just very poorly plotted and paced. It only runs a few minutes longer than Swing Time, for example, but it feels a heck of a lot longer. This is partly due to the secondary romance between Randolph Scott and Harriet Hilliard. Scott is rarely ever interesting. I like Hilliard. She's sweet, and I love at least one of her songs, "But Where Are You?" ("Get Thee Behind Me Satan", her other number, is a weak leftover from Top Hat, thankfully cut from that masterpiece). Follow the Fleet would actually be a bad film if not for at least three brilliant dance sequences between Astaire and Rogers. The dancing contest vies for the top spot of any of their numbers. The dance is just fantastic. "I'm Putting All My Eggs in One Basket" presents the two rehearsing a dance that they don't quite have perfected yet. Its imperfections make it all the more perfect. And "Let's Face the Music and Dance" is easily one of Irving Berlin's best songs. So the film is well worth watching for its great moments.
A Timeless Classic From Another Era
teren22 August 2001
Astaire and Rogers at the height of their popularity. In 1936 Americans thought of the Navy as a place for song and dance. WWII was still a few years away. Fred and Ginger dance up the town.
The plot is decent, but who cares... By the way, notice the cameo roles for Betty Grable and a glamorous Lucile Ball.
A load of Irving Berlin songs, including the famous "Let's Face the Music and Dance". In that scene, Ginger's heavy swooping dress smacks Fred in the face during one of her spins and almost knocks him unconscious. Fred insisted on keeping the take as the dancing was superb nonetheless.
Ginger once commented that she was a better dancer than Fred, since she had to do all the same moves, in step, and backwards...
Come to think of it, Fred's voice was nice too. The man was effortless in motion.
Here's a movie to cozy up on the couch with a loved-one, kick off the shoes, and enjoy the entertainment.
The plot is decent, but who cares... By the way, notice the cameo roles for Betty Grable and a glamorous Lucile Ball.
A load of Irving Berlin songs, including the famous "Let's Face the Music and Dance". In that scene, Ginger's heavy swooping dress smacks Fred in the face during one of her spins and almost knocks him unconscious. Fred insisted on keeping the take as the dancing was superb nonetheless.
Ginger once commented that she was a better dancer than Fred, since she had to do all the same moves, in step, and backwards...
Come to think of it, Fred's voice was nice too. The man was effortless in motion.
Here's a movie to cozy up on the couch with a loved-one, kick off the shoes, and enjoy the entertainment.
Very good but still not one of their best efforts
planktonrules7 September 2006
While I am not a big fan of musicals, I have loved the films of Fred Astaire and Ginger Rogers because they are just so much fun. Sure, they can be a bit formulaic, but even though you KNOW what is going to happen, they still are very pleasing to watch. However, despite this, I was a bit disappointed in this outing. Part of it was because this film doesn't have the wonderful supporting cast like you saw in TOP HAT or SHALL WE DANCE. Without Edward Everett Horton or Eric Blore, the film seems to be a bit lacking--especially in the "fun" department. The silly antics of these supporting actors gave the other films charm that you just don't get with FOLLOW THE FLEET. In addition, unlike the usual character played by Astaire, this one is more of a jerk--as his fat head gets Rogers into trouble again and again. And, as a result, it's a lot harder to like him or want to see them get together in the end of the film. Plus, although the music is by Irving Berlin, the songs just don't seem as memorable. In fact, none of the songs were all that special and I can't recall any of them even though I just saw the movie. While this is still a cute and worthwhile film, it just lacks the sparkle and magic of some of their other films. Good but far from great.
great movie and I'm glad that Randolph Scott is in it!
railyard30 March 2006
This really is a great movie. Some of the songs have become immortal classics and the dancing by Fred and Ginger is among their best ever. But basically, all of Fred and Ginger's movies are the same. After the singing and dancing is over, it's the other characters in the movie who make the movie work. What really bothers me is why all the negative comments about Randolph Scott? His romance with Harriet Hilliard and the sub plot of the movie is the reason why I watch this over and over again. He adds to this movie, he doesn't detract from it. He has a winning personality and a great smile. Randy is in my top ten all time favorites list. It's great to see him as something other than a cowboy. OK, so he isn't really a great actor, but like so many other stars: Errol Flynn, Alan Ladd, Victor Mature, etc. he was very likable and could rise to the top on certain occasions. All of Fred and Ginger's movies had sub plots that depended on other actors to fill in the space between the musical numbers, otherwise the movie would have to be shortened by about a half hour. I just wish more people would appreciate Randy and I felt a need to stand up for him.
The Story fairs better than Top Hat, but the dances fail a little
Scaramouche200428 January 2007
Warning: Spoilers
After what I consider a most disappointing storyline to the previous Astaire/Rogers film 'Top Hat' a more pallet able story was cooked up for the next in the series entitled 'Follow The Fleet' about two sisters played by Ginger Rogers and Harriet Nelson (Nee Hilliard)and their love and lives as they focus around two sailors played by Fred Astaire and Randolph Scott.
Fred and Ginger play Sherry and Bake, one-time lovers and showbiz dance act before he left to join the Navy after his marriage proposal was spurned. They accidentally meet when Astaire and shore leave buddies visit the nightclub in which Sherry works. Almost immediately he ruins any possible reunion by opening his mouth to the wrong person causing Sherry to lose her job. He promises to speak to a theatrical agent the first thing in the morning and guarantees her a better job, however when the fleet is given immediate sailing orders, he unintentionally leaves Sherry high and dry.
Hilliard plays Sherry's sister Connie, a prim and proper school teacher who craves excitement and the love of sailor Bilge Smith played by Scott, the two having met on the same nights shore leave, which coincidentally is the same night she finally ditched her dowdy specs and turned on the sensual chic. Yet when Bilge realises Connie has more than just playful fun on her mind he soon ditches her for a wealthy socialite.
I suppose the story is styled very much like 'Roberta' as it basically two plots running consecutively the Scott/Hilliard love story, and the Astaire/Rogers routines.
However whereas in 'Roberta' Astaire and Rogers were pretty much demoted to support players with the majority of the action devoted to the Randolph Scott storyline, In 'Follow the Fleet' Astaire and Rogers are given top billing and equal, if not more screen time than Scott and Hilliard.
Some great routines and songs here but none really surpass the great 'Lets Face the Music and Dance' number, added with the sole intention that Fred be allowed to ditch the sailor outfit and the gum chewing, and become Mr. Top Hat, White Tie and Tails once more.
It was also great to see Fred play piano as he was a really good pianist.
Although everyone knows and looks out for young cameo appearances from Betty Grable and Lucille Ball, even less people know, that a 24 year old Tony Martin made his screen debut in this film as an uncredited sailor, who can be seen over Fred's shoulder as he purchases dance tickets in the Paradise club scene. Indeed I did not know this myself until Ava Astaire pointed it out in the DVD special features.
I've been watching this film for over twenty years and I never knew that....you learn something new every day after all.
Fred and Ginger play Sherry and Bake, one-time lovers and showbiz dance act before he left to join the Navy after his marriage proposal was spurned. They accidentally meet when Astaire and shore leave buddies visit the nightclub in which Sherry works. Almost immediately he ruins any possible reunion by opening his mouth to the wrong person causing Sherry to lose her job. He promises to speak to a theatrical agent the first thing in the morning and guarantees her a better job, however when the fleet is given immediate sailing orders, he unintentionally leaves Sherry high and dry.
Hilliard plays Sherry's sister Connie, a prim and proper school teacher who craves excitement and the love of sailor Bilge Smith played by Scott, the two having met on the same nights shore leave, which coincidentally is the same night she finally ditched her dowdy specs and turned on the sensual chic. Yet when Bilge realises Connie has more than just playful fun on her mind he soon ditches her for a wealthy socialite.
I suppose the story is styled very much like 'Roberta' as it basically two plots running consecutively the Scott/Hilliard love story, and the Astaire/Rogers routines.
However whereas in 'Roberta' Astaire and Rogers were pretty much demoted to support players with the majority of the action devoted to the Randolph Scott storyline, In 'Follow the Fleet' Astaire and Rogers are given top billing and equal, if not more screen time than Scott and Hilliard.
Some great routines and songs here but none really surpass the great 'Lets Face the Music and Dance' number, added with the sole intention that Fred be allowed to ditch the sailor outfit and the gum chewing, and become Mr. Top Hat, White Tie and Tails once more.
It was also great to see Fred play piano as he was a really good pianist.
Although everyone knows and looks out for young cameo appearances from Betty Grable and Lucille Ball, even less people know, that a 24 year old Tony Martin made his screen debut in this film as an uncredited sailor, who can be seen over Fred's shoulder as he purchases dance tickets in the Paradise club scene. Indeed I did not know this myself until Ava Astaire pointed it out in the DVD special features.
I've been watching this film for over twenty years and I never knew that....you learn something new every day after all.
"Gosh, you're glad to see me."
utgard142 September 2014
Fred Astaire and Randolph Scott are sailors on shore leave looking for romance. Astaire's trying to rekindle things with his old dance partner, Ginger Rogers. Scott falls for Ginger's sister, Harriet Hilliard. Fred gets Ginger fired and Randy runs away from marriage-minded Harriat. Looks like Cupid has his work cut out for him.
Another great Fred & Ginger musical comedy. They have perfect chemistry, both dancing and acting. Love their banter. They have three wonderful dance numbers -- "Let Yourself Go," "I'm Putting All My Eggs in One Basket," and "Let's Face the Music and Dance." Randolph Scott is fun, especially in his scenes with Astaire. Film debut of Harriet Hilliard (Nelson) of Ozzie and Harriat fame. She sings "Get Thee Behind Me Satan" and "But Where Are You." She has a lovely voice. Lucille Ball has a small role and Betty Grable has a bit part. Funny, cute musical with excellent dancing and great Irving Berlin songs.
Another great Fred & Ginger musical comedy. They have perfect chemistry, both dancing and acting. Love their banter. They have three wonderful dance numbers -- "Let Yourself Go," "I'm Putting All My Eggs in One Basket," and "Let's Face the Music and Dance." Randolph Scott is fun, especially in his scenes with Astaire. Film debut of Harriet Hilliard (Nelson) of Ozzie and Harriat fame. She sings "Get Thee Behind Me Satan" and "But Where Are You." She has a lovely voice. Lucille Ball has a small role and Betty Grable has a bit part. Funny, cute musical with excellent dancing and great Irving Berlin songs.
Some good numbers but not one of their best.
opsbooks13 April 2003
'Follow the Fleet' came as the second half of a 2-movie DVD. I'd not seen it in decades but was mystified by the box notes which indicated a running time of 93 minutes. According to my player, it was the full 110-minute version. 'Follow the Fleet' was one of RKO's top box office hits of 1936, along with 'Swing Time'. As the titles appeared, I sat back to enjoy what I expected to be a memorable movie.
Disappointment is my enduring memory. Though Fred and Ginger are fine and do a couple of good numbers, 'Let Yourself Go' and 'Let's Face the Music and Dance', there are, in addition to some forgettable tunes, a number of dead spots where the camera seems to linger for no good reason, usually when on board the boys' ship. The character Fred plays isn't particular endearing, nor is this one of Fred's better performances. Fred may not be up to his best, but he runs rings around Randolph Scott who seems stiff and out of his depth. Harriet Hilliard (ne Nelson) is a plus, playing a character very similar (in appearance) to the one Ruby Keeler played in '42nd Street'. Otherwise, the supporting cast isn't up to the usual standard of Fred and Ginger's better efforts.
One point among many in favour of DVDs is the ability to sector the movie. So it's possible to bookmark the songs and forget about the rest. :)
Disappointment is my enduring memory. Though Fred and Ginger are fine and do a couple of good numbers, 'Let Yourself Go' and 'Let's Face the Music and Dance', there are, in addition to some forgettable tunes, a number of dead spots where the camera seems to linger for no good reason, usually when on board the boys' ship. The character Fred plays isn't particular endearing, nor is this one of Fred's better performances. Fred may not be up to his best, but he runs rings around Randolph Scott who seems stiff and out of his depth. Harriet Hilliard (ne Nelson) is a plus, playing a character very similar (in appearance) to the one Ruby Keeler played in '42nd Street'. Otherwise, the supporting cast isn't up to the usual standard of Fred and Ginger's better efforts.
One point among many in favour of DVDs is the ability to sector the movie. So it's possible to bookmark the songs and forget about the rest. :)
Follow the Fleet - A Multi-story Film
ABByrne25 April 2009
Warning: Spoilers
Follow the Fleet, an RKO production in 1936, stars Fred Astaire and Ginger Rogers in a complex romantic comedy. Although Fred Astaire and Ginger Rogers have had many similar romantic movies together, RKO helped them to once again create a worth-while storyline that incorporates relevant situations to society at the time it was made. The narrative of Follow the Fleet relies heavily on the use of layered story lines between the two sets of main characters to create a satisfying romantic comedy.
The general plot of the movie revolves around Bake Baker, a Sailor in the U.S. Navy played by Fred Astaire, and Sherry Martin, Bake's former love and dance partner who is now a singer and dancer played by Ginger Rogers. Their story begins when Bake is on the ship and his shipmate Bilge Smith finds a photo of the two of them together, and Bake reveals that the last time he saw her he had asked her to marry him, so Bilge suggests that they try and meet up with her when they are on land, in hopes that she might have a friend.
The next major scene begins the second plot of the movie when Connie Martin, Sherry's sister, is refused entry into Paradise where her sister works unless she is escorted by a gentleman. She turns around to find Bilge behind her with a bag full of beverages, so she plays it off like she was waiting on him and buys his entrance into Paradise as well. Connie then finds Sherry and tells her that she is depressed because she cannot have the luck Sherry does with men, so Sherry suggests she get a makeover from her friends while she is performing on stage. Connie gets made over, and enters the ballroom once again, and approaches Bilge again, who is awestruck by the sight of her. This commences the second romantic storyline between Bilge and Connie.
Throughout the remainder of the movie the story and rising actions are transitioned between altering comedic reliefs of the two couples' troubles that create several mini rising and falling actions within the overall plot. Bake and Sherry hit it off their first moments together as they compete in a dance competition and end up winning it, reminding them of the success and pleasure the two have when they are together. Similarly, Bilge is able to swoon Connie through his romantic attempts of pleasing her, and they retire to her house.
This series of happy events is soon followed by unsettling measures that brings the rising action back down. Bake left Sherry the previous night to retire to the ship before midnight, and told her that he would come for her in the morning. Unfortunately the ship sets course after the shipmates have returned, upsetting Sherry and leaving her to think Bake was still being a typical sailor looking for a good time when he's on land.
The mood is again changed as another subplot is entered into the film when a "party of big shots" is taking a tour of the ship. This alternate storyline is used to create a buffer between the stories of the two main relationships of the film, as well as help build confidence and fondness of Bake's overall good intentions. The party is interrupted by the oblivious music playing coming from Bake and his companions when they missed the sounding to report on deck for the company. The ladies are intrigued and ask to hear them play, and Bake gladly begins to entertain them with some dancing, which ultimately helps brighten the mood of the film, as well as bring happiness to the sailors.
After returning to the couple's intertwined stories, Sherry is trying to prove to Bake that she does not need his help with landing a job. Unfortunately Bake is unaware that she is auditioning, and goes to put in a good word for Sherry when he overhears his friend at the studio talking about the remarkable lady auditioning. Bake takes it upon himself to help Sherry out by tampering with her water, making her unable to sing correctly and destroying her audition. In addition to Bake's mistake, Connie spent all of her money to repair a ship that she was hoping Bilge would take over as captain. She had also planned a remarkable dinner date for him when he was supposed to come over, but Bilge was aware of her intentions and hopes of soon marrying and was no longer interested, so he stood her up.
The remainder of the movie continues in the same format of mini rising and falling actions until the climactic point is reached between the two couples, ending the movie with the happiness of both couples. The use of the altering stories helps to build interest and emotion within each couple as they deal with both happiness and pain through each of their struggles. The intertwining stories are also able to relate with one another, as well as incorporate other unrelated subplots to help carry the narrative through to the concluding scenes.
Although Fred Astaire and Ginger Rogers have countless films together that incorporate romance, comedy, song, and dance, Follow the Fleet is a unique film for the two actors that successfully use the technique of subplots to aid the narrative between the two main characters.
The general plot of the movie revolves around Bake Baker, a Sailor in the U.S. Navy played by Fred Astaire, and Sherry Martin, Bake's former love and dance partner who is now a singer and dancer played by Ginger Rogers. Their story begins when Bake is on the ship and his shipmate Bilge Smith finds a photo of the two of them together, and Bake reveals that the last time he saw her he had asked her to marry him, so Bilge suggests that they try and meet up with her when they are on land, in hopes that she might have a friend.
The next major scene begins the second plot of the movie when Connie Martin, Sherry's sister, is refused entry into Paradise where her sister works unless she is escorted by a gentleman. She turns around to find Bilge behind her with a bag full of beverages, so she plays it off like she was waiting on him and buys his entrance into Paradise as well. Connie then finds Sherry and tells her that she is depressed because she cannot have the luck Sherry does with men, so Sherry suggests she get a makeover from her friends while she is performing on stage. Connie gets made over, and enters the ballroom once again, and approaches Bilge again, who is awestruck by the sight of her. This commences the second romantic storyline between Bilge and Connie.
Throughout the remainder of the movie the story and rising actions are transitioned between altering comedic reliefs of the two couples' troubles that create several mini rising and falling actions within the overall plot. Bake and Sherry hit it off their first moments together as they compete in a dance competition and end up winning it, reminding them of the success and pleasure the two have when they are together. Similarly, Bilge is able to swoon Connie through his romantic attempts of pleasing her, and they retire to her house.
This series of happy events is soon followed by unsettling measures that brings the rising action back down. Bake left Sherry the previous night to retire to the ship before midnight, and told her that he would come for her in the morning. Unfortunately the ship sets course after the shipmates have returned, upsetting Sherry and leaving her to think Bake was still being a typical sailor looking for a good time when he's on land.
The mood is again changed as another subplot is entered into the film when a "party of big shots" is taking a tour of the ship. This alternate storyline is used to create a buffer between the stories of the two main relationships of the film, as well as help build confidence and fondness of Bake's overall good intentions. The party is interrupted by the oblivious music playing coming from Bake and his companions when they missed the sounding to report on deck for the company. The ladies are intrigued and ask to hear them play, and Bake gladly begins to entertain them with some dancing, which ultimately helps brighten the mood of the film, as well as bring happiness to the sailors.
After returning to the couple's intertwined stories, Sherry is trying to prove to Bake that she does not need his help with landing a job. Unfortunately Bake is unaware that she is auditioning, and goes to put in a good word for Sherry when he overhears his friend at the studio talking about the remarkable lady auditioning. Bake takes it upon himself to help Sherry out by tampering with her water, making her unable to sing correctly and destroying her audition. In addition to Bake's mistake, Connie spent all of her money to repair a ship that she was hoping Bilge would take over as captain. She had also planned a remarkable dinner date for him when he was supposed to come over, but Bilge was aware of her intentions and hopes of soon marrying and was no longer interested, so he stood her up.
The remainder of the movie continues in the same format of mini rising and falling actions until the climactic point is reached between the two couples, ending the movie with the happiness of both couples. The use of the altering stories helps to build interest and emotion within each couple as they deal with both happiness and pain through each of their struggles. The intertwining stories are also able to relate with one another, as well as incorporate other unrelated subplots to help carry the narrative through to the concluding scenes.
Although Fred Astaire and Ginger Rogers have countless films together that incorporate romance, comedy, song, and dance, Follow the Fleet is a unique film for the two actors that successfully use the technique of subplots to aid the narrative between the two main characters.
Pretty good for it's time, great dancing.
kyrat10 May 2006
Warning: Spoilers
From a modern sensibility, it's sometimes hard to watch older films. It's annoying to have to watch the stereotypical wallflower librarian have to take off her glasses and become pretty and stupid to win a man. Especially such a shallow and inconstant man. He's obviously a player (I wouldn't trust him to stay true to her) who doesn't want to settle down, who only looks at dumb attractive women and always calls them "baby" (ick!). Even after she totally changes her appearance and her life for him, he only goes to her after he's (supposedly) rejected by another woman and learns that Connie spent all her money renovating a boat for him. I wanted her to stand up to him, not pathetically chase after him! His sudden conversion within a few minutes was totally unrealistic and did not work for me.
Apart from that subplot, I did like the movie. How can you not like sailors dancing with each other?! (You can tell they were from San Francisco.... ;D) The "rehearsal" dance was great, watching Ginger Rogers purposefully fall in and out of the "correct steps" was great. The last dance scene "Face the Music" with the beautiful costumes and the art deco set was beautiful. And I really enjoyed "We Saw the Sea" (though they did use it a few too many times, as if they realized it was their best song).
Anyway, the plot was a bit weak, like most musicals (IMO) - and the songs were OK, but the dancing was worth watching the film for. I wish they could have showed some shots of San Francisco since that was were the film was supposedly set.
It's also weird to see such a lighthearted naval film with the knowledge of what Hitler was already doing at that time. I have to try to suspend all knowledge to submerge myself into a made up fantasy land.
Apart from that subplot, I did like the movie. How can you not like sailors dancing with each other?! (You can tell they were from San Francisco.... ;D) The "rehearsal" dance was great, watching Ginger Rogers purposefully fall in and out of the "correct steps" was great. The last dance scene "Face the Music" with the beautiful costumes and the art deco set was beautiful. And I really enjoyed "We Saw the Sea" (though they did use it a few too many times, as if they realized it was their best song).
Anyway, the plot was a bit weak, like most musicals (IMO) - and the songs were OK, but the dancing was worth watching the film for. I wish they could have showed some shots of San Francisco since that was were the film was supposedly set.
It's also weird to see such a lighthearted naval film with the knowledge of what Hitler was already doing at that time. I have to try to suspend all knowledge to submerge myself into a made up fantasy land.
A few good numbers and a stunningly moronic story (moronicness described at length below)
cherold18 March 2011
Warning: Spoilers
There are a couple of nice dance numbers in this picture, although nothing I'd call a favorite. And the songs by Irving Berlin are, of course, quite good. But man, what a dumb movie. The main story is dumb but tolerable, with Astaire annoying Rogers with his failed attempts to help her and win back her love. But what really aggravated me was the subplot involving the jerk sailor and the teacher. The teacher first appears in glasses and dowdy clothes and is blown off by the jerk. She gets a quick makeover, comes out and is soon making out with the jerk, who establishes in their brief time together that every thing he told her when she was wearing glasses was a lie. She becomes so attached to him after they kiss that she starts talking of her dream of having a husband to sail her boat (not a euphemism for anything), and he rightly thinks she's thinking of him and creates some distance (and also hooks up with a slutty hottie). She spends tons of money to salvage her boat for this guy she only spent a few hours with, and because she doesn't want it to be a surprise doesn't write to him while he's at sea. When he comes back he goes on a date with the hottie. She is heartbroken, but after some machinations courtesy of Astaire he realizes that he really would like to captain her boat, she totally ignores the fact that he has consistently treated her terribly in the maybe 5 hours of their lives they've spent together and everything is hunky dory.
Eve by Hollywood standards this is a pretty flimsy romance. In real life she's delusional and he's just a creep.
Eve by Hollywood standards this is a pretty flimsy romance. In real life she's delusional and he's just a creep.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
