AniInterview Sorry, this movie sucks

CommentsXp Best movie ever!

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Mandeep Tyson The acting in this movie is really good.

Hot 888 Mama . . . on his back in Hollywood's antebellum military farces such as YOU'LL NEVER GET RICH (1941), is it any wonder that Hirohito, Hitler & Co. hit us shortly after this flick was leaked to the world? Though Fred "Crazy Legs" Astaire has switched branches from the Navy (FOLLOW THE FLEET, 1936) to the Army in YOU'LL NEVER GET RICH, he's still an enlisted man with a penchant for decking officers, seemingly with impunity. Though he spends most of the running time of YOU'LL NEVER GET RICH in the "guard house," this military "jail" consists of a dance floor with a few benches scattered along the walls. As in FLEET, there are no consequences whenever Fred feels like going A.W.O.L., since Hollywood's version of the U.S. Military is a total joke. The only reason the sailors at Pearl Harbor weren't laughing at Fred's shenanigans as Hirohito's bombs started to rain down on them is that the Japanese Zeroes delivered their torpedoes more accurately during sunrise church services than they could have in the darkness of Saturday movie night.

dougdoepke Dance arranger escapes to the army after his daffy boss can't seem to keep his women properly sorted.Expert mix of comedy, dance, and glamour. The glamour's supplied by Hayworth who's—in a word—simply dazzling (okay, two words). Her appearance in Gilda (1946) may have supplied the smoldering sex appeal, but this one supplies the sheer beauty. Plus she cuts a pretty good rug with the incomparable Astaire who turns in his usual nimble footed magic. Of course, putting the rail-thin danceman in the army is a stretch, but the script doctors manage to turn his weight trick into a chuckle.Then there's the terminally befuddled Robert Benchley (Mr. Cortland) who can't seem to tell a backscratcher from a bracelet or his wife from a chorus girl. Pairing his nonsense with the classy, no-nonsense Inescort (Mrs. Cortland) is a comedic masterstroke. I love his I'm-caught-again stammer as he withers under her glare. Then too, the chorus girls send-off for the soldier boys in the train station is a real eye-catcher and masterpiece of staging. It may not be the dance centerpiece, but it does brim over with genial high spirits.If I didn't know better (release date, Sept. 1941), I would have guessed this was a WWII morale booster. But clearly the big one is on the horizon, and I'll bet this 90-minutes of escape played in a ton of overseas bases. After all, what GI would not fight to keep the Hayworths back home safe and secure. But happily you don't need to be a GI or his girl to enjoy this expert blend of dance and whimsy, courtesy a stellar cast, a clever script, and Columbia studios.

Alex da Silva Robert Curtis (Fred Astaire) is a choreographer who is asked by his boss Martin Cortland (Robert Benchley) to cover for him while he lies to his wife Julia (Frieda Inescort). Cortland has been caught out buying a necklace for showgirl Sheila (Rita Hayworth) and he wants Curtis to pretend that the necklace is actually a gift from Curtis and not from Cortland. Then Curtis gets drafted into the army where Sheila turns up again. And so does Cortland. They put on a show.This film starts well with the deception over the necklace and a tap dance with Astaire and Hayworth - it's the highlight musical piece, far away better than any of the other unremarkable music numbers in the film. However, when Astaire s the army, the film just chugs along until the end. It's not particularly entertaining. Funny moments include Cliff Nazarro talking gobbledy-gook at the station (although this gets repetitive during the rest of the film) and Astaire pretending to be a captain and........um......that's it. There is also some tedious slapstick thrown in for bad measure in the army dormitory.The big music numbers (when Astaire leaves to enrol and the finale) are, unfortunately, all choreographed in a military way - you know, lots of marching - and so they are not very good. Unless you like marching. Astaire is good as always but his dances are not memorable - the best, other than the highlight already mentioned, would have to be a solo routine in the Guardhouse accompanied by some dude singing.It's a shame that the majority of the film focuses on Astaire and his army life as it tries to get humour out of stale stereotypes. There are some mildly amusing moments and a standout, all too brief, tap dance highlight with Astaire and Hayworth at the beginning, but that's your lot on the entertainment front. I'd quite like to have a Chinese back-scratcher, though.

Nazi_Fighter_David Released shortly before America's entry into the war, Columbia's "You'll Never Get Rich" is one of Fred Astaire's better films during the relatively dry period that extended from his last RKO film with Ginger Rogers to his first films at MGM… Since leaving RKO and Ginger Rogers, Astaire had danced with Eleanor Powell in "Broadway Melody of 1940" and with Paulette Goddard in "Second Chorus." In "You'll Never Get Rich," he had a new partner in Rita Hayworth: a lushly beautiful redheaded actress who was being prepared for stardom in mostly low-budget films… She was a talented dancer who had worked with her family for many years in a vaudeville act called the Dancing Casinos…"You'll Never Get Rich" cast Astaire as Robert Curtis, a Broadway dance director who is drafted into the army… He becomes involved in an on-again, off-again romance with Sheila Winthrop (Hayworth), a beautiful chorus girl whose fiancé is a captain in the army… The not-very-interesting plot is often interrupted for musical interludes… Astaire and Hayworth dance together twice—to the sensuous Latin beat of "So Near and Yet So Far," and in "The Wedding Cake Walk," a military finale which has a chorus of war brides and soldiers, plus the two stars, dancing atop a huge tank… Astaire and Hayworth make an attractive dance team, although Hayworth seems a bit too formidable, too "grand" for Astaire's self-effacing style…. Astaire also has several numbers without Hayworth: most notably, a dance in a guardhouse to the song "Since I Kissed My Baby Goodbye," in which he combines several kinds of dazzling footwork…"You'll Never Get Rich" is lightweight but amiable entertainment, and it kept Astaire dancing