While the title Shall We Dance might now conjure images of more recent cinematic interpretations – the acclaimed Japanese film Shall We Dansu? and its American remake, Shall We Dance – it’s crucial not to overlook the 1937 gem that truly cemented the phrase in popular culture. This classic, starring the iconic duo Fred Astaire and Ginger Rogers, represents the pinnacle of their celebrated film series. Although possessing certain imperfections, Shall We Dance (1937) stands as a testament to the immense artistry and effort invested in its creation, offering a touchingly beautiful cinematic experience when viewed within the context of their collaborative work.
Building upon the successful formula established in their previous movies, Shall We Dance refines the blend of light romantic comedy and breathtaking dance sequences. However, this film is not merely a repetition; it introduces subtle yet delightful innovations and references that will resonate with long-time fans. Notably, the film’s title itself is a playful nod to their previous venture, Swing Time, where Astaire’s character poignantly sang “Never Gonna Dance” to Rogers. Shall We Dance? subtly suggests a joyful return to the dance floor, a symbolic overcoming of past cinematic heartbreak. Furthermore, the characters themselves exhibit a noticeable evolution. Astaire portrays Petrov, a renowned Russian ballet luminary, while Rogers embodies Linda, a celebrated jazz dancer. This elevation to “diva” status for both characters allows for humorous plot devices centered around public rumors of secret marriages and hidden children, adding a layer of sophisticated comedy. The narrative, partially set aboard a transatlantic ocean liner, cleverly orchestrates a scenario where the on-screen couple, for the first time in their filmography, actually get married.
The carefully cultivated star personas of Astaire and Rogers, meticulously shaped by studios since their initial pairing in Flying Down to Rio (1933), are further explored in Shall We Dance. Astaire’s on-screen pursuit of Rogers intensifies with each film, demanding a temporary suspension of disbelief from the audience regarding their real-life relationships (both were married to others at the time). In Shall We Dance, the familiar dynamic begins with Petrov’s pursuit of Linda. However, a casual remark by Petrov to an insistent admirer, suggesting he and Linda are secretly wed, ignites a media frenzy within the film’s narrative. To quell the escalating rumors, the only logical recourse, in the film’s whimsical logic, is to obtain a divorce – necessitating a marriage in the first place. This plot contrivance, while lighthearted, cleverly plays with the public perception and manufactured realities surrounding Hollywood stars.
Given the already extensive repertoire of dance routines in their previous collaborations, Shall We Dance innovatively seeks new forms of movement expression. A standout example is the memorable duet performed on roller skates. Accounts vary, but it’s rumored that this sequence required up to fifty takes to perfect – a departure from Astaire’s usual preference for single-take filming. Set against the backdrop of Central Park, the roller skate dance aims for an air of spontaneity and naturalness, suggesting an activity ordinary people might engage in. This extended routine, the longest dance sequence featuring Fred and Ginger in the film, is further enhanced by their charming rendition of “Let’s Call the Whole Thing Off,” adding a layer of musicality and lyrical storytelling to the visual spectacle.
Another significant innovation lies in the film’s resolution. (A minor spoiler follows, but understanding this detail enriches the viewing experience). Petrov, believing Linda rejects him, stages a choreographed scene where he serenades a chorus line of showgirls wearing Linda masks. This scene cleverly echoes earlier plot points – a dummy used to fabricate tabloid photos of their supposed marriage and Petrov’s flick-book animation of Linda. Unbeknownst to Petrov, Linda reciprocates his feelings. She insists on being taken backstage, where Petrov’s performance unfolds. His dance involves a dramatic unmasking of the look-alikes, revealing none to be the real Linda. In a moment of poignant realization, when he touches the final “mask,” he discovers it’s Linda’s actual face. She extends her hand, and regardless of the fabricated identities they’ve assumed throughout the film, the audience is rewarded with the genuine connection – the “real” Petrov and Linda finally sharing a dance of love. This climax masterfully concentrates the film’s emotional weight into a single, cathartic dance sequence.
Shall We Dance transcends mere star vehicle status; it delves into the genuine pressures and relentless scrutiny faced by celebrities like Astaire and Rogers in the public eye. The film subtly mirrors their real-life experiences. During production, Ginger Rogers reportedly received an extortion attempt and a death threat targeting her mother, highlighting the darker side of fame. The movie’s concluding dance scene, set to the iconic song “They Can’t Take That Away from Me,” perhaps alludes to a profound connection that exists beyond words, beyond the glare of publicity, something deeply personal and enduring.
Despite its innovative elements, Shall We Dance does grapple with the inherent challenge of exceeding expectations when a successful formula has reached its zenith. In prior collaborations, Astaire’s character typically courted Rogers primarily through dance, minimizing verbal exchanges. While Shall We Dance incorporates comedic moments between them, it arguably features an overabundance of individual dance solos, diluting the famed Astaire-Rogers chemistry at times. The plot and character development also exhibit certain weaknesses. While Astaire was undeniably a graceful dancer capable of balletic movements, he himself acknowledged his limitations as a ballet dancer, which might strike dance aficionados as slightly unconvincing. Similarly, while the Gershwin score is superb, subsequent covers by other vocalists have often surpassed the film’s original renditions in terms of vocal prowess. Furthermore, a key dance sequence notably features Harriet Hoctor, a guest dancer renowned for her flexibility, partnering with Fred instead of Ginger, further shifting the focus away from the central duo’s dynamic. While Shall We Dance may lack some of the spontaneous dance chemistry that defined earlier Astaire-Rogers films, it remains an indispensable chapter in their cinematic legacy and a significant film in its own right. It’s a testament to their enduring appeal and a must-see for anyone interested in classic Hollywood musicals and the magic of Fred Astaire and Ginger Rogers.
