carefree

Eventually, every pairing of great actors suffers from waning ideas. Fortunately in 1938, Ginger
Rogers and Fred Astaire hadn’t begun to falter. In “Carefree,” the two dancing miracles are once
again at odds, but this time in a refreshing scenario with Rogers taking center stage.

Astaire plays a psychiatrist hired to find out what’s wrong with Rogers, another man’s fiancé who
seems to have a problem committing. Through a variety of psychiatric techniques, Astaire tries to
get into her subconscious and he is at the same time, smitten with her. She starts to fall in love with
him, but cannot bring herself to reject her longtime boyfriend.

A series of treatments including anesthesia and hypnosis result in undesired effects and soon
Rogers is a whirling dervish of physical and psychological terror in the funniest ways imaginable.
She becomes an unpredictable riot, lobbing dinner roles at judges, kicking cops in the derriere and
generally being a menace, and it’s all Astaire’s fault.

This movie also has what all Astaire and Rogers fans want, amazing dancing. While there is only
one truly standout dance in the film, which involves the country club and a whole lot of tables in an
amazing scene called “The Yam,” there are a few other noteworthy moments, including the dream
sequence dance, done all in slow motion, and a hypnosis kind of dance, which isn’t as palatable.

The supporting cast is first rate and the jokes are funny, but the film does lose a little footing in the
beginning with some slow second act stuff. Also, as aptly pointed out by a female friend of mine
during the film, Astaire’s behavior towards Rogers is rather creepy and in some ways cruel to say
the least. Were it reality, I doubt Rogers would fall for him given the circumstances. Here, however,
it’s all in the name of entertainment.

I think what appeals to me the most about this picture is Rogers’ sheer craziness after the
treatments. She must have had an insanely fun time making this because while Astaire gets to play
the straight man, Rogers gets to have a zany romp, cause mischief and treat the leading man like a
total chump, which he is in the film anyway, so you won’t feel the least bit sorry for him.

Although the romantic element of the story is a little sloppier than in other Astaire-Rogers films, the
hijinks and cast more than make up for its shortcomings.

This isn't "Swing Time," but it's definitely a good time.