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Top Hat (1935) 720p YIFY Movie

Top Hat (1935)

Top Hat is a movie starring Fred Astaire, Ginger Rogers, and Edward Everett Horton. An American dancer comes to Britain and falls for a model whom he initially annoyed, but she mistakes him for his goofy producer.

IMDB: 7.83 Likes

  • Genre: Comedy | Musical
  • Quality: 720p
  • Size: 1.20G
  • Resolution: / fps
  • Language: English
  • Run Time: 101
  • IMDB Rating: 7.8/10 
  • MPR: Normal
  • Peers/Seeds: 4 / 2

The Synopsis for Top Hat (1935) 720p

Showman Jerry Travers is working for producer Horace Hardwick in London. Jerry demonstrates his new dance steps late one night in Horace's hotel, much to the annoyance of sleeping Dale Tremont below. She goes upstairs to complain and the two are immediately attracted to each other. Complications arise when Dale mistakes Jerry for Horace.

The Director and Players for Top Hat (1935) 720p

[Director]Mark Sandrich
[Role:]Fred Astaire
[Role:]Edward Everett Horton
[Role:]Erik Rhodes
[Role:]Ginger Rogers

The Reviews for Top Hat (1935) 720p

Heaven, I'm in heaven, let Fred and Ginger take you there as well.Reviewed bySpikeopathVote: 8/10

While demonstrating his new dance sequences to producer Horace Hardwick, showman Jerry Travers (Fred Astaire) severely annoys the resting Dale Tremont (Ginger Rogers) in the room below. After Dale goes up to complain about the noise, both Dale and Jerry are very attracted to each other, but due to a case of mistaken identity the path of true love is far from being smooth.

Top Hat is the first film from acclaimed duo Fred Astaire & Ginger Rogers that was specifically written for them. Working around the twin source material of The Gay Divorcée and The Girl Who Dared, the screenplay sparkles amidst the frothy nature of the plot. Standard (but lovely) fare here, the kind that would define all of the duo's films, silly plot, boy meets girl and it's not straight forward, and of course a simmering sexual undercurrent that comes with the chase between the sexes.

Songs come courtesy of the magnificent Irving Berlin (aided by Max Steiner), belting show stoppers like "Cheek to Cheek", "Isn't It A Lovely Day" and the sublime solo cane Astaire showcase that is "Top Hat, White Tie and Tails". Gorgeous sets enhance the piece, such as an art deco Venice arrangement, but ultimately it's the charm and artistry of the leading pair that shines the brightest. Coming as it did during the Depression era, Top Hat, and the even better Swing Time a year later, really were (and still are) tonics for the people, I find it almost impossible to not lose myself in these types of pictures, and the audiences of the 30s clearly felt the same as me. Mussolini and his Italian countrymen may have been offended by Erik Rhodes comedy portrayal of Alberto Beddini, and Ginger's self styled gorgeous Ostrich feathered dress may have briefly caused a ripple in Fred and Ginger's working relationship (the feathers caused Fred no end of problems during the magnificent "Cheek To Cheek" sequence), but it all came good in the end with Top Hat taking over $3 million in takings and becoming RKO's biggest earner of the decade.

Much like how the film can lift you, that is just as priceless. 8/10

As light as the feathers on Ginger's dress...Reviewed byNeil DoyleVote: 8/10

If you're a fan of FRED ASTAIRE and GINGER ROGERS and their predictable screwball comedies of the '30s, you'll find this one is easy to take. First of all, the score by Irving Berlin has a variety of catchy tunes although I can't say it's his greatest, and all of the mistaken identity plot is performed with such grace by the famous dancing duo and their marvelous supporting cast that it's all as light as the feathers on Ginger's "Cheek to Cheek" dress.

Speaking of which--for me, the "Cheek to Cheek" number is worth watching just to see how skillful the two dance the number although fully aware that Astaire objected strenuously to Ginger's feathered dress. Nevertheless, it's the dancing highlight of the film, much better than the "Piccolino" number that is used for the finale.

Eric Blore and Erik Rhodes outdo themselves in great comic support. Blore we almost take for granted at this point, but Rhodes with his silly Italian accent is a scene-stealer too. His Bettini, the dressmaker, offers some of the heartiest chuckles.

Astaire is top flight here--graceful, athletic, and young enough to be seen as a dancing Cary Grant--and Ginger matches him every dancing step of the way. She's particularly delightful in the rainy park sequence for "Isn't It A Lovely Day?" And for the "Cheek to Cheek" sequence she has a braided hairdo that gives her an ultra-sophisticated, princess-like look. When she and Astaire dance, they can do no wrong.

He, of course, is more skillful with a song than she is, his voice perfectly able to deliver all the Irving Berlin numbers assigned to him, while she barely gets by with her rendition of the "Piccolino".

Great fun to watch--rainy day or not. And those art deco backgrounds for hotel rooms and Venice are a knockout. The pristine print of the film shown on TCM recently really made them stand out in glowing splendor.

"Isn't this a lovely day to be caught in the rain?"Reviewed byackstasisVote: 7/10

'Top Hat' is a classic 1930s dance musical. The film positively reeks with class, and the winning partnership of Fred Astaire and Ginger Rogers is impossible to overlook. The two stars had performed together three times previously {Flying Down to Rio (1933), The Gay Divorcée (1934), Roberta (1935)} and would later do so on a total of ten occasions. As of this moment, I've only seen one of these films, but if 'Top Hat' is anything to go by, I have a lot of great titles to track down. It's rather peculiar that until recently I would actively avoid anything that features characters suddenly bursting into song for no particular reason, but classics such as this one and 'Singin' in the Rain' are gradually overcoming my aversion towards the musical genre. Mark Sandrich, who would direct five of the dancing team's outings, presents the audience with a glittering world of wealth, class and elegance, helped along by the potent chemistry of the two leads and a memorable selection of musical numbers written by Irving Berlin.

The storyline in 'Top Hat' is relatively basic, a lightweight screwball comedy with an assortment of misunderstandings and mistaken identities, but it's very entertaining. Of course, some of the plotpoints are rather contrived and require a bit of suspension of disbelief, but try and find me somebody who gives a damn. Jerry Travers (Astaire) is an American Broadway dancer making his London debut for producer Horace Hardwick (Edward Everett Horton). Following an uncontrollable late-night urge to start tappin' in his hotel room, Jerry comes to meet Dale Tremont (Rogers), who is initially repulsed by him but is later won over by Astaire's boyish enthusiasm and charm, not to mention some well-executed dance moves. However, an assortment of unlikely scenarios leads Dale to believe that Jerry is the husband of her good friend Marge (Helen Broderick), and his perceived infidelity leads her to seek somebody else's hand in marriage, namely the pompous Italian dress designer Alberto Beddini (Erik Rhodes).

Of course, the story is entertaining to watch, but the film's main assets are its remarkable dance numbers. As opposed to many other musicals, the sequences in 'Top Hat' have a certain intimacy about them. There is no quick editing or unusual shooting angles, but instead the camera is settled at enough of a distance for us to fully see both performers, and then it just sits back and allows the two stars to do what they do so well. Additionally, because each of the songs is integrated almost perfectly into the plot {except for "The Piccolino," which seemed a bit out-of-place}, the musical interludes complement the storyline, and vice versa. Choosing a favourite song would be next to impossible, so I'll just declare that "No Strings," "Isn't This a Lovely Day (To Be Caught in the Rain)" and "Top Hat, White Tie, and Tails" are all massively enjoyable to watch. The film's most famous number, "Cheek to Cheek," has since become one of American cinema's most beloved musical scenes, and subsequent directors have regularly employed it to add emotional resonance to their own works {see Woody Allen's 'The Purple Rose of Cairo (1985)' and Frank Darabont's 'The Green Mile (1999)'}.

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