| Fred Astaire | ... | Guy Holden | |
| Ginger Rogers | ... | Mimi Glossop | |
| Alice Brady | ... | Aunt Hortense | |
| Edward Everett Horton | ... | Egbert 'Pinky' Fitzgerald | |
| Erik Rhodes | ... | Rodolfo Tonetti | |
| Eric Blore | ... | The waiter | |
| Lillian Miles | ... | Singer, Continental Number | |
| Charles Coleman | ... | Guy's Valet | |
| William Austin | ... | Cyril Glossop | |
| Betty Grable | ... | Dance Specialty | |
| rest of cast listed alphabetically: | |||
| Norman Ainsley | ... | Undetermined role (uncredited) | |
| Jimmy Aubrey | ... | Undetermined role (uncredited) | |
| Finis Barton | ... | Undetermined role (uncredited) | |
| De Don Blunier | ... | Chorus girl (uncredited) | |
| Jack Chefe | ... | Table Extra (uncredited) | |
| Cy Clegg | ... | Porter (uncredited) | |
| E.E. Clive | ... | Chief Customs Inspector (uncredited) | |
| George Davis | ... | French waiter #1 (uncredited) | |
| Charlie Hall | ... | Messenger at dock (uncredited) | |
| Shep Houghton | ... | Dancer (uncredited) | |
| Arthur Jarrett | ... | Vocalist (uncredited) | |
| Sydney Jarvis | ... | Undetermined role (uncredited) | |
| Vivian Keefer | ... | Chorus girl (uncredited) | |
| Lois Lindsay | ... | Chorus girl (uncredited) | |
| Alphonse Martell | ... | French waiter #2 (uncredited) | |
| Ted Oliver | ... | Customs Inspector #3 (uncredited) | |
| Paul Porcasi | ... | French headwaiter (uncredited) | |
| Sonny Ray | ... | Undetermined role (uncredited) | |
| Ronald R. Rondell | ... | Dance Extra, Continental Number (uncredited) | |
| Larry Steers | ... | Extra (uncredited) | |
| Mary Stewart | ... | Dancer / Singer (uncredited) | |
| Cyril Thornton | ... | Customs Inspector #2 (uncredited) | |
| Florence Wix | ... | Undetermined role (uncredited) | |
| Bruce Wyndham | ... | Undetermined role (uncredited) | |
Directed by | |||
| Mark Sandrich | |||
Writing credits | ||
| J. Hartley Manners | (unproduced play) | |
| Dwight Taylor | musical play "Gay Divorce" and | |
| Kenneth S. Webb | musical adaptation for play and | |
| Samuel Hoffenstein | musical adaptation for play | |
| George Marion Jr. | (screenplay) and | |
| Dorothy Yost | (screenplay) and | |
| Edward Kaufman | (screenplay) | |
| Robert Benchley | uncredited | |
Produced by | |||
| Pandro S. Berman | .... | producer | |
Original Music by | |||
| Max Steiner | (uncredited) | ||
Cinematography by | |||
| David Abel | |||
Film Editing by | |||
| William Hamilton | |||
Art Direction by | |||
| Carroll Clark | |||
| Van Nest Polglase | |||
Costume Design by | |||
| Walter Plunkett | |||
Makeup Department | |||
| Mel Berns | .... | makeup artist (uncredited) | |
| Robert J. Schiffer | .... | makeup artist (uncredited) | |
Production Management | |||
| J.R. Crone | .... | production manager (uncredited) | |
Second Unit Director or Assistant Director | |||
| Ray Lissner | .... | second assistant director (uncredited) | |
| Argyle Nelson | .... | assistant director (uncredited) | |
| Ivan Thomas | .... | second assistant director (uncredited) | |
Art Department | |||
| Thomas Little | .... | props (uncredited) | |
Sound Department | |||
| George Marsh | .... | sound editor | |
| Hugh McDowell Jr. | .... | recording director | |
| Robert Wise | .... | sound effects editor (uncredited) | |
Special Effects by | |||
| Vernon L. Walker | .... | photographic effects (as Vernon Walker) | |
| Harry Redmond Jr. | .... | special effects (uncredited) | |
| Harry Redmond Sr. | .... | special effects supervisor (uncredited) | |
Camera and Electrical Department | |||
| Willard Barth | .... | assistant camera (uncredited) | |
| Joseph F. Biroc | .... | camera operator (uncredited) | |
| Jim Davis | .... | grip (uncredited) | |
| Fred Hendrickson | .... | still photographer (uncredited) | |
| Clifford Stine | .... | assistant camera (uncredited) | |
| James Vianna | .... | electrician (uncredited) | |
Costume and Wardrobe Department | |||
| Claire Cramer | .... | wardrobe (uncredited) | |
Music Department | |||
| Philip Faulkner Jr. | .... | music recordist (as P.J. Faulkner Jr.) | |
| Murray Spivack | .... | music recordist | |
| Max Steiner | .... | musical director | |
| Maurice De Packh | .... | music arranger (uncredited) | |
| Howard Jackson | .... | music arranger (uncredited) | |
| Bernhard Kaun | .... | music arranger (uncredited) | |
| Gene Rose | .... | music arranger (uncredited) | |
| Eddie Sharpe | .... | music arranger (uncredited) | |
| Clifford Vaughan | .... | music arranger (uncredited) | |
Other crew | |||
| Peter Croft | .... | technical director | |
| Dave Gould | .... | stager: dance ensembles | |
| Zion Myers | .... | production associate | |
| Hermes Pan | .... | assistant dance director | |
| Harry Cornbleth | .... | stand-in: Fred Astaire (uncredited) | |
| Bill Hamberry | .... | projectionist (uncredited) | |
| Ben Holmes | .... | dialogue director (uncredited) | |
| Elizabeth McGaffey | .... | researcher (uncredited) | |
| Marie Osborne | .... | stand-in: Ginger Rogers (uncredited) | |
| Hermes Pan | .... | choreographer (uncredited) | |
| Frank Warde | .... | doll dance director (uncredited) | |
| Trudy Wellman | .... | continuity (uncredited) | |
| Trudy Wellman | .... | script clerk (uncredited) | |
| Bill Williams | .... | photography co-operator (uncredited) | |
| Madeline Wilson | .... | stand-in: Alice Brady (uncredited) | |
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| IMDb Comedy section | IMDb USA section | Add this title to MyMovies |
It's astounding that this all-time classic doesn't get a better average score.
Nureyev said Astaire was the greatest dancer in the world, and Astaire is at his best here with his best partner, Ginger Rogers. No need to elaborate, just watch them in action.
Erik Rhodes should have got Best Supporting Oscar. He was also wonderful in Top Hat, but it's here he gets to say the immortal line, "Your wife is safe with Tonetti, he prefers spaghetti."
The clothes and the decor evoke an ideal of courtship as aesthetic rather than as rutting, as it is today. Elegance, grace and wit give even the silliest scenes more dignity than anything, fatuous "talents" can concoct today.
Some call the plot banal, but I think it's funny and inventive. Sure it's mistaken identity, which is indeed a cliché, but so what? It's what they do with it that matters. A professional co-respondent??? Of course it's silly but Hey, that's what farce is. And this musical farce is one of the very best.