Arthur Freed reached way back into the last decade of the last century for this film. The Belle Of New York was a musical back then making its Broadway debut in 1897, but you'll hear nary a note from that score. Freed was wise enough to use some more modern composers mostly Harry Warren and Johnny Mercer as the writers for the songs that Fred Astaire and Vera-Ellen sang and danced to.
Apparently Freed also had been considering this for Fred Astaire since Astaire got free from his original studio contract at RKO. But when he finally got around to making this film, Astaire was 53 years old and looked it. Just a little bit ridiculous to be playing a young playboy of the Gay Nineties.
Fred's a playboy who won't settle down to the consternation of his rich aunt Marjorie Main who supports him. He's had to pay off several fiancés, but when he meets of all people, Salvation Army worker Vera-Ellen it just might be the real thing. Well that plot certainly worked before, but a whole lot better in the modern Guys And Dolls.
I can't fault Fred's dancing though it's the best part of The Belle Of New York. And his best number by far is the Currier&Ives vignette. It's a long number, almost like Gene Kelly's American In Paris ballet of the same film.
The Belle Of New York might have worked better and been more believable had Fred done this back in 1940 or thereabouts.
Apparently Freed also had been considering this for Fred Astaire since Astaire got free from his original studio contract at RKO. But when he finally got around to making this film, Astaire was 53 years old and looked it. Just a little bit ridiculous to be playing a young playboy of the Gay Nineties.
Fred's a playboy who won't settle down to the consternation of his rich aunt Marjorie Main who supports him. He's had to pay off several fiancés, but when he meets of all people, Salvation Army worker Vera-Ellen it just might be the real thing. Well that plot certainly worked before, but a whole lot better in the modern Guys And Dolls.
I can't fault Fred's dancing though it's the best part of The Belle Of New York. And his best number by far is the Currier&Ives vignette. It's a long number, almost like Gene Kelly's American In Paris ballet of the same film.
The Belle Of New York might have worked better and been more believable had Fred done this back in 1940 or thereabouts.