Top Hat (1935) 1080p YIFY Movie

Top Hat (1935) 1080p

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: 7.81 Likes

  • Genre: Comedy | Musical
  • Quality: 1080p
  • Size: 1.90G
  • Resolution: / fps
  • Language: English
  • Run Time: 101
  • IMDB Rating: 7.8/10 
  • MPR: Normal
  • Peers/Seeds: 5 / 5

The Synopsis for Top Hat (1935) 1080p

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) 1080p

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


The Reviews for Top Hat (1935) 1080p


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.

Top Hat: Tops in Movie Musicals!Reviewed bykrdementVote: 8/10

I do not watch musicals to hear music. For a musical to be enjoyable, the music should be an embellishment of a story that is otherwise fun to watch. Dancing is the same thing. Beginning sometime in the 50's most musicals leave me flat - precisely because they don't have a good storyline, because they emphasize music to the detriment of the story, and because they routinely interrupt the flow of the film to just "burst into song." There are some wonderful, notable exceptions, of course - Singing in the Rain, 7 Brides for 7 Brothers, My Fair Lady, The Sound of Music... But give me the musicals of the Golden Age of Hollywood any time; the story always seems to come first - just think of The Wizard of Oz (the musical that nobody ever thinks of as a musical).

Give me a musical that features Fred and Ginger. In fact give me almost any film with EITHER Fred or Ginger - especially Ginger!

And if the story is predictable, who cares? It is the journey (the telling) not arriving at the destination (the predictable ending) that counts. This is the key to storytelling - cinematic and otherwise - that both film makers and movie goers understood and appreciated when Hollywood was the "Dream Factory." A film entertains by the deftness with which a story is told - the cleverness of dialog, the development of characters and their interaction. It is not necessarily a bad thing that the outcome is predictable.

Neither is it necessarily a good thing that a story is unpredictable; Hollywood has since produced a lot of original, unpredictable garbage.

This is Fred and Ginger at their very best. Their chemistry was never better. The dialog, musical numbers, dances, costumes and sets are all tops. This film is like a fabulous screwball comedy with song and dance, featuring two of the very brightest stars in the history of Hollywood in peak form. My favorite Fred and Ginger routine of all time - dancing and singing the immortal "Cheek to Cheek" will delight you. Let Top Hat take you on this delightful journey as an illustration of Golden Age musical-making at its finest! Top Hat is Tops!

Fancy FreeReviewed bylugonianVote: 10/10

TOP HAT (RKO Radio, 1935), directed by Mark Sandrich, marks the fourth teaming of Fred Astaire and Ginger Rogers, and considered by many to be their best collaboration. A reworking in plot from their earlier outing of "The Gay Divorcée" (1934), TOP HAT, in fact, the most admired of the two, could easily pass as a partial remake, rehash or possibly a sequel, mainly due to the sameness in the casting of Edward Everett Horton, Erik Rhodes and Eric Blore from "The Gay Divorcée" also directed by Mark Sandrich. Stepping in for Alice Brady is Helen Broderick, whose deadpan humor and dry-wit personality proved more amusing than Brady's dim-witted character. Also similar to "The Gay Divorcée" is Ginger Rogers singing one song near its conclusion while Astaire provides most of the vocalization.

The story opens in London. Jerry Travers (Fred Astaire) is an American dancer (what else!) who is to perform in one of Horace Hardwick's (Edward Everett Horton) upcoming musical shows. They share a hotel suite together where Jerry has an urge to sing and dance. His tap dancing disturbs a sleeping patron in the room below. Dale Tremont (Ginger Rogers), the upset hotel guest in question, comes up to the room above to register her complaint. After Jerry meets his complainer, he immediately falls in love with her, and decides to soft-shoe her to sleep by dancing on sand after she returns to her room. During his stay in London, he pursues Dale whenever he can, and sweeps her off her feet by dancing with her in the gazebo in the park during a rain storm. Because she doesn't know his name, she affectionately calls him "Adam." Dale, who is to later meet with her best friend, Madge Hardwick (Helen Broderick) in Venice, Italy, discovers she's playing matchmaker, hoping to pair her with her husband's friend, Jerry, while, in turn, Dale believes Jerry to be Horace. Things get really complex as Dale mistakingly believes Made to be pushing "her husband" over to her while poor Horace, the innocent bystander, is being being threatened by Dale's dressmaker, Alberto Bedini (Erik Rhodes) and given a black eye by Madge for no apparent reason. Also adding to the confusion is Bates (Eric Blore), Horace's faithful servant, assigned by him to follow Dale Tremont and find out more about this "gold digger" out to trap Jerry, and ....

Aside from TOP HAT being long on laughs and complications becoming more confusing and the story moves on, the film takes time for five classic dance numbers composed by the legendary Irving Berlin: "No Strings, I'm Fancy Free" (sung and danced by Fred Astaire); "Isn't It a Lovely Day to be Caught in the Rain" (sung by Astaire/ danced by Astaire and Ginger Rogers); "Top Hat" (sung by Astaire); "Cheek to Cheek" (sung by Astaire/ danced by Astaire and Rogers); and "The Piccolino" (sung by Ginger Rogers and chorus/ danced by Astaire and Rogers); and "The Piccolino" (reprise, finale). Of those numbers, "Cheek to Cheek" remains a true highlight, a scene clipped in many documentaries pertaining to movie musicals or Astaire and Rogers themselves. "Cheek to Cheek" was nominated for best song of 1935. Although it didn't win, it remains as memorable as the Astaire and Rogers dance itself.

Any similarities between THE GAY Divorcée and TOP HAT are purely coincidental, but in many ways an improvement. Both films are not only the most famous and televised of the Astaire and Rogers musicals, but each presents itself like a stage play. The only twist here is that TOP HAT, which borrows from "The Gay Divorcée" is actually an original screenplay (by Dwight Taylor), written especially for the leading pair. Other than the horse and buggy ride on the London streets, the focal point remains mostly in the hotel suites, lobbies, dining areas and a brief ride on the gondola. TOP HAT gives the impression to be the most lavishly scaled musical ever released by RKO. It does. Even Ginger Rogers' dresses are glittering and rich in appearance, right down to her sleeping attire. A musical fantasy by way of costumes (how many women sleep with nightgowns flashier than a dinner dress?), TOP HAT has Astaire singing and dancing during portions of the plot, a common practice musical stage shows, though the title tune, "Top Hat, White Tie and Tails" is the only one given the production number treatment played to a theater audience on screen.

TOP HAT, available on video cassette and/or DVD, and formerly shown on American Movie Classics, most commonly found on Turner Classic Movies, is fortunate to have certain cut scenes restored. During the years of commercial television back in the 1960s, '70s and '80s, the sequence involving Bates (Eric Blore) insulting an Italian police official whom he believes doesn't speak a word of English, leading to his arrest, was among the missing. Whether seeing TOP HAT at 100 minutes, or in shorter reissue 93 minute prints, the movie itself is entertaining from start to finish. And if the blonde flower clerk in the London sequence early in the story looks familiar, look again. That's Lucille Ball, the future "queen of television." (****)

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