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.... (Full plot summary below)
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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.
Leave your thoughts about Top Hat.
| Slant MagazineDan CallahanEvery musical number works, and the mistaken-identity plot is pleasant enough, even if there’s too much emphatic dithering from the supporting players toward the end. |
| Time OutTom MilneThe third Astaire-Rogers movie and one of the best. |
| VarietyVariety StaffThis one can't miss and the reasons are three -- Fred Astaire, Irving Berlin's 11 songs and sufficient comedy between numbers to hold the film together. |
| The GuardianPeter BradshawTop Hat reflects a transatlantic kind of universe, the Brit dimension absorbed into American waspy class, and sweetened with some mannered comedy; this was a Hollywood that loved PG Wodehouse. |
| Chicago TribuneMichael WilmingtonIf you want only one Astaire-Rogers musical, Top Hat is obligatory for Astaire at his most debonair with Irving Berlin's title number and Cheek to Cheek in this screwball confused identities plot. |
| Entertainment WeeklySteve SimelsTop Hat is tops with two of the duo’s most sublime numbers (The Piccolino, Cheek to Cheek), plus Fred’s rat-a-tat solo, a funnier-than-you-remember script (Erik Rhodes’ English-mangling designer exclaiming: ”Never again will I allow women to wear my dresses!”), and the hummable Irving Berlin score. |
| Chicago Sun-TimesRoger EbertAt a point when many dancers would be gasping for breath, Astaire and Rogers are smiling easily, heedlessly. To watch them is to see hard work elevated to effortless joy: The work of two dancers who know they can do no better than this, and that no one else can do as well. |
| LarsenOnFilmJosh LarsenIt never really mattered what loopy plot was devised to get Fred Astaire and Ginger Rogers together in their musicals – once they started dancing in each other’s arms, all contrivances fall to the wayside and you clearly see they were made for each other. |
| The Observer (UK)Philip FrenchThis 1935 musical finds Fred Astaire and Ginger Rogers at the top of their form. |
| The New York TimesAndre SennwaldWhen Top Hat is letting Mr. Astaire perform his incomparable magic or teaming him with the increasingly dexterous Miss Rogers it is providing the most urbane fun that you will find anywhere on the screen. |
