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The reconciled couple dance off into the Venetian sunset, to the tune of "The Piccolino". Shooting ended in June and the first public previews were held in July.
These led to cuts of approximately ten minutes, mainly in the last portion of the film: Dwight Taylor was the principal screenwriter in this, the first screenplay written specially for Astaire and Rogers.
Astaire reacted negatively to the first drafts, complaining that "it is patterned too closely after The Gay Divorcee ", and "I am cast as The whole style of the picture can be summed up in the word inconsequentiality.
All five songs eventually selected became major hits and, in the September 28, broadcast of Your Hit Parade , all five featured in the top fifteen songs selected for that week.
Astaire recalled how this success helped restore Berlin's flagging self-confidence. Astaire had never met Berlin before this film, although he had danced on stage to some of his tunes as early as There ensued a lifelong friendship with Berlin contributing to more Astaire films six in total than any other composer.
Of his experience with Astaire in Top Hat Berlin wrote: I'd never have written Top Hat without him. He makes you feel so secure. As Berlin could not read or write music, and could only pick out tunes on a specially designed piano that transposed keys automatically, he required an assistant to make up his piano parts.
Hal Borne — Astaire's rehearsal pianist — performed this role in Top Hat and recalled working nights with him in the Beverly Wilshire Hotel: He said, 'I love it, put it down.
Berlin broke a number of the conventions of American songwriting in this film, especially in the songs " Top Hat, White Tie and Tails " and " Cheek to Cheek ",  and, according to Rogers, the film became the talk of Hollywood as a result of its score.
In an Astaire-Rogers picture, the Big White Set — as these Art Deco -inspired creations were known — took up the largest share of the film's production costs, and Top Hat was no exception.
A winding canal — spanned by two staircase bridges at one end and a flat bridge on the other — was built across two adjoining sound stages.
Astaire and Rogers dance across this flat bridge in "Cheek to Cheek". Around the bend from this bridge was located the main piazza, a giant stage coated in red bakelite and this was the location for "The Piccolino".
This fantasy representation  of the Lido of Venice was on three levels comprising dance floors, restaurants and terraces, all decorated in candy-cane colours, with the canal waters dyed black.
The vast Venetian interiors were similarly inauthentic, reflecting instead the latest Hollywood tastes. Carroll Clark, who worked under the general supervision of Van Nest Polglase, was the unit art director on all but one of the Astaire-Rogers films and he managed the team of designers responsible for the scenery and furnishings of Top Hat.
Although Bernard Newman was nominally in charge of dressing the stars, Rogers was keenly interested in dress design and make-up.
Obviously, no one in the cast or crew was willing to take sides, particularly not my side. This was all right with me. I'd had to stand alone before.
At least my mother was there to support me in the confrontation with the entire front office, plus Fred Astaire and Mark Sandrich. Due to the enormous labor involved in sewing each ostrich feather to the dress, Astaire — who normally approved his partner's gowns and suggested modifications if necessary during rehearsals — saw the dress for the first time on the day of the shoot,  and was horrified at the way it shed clouds of feathers at every twist and turn, recalling later: Thereafter, Astaire nicknamed Rogers "Feathers" — also a title of one of the chapters in his autobiography — and parodied his experience in a song and dance routine with Judy Garland in Easter Parade Astaire also chose and provided his own clothes.
He is widely credited with influencing 20th century male fashion and, according to Forbes male fashion editor, G.
It's an extraordinarily contemporary approach to nonchalant elegance, a look Ralph Lauren and a dozen other designers still rely on more than six decades later.
Astaire introduced a new style of dress that broke step with the spats, celluloid collars, and homburgs worn by aristocratic European-molded father-figure heroes.
The choreography, in which Astaire was assisted by Hermes Pan , is principally concerned throughout with the possibilities of using taps to make as much noise as possible.
In the "Opening Sequence", after the RKO logo appears, Astaire, shown only from the waist down, dances onto a polished stage floor, backed by a male chorus sporting canes.
On pausing his name appears. Rogers then follows suit and the two dance together as the picture dissolves to reveal a top hat.
A similar concept was used in the opening sequence of The Barkleys of Broadway On retiring to his hotel suite, Horton advises him to get married.
Astaire declares his preference for bachelorhood and the song — this number was the brainchild of scriptwriter Dwight Taylor and is found in his earliest drafts — emerges naturally and in mid-sentence.
Astaire sings it through twice  and during the last phrase leaps into a ballet jump, accompanied by leg beats, and launches into a short solo dance that builds in intensity and volume progressing from tap shuffles sur place , via traveling patterns, to rapid-fire heel jabs finishing with a carefree tour of the suite during which he beats on the furniture with his hands.
On his return to the center of the room, where he noisily concentrates his tap barrage, the camera cranes down to discover Rogers in bed, awake and irritated.
Astaire incorporates this into his routine, first startling him with a tap burst then escorting him ostentatiously to the telephone.
As Horton leaves to investigate, Astaire continues to hammer his way around the suite, during which he feigns horror at seeing his image in a mirror — a reference to his belief that the camera was never kind to his face.
The routine ends as Astaire, now dancing with a statue, is interrupted by Rogers' entrance,  a scene which, as in The Gay Divorcee and Roberta , typifies the way in which Astaire inadvertently incurs the hostility of Rogers, only to find her attractive and wear down her resistance.
In "No Strings reprise ", Rogers, after storming upstairs to complain, returns to her room at which point Astaire, still intent on dancing, nominates himself her " sandman ", sprinkling sand from a cuspidor and lulling her, Horton and eventually himself to sleep with a soft and gentle sand dance, to a diminuendo reprise of the melody, in a scene which has drawn considerable admiration from dance commentators,  and has been the subject of affectionate screen parodies.
In " Isn't This a Lovely Day to be Caught in the Rain ", while Rogers is out riding, a thunderstorm breaks  and she takes shelter in a bandstand.
Astaire follows her and a conversation about clouds and rainfall soon gives way to Astaire's rendering of this, one of Berlin's most prized creations.
Astaire sings to Rogers' back, but the audience can see that Rogers' attitude towards him softens during the song, and the purpose of the ensuing dance is for her to communicate this change to her partner.
Initially, the imitation is mocking in character, then becomes more of a casual exchange, and ends in a spirit of true cooperation.
Until the last thirty seconds of this two and a half minute dance the pair appear to pull back from touching, then with a crook of her elbow Rogers invites Astaire in.
The spirit of equality which pervades the dance is reflected in the masculinity of Rogers' clothes and in the friendly handshake they exchange at the end.
For " Top Hat, White Tie and Tails ", probably Astaire's most celebrated  tap solo , the idea for the title song came from Astaire who described to Berlin a routine he had created for the Ziegfeld Broadway flop Smiles called "Say, Young Man of Manhattan," in which he gunned down a chorus of men — which included teenagers Bob Hope and Larry Adler  — with his cane.
In this number Astaire had to compromise on his one-take philosophy, as Sandrich acknowledged: They make way for Astaire who strides confidently to the front of the stage and delivers the song, which features the famous line: The dance begins with Astaire and chorus moving in step.
Astaire soon lashes out with a swirling tap step and the chorus responds timidly before leaving the stage in a sequence of overlapping, direction-shifting, hitch steps and walks.
In the first part of the solo which follows, Astaire embarks on a circular tap movement, embellished with cane taps into which he mixes a series of unpredictable pauses.
As the camera retreats the lights dim and, in the misterioso passage which follows, Astaire mimes a series of stances, ranging from overt friendliness, wariness, surprise to watchful readiness and jaunty confidence.
Astaire's first seduction of Rogers in "Isn't This a Lovely Day," falls foul of the mistaken-identity theme of the plot, so he makes a second attempt, encouraged by Broderick, in the number " Cheek to Cheek ".
As in "No Strings," the song emerges from Astaire's mid-sentence as he dances with the hesitant Rogers on a crowded floor.
Berlin wrote the words and music to this enduring classic in one day, and, at 72 measures, it is the longest song he ever wrote.
He crept up there. It didn't make a damned bit of difference. According to Mueller's analysis, the duet that follows — easily the most famous of all the Astaire-Rogers partnered dances  — reflects the complexity of the emotional situation in which the pair find themselves.
No longer flirting, as in "Isn't This a Lovely Day? But Rogers feels guilty and deceived and would prefer to avoid Astaire's advances — in effect, fall out of love with him.
Therefore, Astaire's purpose here is to make her put aside her misgivings which are a mystery to him and surrender completely to him.
The choreographic device introduced to reflect the progress of this seduction is the supported backbend, exploiting Rogers' exceptionally flexible back.
The main dance begins with the first of two brief passages which reuse the device of sequential imitation introduced in "Isn't This a Lovely Day?
The pair spin and lean, dodging back and forth past each other before moving into a standard ballroom position where the first hints of the supported backbend are introduced.
The first backbend occurs at the end of a sequence where Astaire sends Rogers into a spin, collects her upstage and maneuvers her into a linked-arm stroll forward, repeats the spin but this time encircles her while she turns and then takes her in his arms.
As the music becomes more energetic, the dancers flow across the floor and Rogers, moving against the music, suddenly falls into a deeper backbend, which is then repeated, only deeper still.
The music now transitions to a quiet recapitulation of the main melody during which the pair engage in a muted and tender partnering, and here the second passage involving sequential imitation appears.
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