John Kent (Randolph Scott), a former star football player at Harvard, goes to Paris with his friend Huck Haines (Fred Astaire) and the latter's dance band, the Wabash Indianians. Alexander Voyda (Luis Alberni) has booked the band, but refuses to let them play when he finds the musicians are not the Indians he expected, but merely from Indiana (Huck Haines and his Indianians Band).
John turns to the only person he knows in Paris for help, his Aunt Minnie (Helen Westley), who owns the fashionable "Roberta" gown shop. While there, he meets her chief assistant (and secretly the head designer), Stephanie (Irene Dunne). John is quickly smitten with her.
Meanwhile, Huck unexpectedly stumbles upon someone he knows very well. "Countess Scharwenka", a temperamental customer at Roberta's, turns out to be his hometown sweetheart Lizzie Gatz (Ginger Rogers). She gets Huck's band an engagement at the nightclub where she is a featured entertainer.
Two things trouble John. One is Ladislaw (Victor Varconi), the handsome Russian deposed prince and doorman who seems too interested in Stephanie. The other is the memory of Sophie (Claire Dodd), the snobbish, conceited girlfriend he left behind after a quarrel over his lack of sophistication and polish.
When Aunt Minnie dies unexpectedly without leaving a will, John inherits the shop. Knowing nothing about women's fashion and that his aunt intended for Stephanie to inherit the business, he persuades Stephanie to remain as his partner. Correspondents flock to hear what a football player has to say about feminine fashions. Huck gives the answers, making a lot of weird statements about the innovations John is planning to introduce.
Sophie arrives in Paris, attracted by John's good fortune. She enters the shop, looking for a dress, but is dissatisfied with everything Stephanie shows her. Huck persuades her to choose a gown that John had ordered discarded as too vulgar. When John sees her in it, they quarrel for the final time.
John reproaches Stephanie for selling Sophie the gown. Terribly hurt, Stephanie quits the shop. With Roberta's putting on a fashion show in a week, Huck takes over the design work, with predictably bad results. When Stephanie sees his awful creations, she is persuaded to return to save Roberta's reputation.
The show is a triumph, helped by the entertaining of Huck, Countess Scharwenka, and the band. (A pre-stardom Lucille Ball, with platinum blond hair, appears uncredited in her first RKO film[4] as a model wearing an elaborate feather cape, after the vocal by Dunne, in the fashion show.[5]) The closing sensation is a gown modeled by Stephanie herself. At the show, John overhears that she and Ladislaw are leaving Paris and mistakenly assumes that they have married. Later, he congratulates her for becoming a princess. When she informs him that Ladislaw is merely her cousin and that the title has been hers since birth, the lovers are reunited. Huck and Lizzie, who decide to get married, do a final tap dance sequel.
#观影手记# 2358
对基德曼人偶一样没有纹路没有表情的胀鼓鼓假面做足了心理准备。
3.5。今年冲奥传记片还不错的一部吧，但还是冗长无聊了一些。
麦卡锡主义的阴影、从电影到电视的往事交叠以及最平常的婚姻故事与最胶着的灵魂定位，这种种话题和元素还是被Aaron Sorkin比较顺畅、清晰也不乏能量的编排呈现出来，但本片的问题就是在这样一部经典情景喜剧、在这样一个虽也脆弱终究强大的女性面前，Sorkin其实并没有找到那个能够统摄一切或者凿进阴影的主题，使得影片虽有动人之处，但终究流于平面。最好的角色是J·K·西蒙斯的男配，剧本围读段落以Sorkin的兴趣点和水平来说有点草率和敷衍了。三星半
可以理解为什么这部电影会flop，因为真的缺 乏 趣 味。
“1960年露西申请与他离婚，这是他们最后一次在荧幕上一起表演。”
Aaron Sorkin的风格不适合这个故事。但
绵密的台词，闪回数次，完全要全神贯注才能跟上演员们对话节奏的剧本设定，仿佛每一段与人相关的历史都可以发展成如此精彩绝伦的故事。看到很多人吐槽爱伦索金，但是妮可真的演的好啊，作品冲着颁奖季而造，妮可也真的值得再拿一座奥斯卡影后。
芝加哥七君子审判好歹还有历史背景加成，成片整成这样只能说索金作为导演终于原形毕露了（暴露了能力有限的本质）
暖场和后面的对峙那场戏就是我们说的夺奖时刻
绵密的台词，闪回数次，完全要全神贯注才能跟上演员们对话节奏的剧本设定，仿佛每一段与人相关的历史都可以发展成如此精彩绝伦的故事。看到很多人吐槽爱伦索金，但是妮可真的演的好啊，作品冲着颁奖季而造，妮可也真的值得再拿一座奥斯卡影后。
很喜欢这种关于影视剧制作幕后的电影，类似安东尼奥-霍普金斯的《希区柯克》和大卫-芬奇的《曼克》。“I love Lucy”1950年代上映，共六季，观众六千多万，想象一下2070年有人拍《老友记》的幕后，只不过“Friends”没有Lucy那个年代的冷战背景。蛮不错的《里卡多一家》，造型服装不用说了，很容易就做到相似，在一集剧拍摄的过程中穿插了两位主演的相识和婚姻，个人才华之外还有当时美国社会的保守（现在也几乎一样）。妮可的表演很棒，一点点愤世嫉俗，一点点狂野，活力四射，十分迷人；哈维尔-巴登也一样把自己的魅力融进阿纳兹，并没有消失在角色之中。非常好的一部电影。
果然是索金，一开始完全跟不上的信息量和讥巧，甚至看不懂，有些不理解女主。后面一层层一遍遍加深拓开，到结尾我大为震撼。home和屋子对于女主的意义让我想到旺达…妮可基德曼确实演得好，观看时常有“哇这也撑得住演得太好了”的感慨。
对这部久负盛名的电视剧早就有所耳闻，但本片的角度和剧情还是无法吸引我，看完有种不知道自己看了个啥的感觉
当一个女人失去安全感。
首先，官方译本很差，大段大段不知所云，我已修改并上传；然后，撇去翻译不谈，甚至撇去粗暴的剪辑和调度不谈，剧本本身就问题很大：索金的基本功没人能质疑，于是不少人开始讨厌他输出价值观，但索氏的一贯问题甚至不在于此，而在于没有输出价值观的时候也要用看似火爆实则很水的词强行填满每一秒钟。全文记录后便可发现，稍加挑拣就能删去一半台本，同时还不影响影片表达——索金确实不该当导演，我看最适合与他搭档的哪里是芬奇，明明是拉雷恩，得靠拉氏的慢性给他的本子删繁就简、舒缓节奏。妮可（如果能）凭这个拿奥斯卡还是不乐见的，她演出了索金想表达的，但完全不像露西亚・鲍尔，甚至片中屡屡提及的「动作天赋」也没多少展现，不及传主半分。一个甩掉男人的大女主却演得被男主巴登压制，够喜剧。（不接受反驳）毕竟我看这片子都五遍以上了。
索金的编剧技巧无须质疑，这次突破在于所有闪回桥段不标时间线，观众自己脑补。
【22/005】期望不高，但没有失望的传记片。纯粹是去看妮可基德曼的表演，二封的话凌晨改戏完全影后moment。原型访谈+回忆穿插，与《宿敌》无异的老路子，不同的是以星期作为时间点叙事。戏外的造型还是好看的，戏中戏的妆发实在不敢恭维。
前面摸不清它想表达啥，最后口红印才恍然大悟——哦这种女人都会被出轨，嫖娼犯存在的唯一原因就是有人孜孜不倦地去嫖娼，和女人没有半毛钱关系。什么示弱什么装大度，我可去你的吧
男人为了拯救生意和女人，他成功了；女人为了拯救内容和婚姻，她失败了。当Lucy拿出两张手帕时，生活和喜剧的联接被彻底打破，无法再认真对待感情，此后只剩表演。整体制作精良，但在妮可的表演下显得不那么重要了
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