This is a film that I saw for the first time today on TCM, and I am glad that I saw it. Knowing TCM, it will be some time before I have another opportunity. But it also will be some time before I am interested in seeing it again. Other commentators have commented on the film's strong points: some nice sets, great music, Benchley's befuddled speech and Astaire's "One for My Baby" song-and-dance routine.

While I am a huge fan of Ginger Rogers, I was impressed by Joan Leslie's all-round performance as Astaire's co-star. She was apparently an extremely versatile talent - remember this is Gary Cooper's girlfriend in Sergeant York! The script placed some rather heavy demands on her character, and she delivers on all counts. It is difficult to portray a character walking the emotional tightrope of falling in love with somebody who apparently has values that you find unacceptable. Joan Leslie handles the chore admirably, focusing on her efforts to reform Astaire.

Fred's character was a bust, however - but not necessarily because of his acting. He is poorly cast as a veteran of the Flying Tigers. In his first couple of scenes, he doesn't capture with authenticity a pilot in the dire circumstances that beset those beleaguered, heroic volunteers. Later he jumps off a train, abandoning a military good- will tour to pursue a good time on his own. Though less than noble, his actions are understandable. In short order, he ends up in New York, meets Joan, and begins to woo her. And that is when the movie starts to break down. As one commentator notes, the audience is never sure why Fred doesn't disclose his identity to Joan.

His character is never portrayed with any clarity. He doesn't really seem connected to the war. The calendar he marks, seems to have no greater significance than to indicate the number of days he has left to pursue Joan. And that's where the script really betrays us. When does Fred transition from a desire to have a good time to a genuine affection (and eventually, love) for Joan? What prevents his telling her who he is? The fact that none of this is ever made clear is the downfall of an otherwise good movie.

The only way I can explain Astaire's character to my own satisfaction is this: When he first meets Joan, he believes that as an aspiring photojournalist, she may shine an unwanted spotlight on him, depriving him of the freedom (and anonymity) to enjoy some time on his own, which is what motivated him to jump off the train. But that is never suggested by the film, itself. Instead he just waffles - agreeing to go on job interviews that he then sabotages, potentially placing her reputation in some jeopardy and also undermining her affections for him. These issues are really just swept under the carpet.

In the middle of WWII, the movie did not settle for a "final" happy ending. Joan and Fred, finally do profess their love for each other, but Fred is on his way back into combat. So, the final shot of a tearful Joan is great: In a rush she is fulfilled, worried and hopeful. But Astaire's return is not to be taken for granted. This ending is realistic and cause for reflection, and consequently in odd juxtaposition to the rest of the film. If the entire film had captured more of the complexities personified by Joan Leslie in the last scene, it might have been a true classic. As it stands, Joan Leslie's nice performance, the songs, Astaire's amazing glass- smashing dance and Benchley's monologue are the best things about this movie.