The Sky's the Limit is often deemed as one of Fred Astaire's weakest films, and it is easy to see why that is so. For me, while The Sky's the Limit is not on par with Astaire's best work, it is better than it is given credit for.
Where The Sky's the Limit particularly falls down is in the story. Granted it is not a strong point in almost all of Astaire's films either, even his best work, and, while it is not as bad an instance as with Second Chorus, The Belle of New York and Let's Dance, structurally it is so flimsy that it's like there isn't any, some of the plotting is clumsily done and comes over as oddly hokey rather than believable and while the film is breezily paced and charming on the whole there are some tedious spots like the rather routine opening scene and Robert Benchley's amusing but overlong and ground-the-film-to-a-halt speech. A better use could have been made of the supporting cast too, the best coming from an amusing (though his style of humour is an acquired taste) and seemingly-dopey-but-actually-pretty-sharp-minded Robert Benchley and an expressive Elizabeth Patterson. Eric Blore is decent in the kind of role that suited him well, but it is little more than a cameo and considering the amount of talent Blore had and his knack from stealing scenes (as he showed in his appearances in the Astaire and Ginger Rogers films) didn't do enough to show off this talent. Robert Ryan also takes the film and his character too seriously, his brooding, intense persona and stiff character jarring with the general light-hearted feel of the story, with the sole exception of the snake dance scene.
On the other hand, The Sky's the Limit has elegant production values and is beautifully photographed and directed with grace and assurance by Edward H. Griffith. The score is whimsical and vibrant without sounding too sentimental, and while one does wish there were more songs and that they were spaced out better the songs are very well written and work well within the film, the melodically sublime and moving My Shining Hour (also Oscar-nominated) faring the most strongly. Joan Leslie acquits herself beautifully in her solo version, but it was the duet version between her and Astaire that came off particularly well, you can really feel the love and charm between the two of them. The choreography is elegant and energetic, as well as impeccably danced, Astaire's One for my Baby, while not quite one of his greatest ever routines, is one of his bravest and most entertainment dances from his lesser films. His and Leslie's duet together is.
There is also some very funny writing in The Sky's the Limit, with dialogue that sparkles with wit, even poking fun at Astaire's legendary status (have to admire how they managed to cram in a reference to Ginger Rogers). And as much criticised and how flawed the story is, it's still mostly breezily paced and has a good deal of charm. Along with the songs and the choreography, the two leads make The Sky's the Limit worth watching. Astaire's more-dramatic-than-usual character easily could have been as insufferable as his in Second Chorus, but he is immensely likable with the writing playing to his strengths as a performer, and he dances up a dream as always. Leslie may not be Ginger Rogers (which is rather unfair to her), but is an enchanting and very worthy partner for Astaire (has to be one of his most underrated too), with sparkling eyes and a radiant smile, her dancing surprisingly graceful, her acting compassionate and witty and her singing more than listenable.
All in all, rather ordinary and towards the lower end of Astaire's filmography in personal ranking, but it is not that bad has a number of good merits. 6/10 Bethany Cox
Where The Sky's the Limit particularly falls down is in the story. Granted it is not a strong point in almost all of Astaire's films either, even his best work, and, while it is not as bad an instance as with Second Chorus, The Belle of New York and Let's Dance, structurally it is so flimsy that it's like there isn't any, some of the plotting is clumsily done and comes over as oddly hokey rather than believable and while the film is breezily paced and charming on the whole there are some tedious spots like the rather routine opening scene and Robert Benchley's amusing but overlong and ground-the-film-to-a-halt speech. A better use could have been made of the supporting cast too, the best coming from an amusing (though his style of humour is an acquired taste) and seemingly-dopey-but-actually-pretty-sharp-minded Robert Benchley and an expressive Elizabeth Patterson. Eric Blore is decent in the kind of role that suited him well, but it is little more than a cameo and considering the amount of talent Blore had and his knack from stealing scenes (as he showed in his appearances in the Astaire and Ginger Rogers films) didn't do enough to show off this talent. Robert Ryan also takes the film and his character too seriously, his brooding, intense persona and stiff character jarring with the general light-hearted feel of the story, with the sole exception of the snake dance scene.
On the other hand, The Sky's the Limit has elegant production values and is beautifully photographed and directed with grace and assurance by Edward H. Griffith. The score is whimsical and vibrant without sounding too sentimental, and while one does wish there were more songs and that they were spaced out better the songs are very well written and work well within the film, the melodically sublime and moving My Shining Hour (also Oscar-nominated) faring the most strongly. Joan Leslie acquits herself beautifully in her solo version, but it was the duet version between her and Astaire that came off particularly well, you can really feel the love and charm between the two of them. The choreography is elegant and energetic, as well as impeccably danced, Astaire's One for my Baby, while not quite one of his greatest ever routines, is one of his bravest and most entertainment dances from his lesser films. His and Leslie's duet together is.
There is also some very funny writing in The Sky's the Limit, with dialogue that sparkles with wit, even poking fun at Astaire's legendary status (have to admire how they managed to cram in a reference to Ginger Rogers). And as much criticised and how flawed the story is, it's still mostly breezily paced and has a good deal of charm. Along with the songs and the choreography, the two leads make The Sky's the Limit worth watching. Astaire's more-dramatic-than-usual character easily could have been as insufferable as his in Second Chorus, but he is immensely likable with the writing playing to his strengths as a performer, and he dances up a dream as always. Leslie may not be Ginger Rogers (which is rather unfair to her), but is an enchanting and very worthy partner for Astaire (has to be one of his most underrated too), with sparkling eyes and a radiant smile, her dancing surprisingly graceful, her acting compassionate and witty and her singing more than listenable.
All in all, rather ordinary and towards the lower end of Astaire's filmography in personal ranking, but it is not that bad has a number of good merits. 6/10 Bethany Cox