The plot is as wonderfully ludicrous as a Shakespeare comedy, full of misunderstandings and figurative masks culminating in a scene in which Fred dances with dozens of dancers each wearing a Ginger Rogers mask -- like an unspooky foreshadowing of the hall of mirrors at the end of The Lady from Shanghai.
The music -- "They All Laughed," "Beginner's Luck," "Shall We Dance," "Let's Call the Whole Thing Off," "Slap That Bass," and "They Can't Take That Away from Me" -- is sublime. So is the dancing, choreographed by Hermes Pan.
Some favorite moments or aspects:
F and G dance to "Let's Call the Whole Thing Off" on roller skates.
The script and the supporting cast: Jerome Cowan as Ginger's manager ("Arthur Miller"): "I have an idea that's so dastardly it's beautiful." Eric Blore explaining that his mental state is a "veritable pendulum," first "to and fro" and now "fro and to."
The love-hate celebration and ridicule of the toffs, e.g. Edward Everett Horton getting drunk, hungover ("you only had one glass," "Yes but you kept refilling it"), seasick, and duped into thinking the ship's on fire.
The allegory: Fred is Petrov, a ballet dancer; Ginger is Linda Keene, star of musical comedy. Their true names are Peter Peters and Linda Thompson. Their joint efforts prompt a broadside headline: "Broadway and Ballet Merge." To the music of the Gershwins, naturlich.
The electric train set in Ginger's hotel suite.
"They Can't Take That Away From Me."