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Roberta

Roberta

Comedy · Music · Romance · 1935

Football player John Kent tags along as Huck Haines and the Wabash Indianians travel to an engagement in Paris, only to lose it immediately. John and company visit his aunt, owner of a posh fashion house run by her assistant, Stephanie. There they meet the singer Scharwenka (alias Huck's old friend Lizzie), who gets the band a job. Meanwhile, Madame Roberta passes away and leaves the business to John and he goes into partnership with Stephanie.

Movie details

Roberta

“Jerome Kern's Queen of Musical Romances!”

1935 Comedy · Music · Romance 1h 46m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

Football player John Kent tags along as Huck Haines and the Wabash Indianians travel to an engagement in Paris, only to lose it immediately. John and company visit his aunt, owner of a posh fashion house run by her assistant, Stephanie. There they meet the singer Scharwenka (alias Huck's old friend Lizzie), who gets the band a job. Meanwhile, Madame Roberta passes away and leaves the business to John and he goes into partnership with Stephanie.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Roberta?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

William A. Seiter

Written by

Jane Murfin · Sam Mintz · Allan Scott

Irene Dunne

Irene Dunne

Stephanie

Fred Astaire

Fred Astaire

Huck Haines

Ginger Rogers

Ginger Rogers

Scharwenka

Randolph Scott

Randolph Scott

John Kent

Helen Westley

Helen Westley

Roberta

Claire Dodd

Claire Dodd

Sophie

Victor Varconi

Victor Varconi

Ladislaw

Court is in session

Put Roberta on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.