Although it has its amusing moments, in eneral the plot does not convince.

Yo, there's no way for me to review this film without saying, take your *insert ethnicity + "ass" here* to see this film,like now. You have to see it in order to know what you're really messing with.

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

The acting in this movie is really good.

OK. I'll probably annoy most people by this revue but here goes: the plot is farcical, the actors and actresses are simply going along with the childish script and you wonder how did they get enough money for the over-the-top sets and dresses. Then you consider the dance numbers which change whole film in about 15 minutes of pure magic. The dance steps are phenomenal. There is an artistry involved which each of the steps is breathtakingly new and novel. Rita Hayworth also changes from a rather pedestrian actress to a wonderful dancer. If she could learn these steps in a morning then she must have an unusual memory. Whether she was better or worse than Ginger is irrelevant; she brought a different 'character' to the dancing that was new and refreshing.

Jerome Kern lovely music is what gives this film LIFE! And the fact that Rita Hayworth and Fred Astaire are fantastic in this film. Fred Astaire was one of the best dancers in motion picture history. But, not a lot of people know that, Rita Hayworth was a very talented dancer too. And believe me, she puts her skills to work in this film.Now...I'm not going to lie, it's not the best storyline and the acting isn't the best. Although (Adolphe Menjou) really keeps the film going with his short temper and wit.Robert Davis (Fred Astaire) is a well known dancer who tries to get a contract at Eduardo Acuna (Adolphe Menjou) night club, but he's not having any luck at all.Through some very insane events Robert and Maria Acuna (Rita Hayworth) begin to have feeling for one another. But her father Eduardo Acuna doesn't want his daughter messing around with a dancer. But with a number of wonderful tunes and some great moves 'Love' wins-out in the end.It's a fun little film that all of you will enjoy...You Were Never Lovelier.

I can't add much to what's been said, only that it seems to me it's Astaire's best comic acting role and that Rita is adorable, magnificent, talented, and beyond compare. When they dance, it's magic. What did strike me as curious was the fact that the film was set in Argentina for no apparent reason, and its version of "Argentina" seems to be any wealthy American suburb in America, New Canaan possibly, or maybe Kenilworth or Chevy Chase? It's as "Argentinian" as your aunt's patootie, whatever that means. Was it a response to FDR's "Good Neighbor" policy back in '42 perhaps? Or perhaps the South American stylings, as mild as they were, were to justify Xavier Cougat's presence in the pic, although he's characterized as "coming down from New York". His Latin-themed orchestrations are the only verifiably "hispanic" touch. Very strange. The Acunas are a wealthy family who speak perfect upper-class yankee patois and only show the remotest familiarity with hispanic culture. Mr. Acuna's secretary is one of those flitty, maybe gay fussbudgets always breaking down into hysterics or bumping into the furniture. Nobody speaks Spanish, nobody tries an accent, and nothing in the design or culture of the picture suggest Buenos Aires. Seen today, it seems quite odd, maybe even crazily charming in an anthropological sort of way.

Fred Astaire's films are all pretty much the same: quaint romantic hijinks driving a ridiculous but entertaining screwball plot. By the 1940s, he and Ginger Rogers had parted ways (at least until 'The Barkleys of Broadway (1949)'), and the studios were left to find him a suitable new partner. RKO's first experiment, opposite Joan Fontaine in 'A Damsel in Distress (1937),' had been far less than successful, as much as I love Joan Fontaine. Astaire's best prospects came from a lovely young lady named Rita Hayworth, with whom he starred in 'You'll Never Get Rich (1941)' and 'You Were Never Lovelier (1942).' Ah, Rita Hayworth! (Forgive me while I regain my train of thought). This comedy musical, directed by William A. Seiter, features the same unlikely romantic mix-ups you'd expect to find in a Fred and Ginger movie of the 1930s. In fact, the director had previously made 'Roberta (1935),' and he improves upon that film.Eduardo Acuña (Adolphe Menjou) is a man very much used to getting his own way. Determined that his second daughter Maria (Hayworth) should fall in love, he begins writing her anonymous love letters, only for her to mistake American dancer Bob Davis (Astaire) for her nameless romantic suitor. Bob reluctantly agrees to carry on the deception, but soon falls for Maria himself. It doesn't take a genius to guess where this is going, but, like Astaire's previous films, it is well worth watching for the marvellous chemistry of the two leads. Put simply, Hayworth is endlessly, stunningly, ravishingly gorgeous. Though Ginger Rogers' exquisite comedic timing is noticeably absent (leaving Fred to take up the comedic slack), every scene with Hayworth is spent in breathtaking company. And she's not just a pretty face: the young actress is a very talented dancer, keeping up with Astaire step-for-step.