John Kent (Randolph Scott), a former star football player at Harvard, goes to Paris with his friend Huck Haines (Fred Astaire) and the latter's dance band, the Wabash Indianians. Alexander Voyda (Luis Alberni) has booked the band, but refuses to let them play when he finds the musicians are not the Indians he expected, but merely from Indiana (Huck Haines and his Indianians Band).
John turns to the only person he knows in Paris for help, his Aunt Minnie (Helen Westley), who owns the fashionable "Roberta" gown shop. While there, he meets her chief assistant (and secretly the head designer), Stephanie (Irene Dunne). John is quickly smitten with her.
Meanwhile, Huck unexpectedly stumbles upon someone he knows very well. "Countess Scharwenka", a temperamental customer at Roberta's, turns out to be his hometown sweetheart Lizzie Gatz (Ginger Rogers). She gets Huck's band an engagement at the nightclub where she is a featured entertainer.
Two things trouble John. One is Ladislaw (Victor Varconi), the handsome Russian deposed prince and doorman who seems too interested in Stephanie. The other is the memory of Sophie (Claire Dodd), the snobbish, conceited girlfriend he left behind after a quarrel over his lack of sophistication and polish.
When Aunt Minnie dies unexpectedly without leaving a will, John inherits the shop. Knowing nothing about women's fashion and that his aunt intended for Stephanie to inherit the business, he persuades Stephanie to remain as his partner. Correspondents flock to hear what a football player has to say about feminine fashions. Huck gives the answers, making a lot of weird statements about the innovations John is planning to introduce.
Sophie arrives in Paris, attracted by John's good fortune. She enters the shop, looking for a dress, but is dissatisfied with everything Stephanie shows her. Huck persuades her to choose a gown that John had ordered discarded as too vulgar. When John sees her in it, they quarrel for the final time.
John reproaches Stephanie for selling Sophie the gown. Terribly hurt, Stephanie quits the shop. With Roberta's putting on a fashion show in a week, Huck takes over the design work, with predictably bad results. When Stephanie sees his awful creations, she is persuaded to return to save Roberta's reputation.
The show is a triumph, helped by the entertaining of Huck, Countess Scharwenka, and the band. (A pre-stardom Lucille Ball, with platinum blond hair, appears uncredited in her first RKO film[4] as a model wearing an elaborate feather cape, after the vocal by Dunne, in the fashion show.[5]) The closing sensation is a gown modeled by Stephanie herself. At the show, John overhears that she and Ladislaw are leaving Paris and mistakenly assumes that they have married. Later, he congratulates her for becoming a princess. When she informs him that Ladislaw is merely her cousin and that the title has been hers since birth, the lovers are reunited. Huck and Lizzie, who decide to get married, do a final tap dance sequel.
生活在上海，听得懂沪语的话，观影感受无疑是指数级翻升的。电影在商业片与文艺片之间寻求了一个微妙的平衡感，恰又与上海的城市气质完美契合。
另外，当影院的灯暗下来，电影却没有那么容易进入，导演仿佛急于把自己的巧思呈现给观众，镜头破碎，脉络并不连贯，影响我沉浸。
无论如何，谢谢徐峥：打破京圈垄断，our southern lives also matter！
灵啊灵啊，赚不到钞票没关系，明年拿奖拿到手软哦。
作为导演处女作值得鼓励。全上海话对白、美术布景环境、角色举手投足都充满浓浓上海小资气息，主角们过着舒适的有闲有钱惬意生活，不接地气接“上气”（但不像郭敬明电影或偶像剧那样做作生厌讨嫌），因此凸显情感问题。好几场戏都以男女性别地位对调来犀利地讽刺那些男性主义中心视角观念的爱情戏烂俗桥段，非常出彩。老乌去法国留学的年份无需多言便隐含难以诉说的身世背景。影片就像那个神秘话唠的修鞋匠，张口闭口就要掉书袋耍机灵秀外语或扔迷影元素。观影后越细细回味越觉得小聪明弄得过多。台词打磨得很强，但全片情绪节奏忽高忽低，用大段MV式过场和硬切串起饭局等几场好戏，造成段落式割裂感，有佳句无佳章。小鲜肉男生的每次出场都以其糟糕的表演进一步破坏了影片的质感，演技被状态极佳的马伊琍倪虹洁周野芒中年团全方位吊打。三星半
看完不得不感叹，也许能在影像里把女人和男人表现得那么有特色又有情有义的，只有上海了吧。
将《爱情神话》比作伍迪·艾伦的电影，比作程耳的《罗曼蒂克消亡史》，比作金宇澄《繁花》所营造出的上海，真无语。后面三者都是艺术作品，前者乃泡沫“红茶坊”，中产“老娘舅”，然而还没有滑稽戏情景喜剧的烟火，只得其造景和片段式喜剧呈现的情节剧模式，倒拉低了后两者。把它说成是“升级版郭敬明”还差不多，因为人物之不接地气，对上海理解之想当然，满足的不过是“下支角民众”看法租界霓裳艳影的刻板眼光，“西宫娘娘烙大饼，东宫娘娘卷大葱”，我们农业社会的农民也是这样想象皇宫的。它的光滑和虚假，修鞋匠也喝着咖啡讲爱情哲学和一线品牌这种，啧啧啧，令人昏昏欲睡。
有一些小钱，有两把刷子，有老也有小，
八面玲珑的一部电影。从都市轻喜剧来看，笑点数量达标，保持着一种难得的轻盈感，令人舒适。言语中机锋密布，有斤斤计较的尖刻，也有得饶人处且饶人、懒得计较或不必计较的松弛。
人类需要在爱情中造神。老乌讲索菲亚罗兰那段提升了整部片子的质感。还蛮喜欢的，但是属于不会二刷的那种片。前面琐碎的点一层一层出的时候我就一直在想快给我什么时候给我一个更重的东西，我知道你轻巧明快举重若轻了，快给我一个更重的东西，后面长桌忆往昔的环节终于来了。从老乌开始讲话我一直哭到片子结束。配乐太多，点怪怪的。
徐峥和马伊琍的中年艰难爱情，看之前嫌弃，看之后有点惊艳，都市和市井相融的方言电影太少了，老乌的爱情神话刻骨铭心似假还真，实属点睛之笔
导演给自己刷三条5⭐可以吗？
加强版的《爱情呼叫转移》，在上海人身上看不到普世的爱情观，而且全程上海话实在让人看得心累，语速快还牙尖嘴利，在方言里还是重庆话、北京话、东北话和粤语听着舒服。
……笑死我了，修鞋师傅居然能一眼看出鞋子是jimmychoo……这种情节放任何一个城市都很假很违和，只有放上海真的好灵好真实好贴合好油麦。腔调十足，文本也相当好品，演员更是一绝。
后半段绕进索菲亚罗兰里去了 由轻反重 堪称败笔了 整体上借力上海腔调 看得到灵光 温柔 平和 和一点点神性 佳作！
一夜情，前妻，Jimmy choo，被归化的外国男和混血女儿，咖啡店，ktv，传说中的土耳其和yy电影女星，所谓时髦元素堆砌，不知所云。音乐挺好听的，但没起到作用，转场突兀。
费里尼的魂灵不但以文字图画的形式飘逸各处，倪虹洁在KTV见徐峥那一段，更有费式歌剧般磅礴的怪异欲念（两个女人和徐峥谈画展的光影布局也是）。孤男寡女，徐峥追逐马伊琍只是推进故事的动因，倪虹洁和周野芒的老乌才是这部电影的精神（老乌和索菲亚罗兰的故事应该取材自北京慈善大亨李春平），只不过他们一个在声称自己足够危险却在独处时收敛张扬，一个讲述自己的故事并为之心折却又推倒否认，遮掩真实免得自己像个笑话，编导没停在那里自怨自艾，有闲有心情的中年友谊才显得动人，徐峥和周野芒闹矛盾，足足用了一组镜头表示他们不愿见面，片尾一班朋友看老乌不愿触碰的《爱情神话》，一个个昏昏欲睡中主线剧情的心电图恢复跃动，这是对这段友谊最好的祭奠了。几个出人意料的转折处理的顺滑（比如儿子的性取向），音乐、调度等环节都有巧思，看得舒服
真好看啊，上海男女的小资情调，成年人的你来我往，红拂杂货铺，夜奔咖啡馆，不喜欢马塞洛的索菲亚罗兰……到处都是导演的小心思，这就是我最想看到的本土爱情小品啊！这个五星是冲动了点，冲动就冲动吧
柴米油盐画画打鼓，所谓腔调和质感，不过是颓靡之后，微笑着说，又学了一课。
和老炮儿形成很有趣的对照，男导演不仅不懂女人，也不懂有魅力的男人什么样。
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