Blue Skies is a 1946 Hollywood musical comedy film, released by Paramount Pictures and starring Bing Crosby, Fred Astaire, Joan Caulfield, Olga San Juan and Billy De Wolfe, with music, lyrics and story by Irving Berlin; most of the songs were recycled from earlier works. The film was directed by Stuart Heisler and produced by Sol C. Siegel.

As in Holiday Inn (1942), the film is designed to showcase the songs of Irving Berlin. The plot, which is presented in a series of flashbacks with Astaire as narrator, follows a similar formula of Crosby beating Astaire for the affections of a leading lady. Comedy is principally provided by Billy De Wolfe.

Joan Caulfield was the protege of Mark Sandrich - who directed many of the Astaire-Rogers musicals - and who was originally slated to direct this film. He died of a heart attack during pre-production and Stuart Heisler was drafted in to replace him. Heisler wanted Caulfield replaced, but Crosby - who was having an affair with Caulfield - protected her.

Tap dancer Paul Draper was the initial choice to partner Bing Crosby, however, during the first week of production Draper's speech impediment and his trenchant criticism of Caulfield's dance ability led Crosby to insist on his replacement by Astaire who, then forty-seven, had already decided that this would be his final film and that he would retire, having spent over forty years performing before the public. The film was billed as "Astaire's last picture" and its very strong performance at the box office pleased him greatly, as he had dearly wanted to go out on a high note.

The reasons for Astaire's (temporary) retirement remain a source of debate: his own view that he was "tired and running out of gas", the sudden collapse in 1945 of the market for Swing music which left many of his colleagues in jazz high and dry, a desire to devote time to establishing a chain of dancing schools, and a dissatisfaction with roles, as in this film, where he was relegated to playing second fiddle to the lead. Ironically, it is for his celebrated solo performance of "Puttin' On The Ritz" that this film is most remembered today.

Jed Potter looks back on a love triangle conducted over the course of years and between musical numbers. Dancer Jed loves showgirl Mary, who loves compulsive nightclub-opener Johnny, who can't stay committed to anything in life for very long. Written by Diana Hamilton