Smacking thoroughly of Irving Berlin from its thirteen songs to its superficial plot, "Holiday Inn" is the sure-fire musical it has to be. Fred Astaire and Bing Crosby supply able song-and-dance accompaniment,a t the same time filling the order for time-worn romantic conflict. Round one goes to Astaire when the tranquil night club trio of Crosby, Astaire, and Virginia Dale splits up, Crosby retiring to a farm, while his hoofer pal wins the gal and goes on hoofing.

Out on the farm Crosby tires of agrarian chores and teams up with demure Marjorie Reynolds to make the farm a Mecca for droves of metropolitan entertainment seekers. Astaire soon catches the scent and plays the Lothario again but with less success this time, though the film's generally light mood makes it rather unimportant.

Miss Reynolds, latest candidates for Ginger Rogers' place, keeps well apace of the co-stars through most of the picture, working well with Astaire and singing in the bargain. Against this background the film's outstanding feature is a record-breaking swarm of new Berlin songs that would make any producer happy. "White Christmas," "Abraham," and "Be Careful, It's My Heart" nicely set the stage for a good performance by Crosby, while Astaire matches his best routines with an inspirational fire-cracker dance. With this to offer, "Holiday Inn" takes current honors for ninety minutes of good showmanship.