Blue Skies is a 1946 American musical comedy film directed by Stuart Heisler and starring Bing Crosby, Fred Astaire, and Joan Caulfield.

Comedy is principally provided by Billy De Wolfe, and several musical numbers are performed by Olga San Juan.

Sandrich was originally slated to direct this film, but died of a heart attack during pre-production and Stuart Heisler was drafted in to replace him.

Tap dancer Paul Draper was the initial choice to partner Crosby, but, 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 47, decided that this would be his final film and that he would subsequently retire, having spent over 40 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.

The tale starts just after World War I and centers on two men who became friends in the Army: rising dancer Potter and business-minded Johnny Adams.

With Crosby, Astaire and Joan Caulfield on the marquee, a wealth of Irving Berlin songs and lush Technicolor production values, this filmusical can't miss for terrific grosses.

Such a one is the Paramount's current and cheerfully diverting "Blue Skies," which catalogues some songs of Irving Berlin without catalyzing that gentleman's career.

The awards, however, went to The Jolson Story – Morris Stoloff and "On the Atchison, Topeka and the Santa Fe" from The Harvey Girls – Music by Harry Warren; Lyrics by Johnny Mercer.

In contrast, Astaire, assisted by choreographers Hermes Pan and Dave Robel (for the "Puttin' on the Ritz" routine), delivers a series of dances which explore the theme of confrontation, both with partners and with the audience.