Some Fred Astaire please.

[jllaney]

Anyone have any good recommendations on Fred Austaire films that show him at his dancing best?

There are bunches to choose from and while I'd like to watch him dance, I don't have that much free time.

Thanks

[carbro]

My picks: Gay Divorcee, Top Hat, Swing Time.

A good way to get the most glorious dancing minus silly plots is, if you can find videos of them, the pair of documentaries (originally broadcast on PBS), Putting on his Top Hat and Change Partners. One of the great treats of Change Partners is the footage of Astaire with Barrie Chase, a dancer who came on the scene at the end of Astaire's dancing career, but IMO, his best partner for both the level of her dancing and the chemistry she shared with Astaire.

[sidwich]

Anyone have any good recommendations on Fred Austaire films that show him at his dancing best?

There are bunches to choose from and while I'd like to watch him dance, I don't have that much free time.

Thanks

Not sure if this is the best forum, but here goes:

The RKO years (1932-1939) i.e. the Ginger Rogers years:

Top Hat (the peak)

Swing Time (perhaps their best from a dance perspective, although not quite as good an overall film)

Post-Ginger (1940-1946)

The Broadway Melody of 1940 (the overall film is weak, but the work with Eleanor Powell is glorious. Probably the only of his female partners that could really keep up with him. Part of this is featured in Frank Sinatra's segment in "That's Entertainment!").

You Were Never Lovelier (probably the best of the post-Ginger films, featuring the personal favorite of his dance partners, Rita Hayworth)

Ziegfeld Follies ("This Heart of Mine" and "Limehouse Blues," Lucille Bremer never became a star, but I think she was underrated as one of his partners. Also features the only piece Astaire ever did with Gene Kelly, "The Babbitt and the Bromide).

Blue Skies (one of his buddy-picture movies with Bing Crosby. Not a favorite, but worth seeing for "Puttin' on the Ritz" which might be his single greatest work. I think it was intended to be his swan song. Fred retired to raise racehorses from 1946-48).

The Second Coming:MGM (1948-1958)

Easter Parade-maybe not one of his greatest from a dance perspective, although there's some interesting work in it, and it's a little strange since it was intended to be a Gene Kelly vehicle. But I like it. So there.

The Bandwagon-One of the greatest musicals of all time, directed by Vincent Minnelli, and definitely Astaire's best film from an overall perspective.

Television: I don't know if these are easily findable, but Astaire also did a series of specials for television which are very interesting since they feature Barrie Chase, a very well-trained dancer as his partner. Some of them came out as a a box set a while ago, and they're also available at the Museum of Television and Radio. Very worth seeing if you can find them.

ETA: I would also recommend the PBS specials that carbro mentions above, and also say that although I picked a few of my favorites, I think throughout the canon, Astaire's work is almost always worth seeing and studying. Even when the rest of the film is sadly, sadly lacking (say, 1950's "Let's Dance" which you couldn't pay me to sit through), Astaire's work in is well worth watching (and in that case, it's one of his most memorable solos).

[Helene]

If you're viewing on DVD's, the "chapter selection" option is a great timesaver, because if there's a song, it's usually the chapter title, and you can forward through any of the plotlines to go straight to the dancing.

I, too, love Top Hat, especially "Cheek to Cheek," with the great, shedding feathered dress.

[papeetepatrick]

Glad someone put 'Ziegfeld Follies' down, think 'This Heart of Mine' is beautiful.

I think 'Silk Stockings' is only important one not mentioned, but I'll watch anything with Cyd Charisse. It's also a wonderful film throughout, and Janis Paige's songs are great. If you have time, 'Finian's Rainbow,' his last, is a beautiful movie with Petula Clark charming as his daughter; best to fast-forward through some of the Tommy Steele kelly-green woodlands/pot 'o' gold stuff, though--but first half-hour is itself pure gold, though this is not the place to see the representative Astaire and maybe not if you've limited time.

Fully agree about 'the Band Wagon.' Not a hair out of place in that one.

[dirac]

If you’re seeing one of the classic pictures such as “Top Hat” for the first time, however, I would recommend watching the movie as a whole before clicking around in it, because one of the many felicities of TH, for example, is the way the musical numbers are integrated into the story – not in the sometimes clunkier fashion of later “naturalistic” musicals, but in graceful and witty style. I’d call the plot of “Top Hat” slight rather than silly, following the French farces from which it derives, and well suited to its purpose. (The story line of “Swing Time,” IMO, is just plain dumb, although the dances and songs are delectable.)

Thank you for that excellent list, sidwich. A couple of lesser known titles that I happen to like: “The Sky’s the Limit” which has some fine Astaire solo work. He partners the inexperienced Joan Leslie with sensitivity, and there’s a ravishing song, “My Shining Hour.” “The Belle of New York,” which induced Astaire to retire in order to avoid making it, has considerable charm in retrospect. I’m also very fond of “The Gay Divorcee.”

The early specials with Barrie Chase are good viewing. The initial sight of young Barrie wrapping her legs seductively around Grandpa gave me pause, but I got over it.

I would love to be able to agree with you, sidwich, that Lucille Bremer is underrated, but I can’t. A classic example of non-star material. I always found her dancing to be competent, but wooden. I liked her as the big sister in “Meet Me in St. Louis,” though.

I'm afraid I'm not that crazy about The Band Wagon. I love Jack Buchanan, "Dancing in the Dark," and Nanette Fabray, in that order, but I don't like what I take to be the subtext of the movie -- that art and entertainment are hopelessly opposed to each other and musicals shouldn't try to be serious. Yes, I laughed at Buchanan's speeches about The Theatah and the bits about the Faust show that's a terrible bomb, but I still didn't care for the joke. I also thought the way the script alluded to Astaire's real life career in a rather distasteful way -- he was a good sport to go along with it. And the revue numbers that should be the climax of the movie are letdowns for me -- the best routines are in the first part of the picture.

papeetepatrick, I also have to dissent respectfully about Silk Stockings. "The Ritz Roll and Rock" is a low point for Astaire and Cole Porter both. On the plus side, there's Paige, as you note, and the lovely number Charisse does alone in her hotel room.

'

[sidwich]

If you’re seeing one of the classic pictures such as “Top Hat” for the first time, however, I would recommend watching the movie as a whole before clicking around in it, because one of the many felicities of TH, for example, is the way the musical numbers are integrated into the story – not in the sometimes clunkier fashion of later “naturalistic” musicals, but in graceful and witty style. I’d call the plot of “Top Hat” slight rather than silly, following the French farces from which it derives, and well suited to its purpose. (The story line of “Swing Time,” IMO, is just plain dumb, although the dances and songs are delectable.)

Yes, TH works well as an overall movie, something very much of the great screwball period of the 1930s and early 1940s. "Swing Time," I think suffers a bit from being helmed by a relatively young George Stevens (Sr.) in his directorial debut. However, I do think that it's worth watching ST once all the way through to appreciate the progression of the choreography throughout the film. "Pick Yourself Up" is my all-time favorite Astaire/Rogers piece, and I don't think you can quite fully appreciate it unless you see what happens in the first 20 mins of the movie (okay, it's a LONG 20 mins, but it's worth it). The Astaire/Pan choreography builds throughout the film to climax in "Never Gonna Dance" which draws on all the pieces throughout the film, and is truly spectacular.

A couple of lesser known titles that I happen to like: “The Sky’s the Limit” which has some fine Astaire solo work. He partners the inexperienced Joan Leslie with sensitivity, and there’s a ravishing song, “My Shining Hour.” “The Belle of New York,” which induced Astaire to retire in order to avoid making it, has considerable charm in retrospect.

There's some great music in TSTL, and one of my favorite not-so-famous solos in "One for my Baby" (when Astaire is dancing in the glass, it's really glass, not sugar-glass which was unavailable due to WWII sugar rations). I'm not so fond of Joan Leslie in the film though, and it's one I'd FF through much of.

I prefer Vera-Ellen with Astaire in "Three Little Words" which I think is an overall better film than TBoNY even though it's technically an MGM "B" musical, i.e. produced by Jack Cummings rather than Arthur Freed. She's a little "precious" for me as a partner for Astaire, and the storyline of TBoNY only exacerbates it. I think Gene Kelly brought out more from her in "On the Town" or Donald O'Connor in "Call Me Madam" (choreography by Bob Alton).

I would love to be able to agree with you, sidwich, that Lucille Bremer is underrated, but I can’t. A classic example of non-star material. I always found her dancing to be competent, but wooden. I liked her as the big sister in “Meet Me in St. Louis,” though.

Yeah, LB was never going to be a star no matter how much LB Mayer and Arthur Freed tried to push her... too remote a screen presence, I think. I think she was a good partner for Astaire, though. To me, she's one of the overall best dance partners of the post-Ginger period, better chemistry than Powell, better technician than Hayworth.

I'm afraid I'm not that crazy about The Band Wagon. I love Jack Buchanan, "Dancing in the Dark," and Nanette Fabray, in that order, but I don't like what I take to be the subtext of the movie -- that art and entertainment are hopelessly opposed to each other and musicals shouldn't try to be serious. Yes, I laughed at Buchanan's speeches about The Theatah and the bits about the Faust show that's a terrible bomb, but I still didn't care for the joke. I also thought the way the script alluded to Astaire's real life career in a rather distasteful way -- he was a good sport to go along with it. And the revue numbers that should be the climax of the movie are letdowns for me -- the best routines are in the first part of the picture.

We'll have to agree to disagree. I think the Comden and Green screenplay is one of the best Fred got to work with in his career, and definitely the best of the MGM period. The only other one that comes close is the Ephrons' screenplay for "Daddy Long Legs" and unfortunately that's just not as good a film (Fred Astaire meets Roland Petit just didn't quite work for me, sorry). There are some not so great aspects... Minnelli couldn't pull a great performance out of Cyd Charisse, and the juxtaposition of Fred Astaire and Michael Kidd choreography gets a little weird at times, but overall, I think the combination of screenplay, director, supporting cast, music, etc. on balance is the best of his career.

There are quite a few inside jokes in "The Bandwagon," though. It's not necessary to "get" them to enjoy the film, but it probably helps a bit.

papeetepatrick, I also have to dissent respectfully about Silk Stockings. "The Ritz Roll and Rock" is a low point for Astaire and Cole Porter both. On the plus side, there's Paige, as you note, and the lovely number Charisse does alone in her hotel room.

I like "Fated to Be Mated," but I don't think "Silk Stockings" quite works either. A lot of the creative team were at the end of their careers (Astaire, Lorre, director Rouben Mamoulian, and Cole Porter), and the film looks a little tired. Unlike Minnelli, Rouben Mamoulian was able to pull a pretty good performance out of Cyd Charisse, though.

[carbro]

If you have time, 'Finian's Rainbow,' his last, is a beautiful movie with Petula Clark charming as his daughter

But while this may be his most engaging film role, he does no dancing . . . NO DANCING . . . here.

I'm afraid I'm not that crazy about The Band Wagon. And the revue numbers that should be the climax of the movie are letdowns for me -- the best routines are in the first part of the picture.

Actually, once Astaire leaves Grand Central Station, it's all downhill, IMO. The best number is the Shoeshine, if you can get beyond the racial stereotyping. Clearly, Astaire does.

Years ago, while waiting for the shoemaker to replace heels, who should enter the store but Adolph Green, co-author of Bandwagon's book. He gave the shoemaker very explicit directions -- half sole, but only to here; this kind of heel and not that kind, and, oh by the way, a good shine. I lacked the nerve to start humming, "With a shine on your shoes/And a melody in your heart . . . "

papeetepatrick, I also have to dissent respectfully about Silk Stockings. "The Ritz Roll and Rock" is a low point for Astaire and Cole Porter both.

Here, here! In any case, Ninotchka did not need to be musicalized. It is delightful as is! I'd stick with the Garbo-Douglas take, tuneless as it is.

[papeetepatrick]

If you have time, 'Finian's Rainbow,' his last, is a beautiful movie with Petula Clark charming as his daughter

But while this may be his most engaging film role, he does no dancing . . . NO DANCING . . . here.

He does dance in 'Finian's Rainbow,' just not in the full, detailed way he did when he was younger. Or at least he moves musically through the big 'Look to the Rainbow' opening while everybody else is dancing. If he's not dancing in that number, then I suppose nobody else is either. It's just that dance-wise he does not do the kind of intricate, technical thing he is well-known and celebrated for, so it is not representative, and probably useful only if you have seen all the Rogers and Charisse and some other things.

I don't care that much for Lucille Bremer either, but the number is like the 'story-dances' of earlier Berkeley, like 'Lullaby of Broadway,' and therefore charming, and the sets are delightful. Charisse is in the film briefly earlier and it's unfortunate that she didn't do this number with Astaire instead of Bremer.

'Ninotchka' is the only Garbo film I've never cared for, and I've always been mystified why she got herself stuck with Melvyn Douglas so frequently. I thought he began to show his true potential in 'Two-Faced Woman', that being that he is the opposite of a leading man. When you see him later in 'My Forbidden Past,' with Robert Mitchum (a leading man if ever there was one) and Ava Gardner, he has developed this uncharismatic persona still further.

[sidwich]

If you have time, 'Finian's Rainbow,' his last, is a beautiful movie with Petula Clark charming as his daughter

But while this may be his most engaging film role, he does no dancing . . . NO DANCING . . . here.

He does dance in 'Finian's Rainbow,' just not in the full, detailed way he did when he was younger. Or at least he moves musically through the big 'Look to the Rainbow' opening while everybody else is dancing. If he's not dancing in that number, then I suppose nobody else is either. It's just that dance-wise he does not do the kind of intricate, technical thing he is well-known and celebrated for, so it is not representative, and probably useful only if you have seen all the Rogers and Charisse and some other things.

Astaire *does* dance in "Finnian's Rainbow." It's not that long, but in "When the Idle Poor, Become the Idle Rich," Astaire has a solo that's perhaps a minute and a half or two minutes long. And no, it's definitely not representative, but considering that FR came out in 1969, I think, and he would have been 70 years old at the time... well, yeah.

The story goes that when Astaire signed on to FR, he insisted that there be no dancing for his character, but when it came time to shoot, he decided he needed to do *something* or else people were going to think he was dead.

And as for my $0.02 on FR... it's not a good movie. It was directed by a very young Francis Ford Coppola on the cheap and it shows. The source material is also very problematic. It doesn't age well even though it boasts one of the greatest scores in Broadway history. Fred is Fred and charming as always... and that's about it for the movie.

'Ninotchka' is the only Garbo film I've never cared for, and I've always been mystified why she got herself stuck with Melvyn Douglas so frequently. I thought he began to show his true potential in 'Two-Faced Woman', that being that he is the opposite of a leading man. When you see him later in 'My Forbidden Past,' with Robert Mitchum (a leading man if ever there was one) and Ava Gardner, he has developed this uncharismatic persona still further.

I don't care for "Ninotchka" either, although I'm a big fan of both Ernst Lubtisch and Billy Wilder. I do like Melvyn Douglas however. I think he was a good actor and a very fine straight man to many of the great screwball comediennes of the period like Irene Dunne in "Theodora Goes Wild" which is one of my favorites.

[papeetepatrick]

I don't care for "Ninotchka" either, although I'm a big fan of both Ernst Lubtisch and Billy Wilder. I do like Melvyn Douglas however. I think he was a good actor and a very fine straight man to many of the great screwball comediennes of the period like Irene Dunne in "Theodora Goes Wild" which is one of my favorites.

That's a good point about Douglas and, although I don't think he was a great leading man, when young it worked pretty well in 'As You Desire Me.' I've sometimes thought Garbo's one flaw in films was the casting of her men, with the exceptions being Robert Taylor in 'Camille', Clark Gable in 'Susan Lennox' (which I think is underrated), and a few others, certainly John Gilbert in 'Queen Christina' and Charles Boyer in 'Conquest.' But all that Lewis Stone, Robert Montgomery, etc. Even so, I see her as able to pull off anything she was in, even 'Two-Faced Woman,' usually considered horrible, with Garbo in what looks more like a Katharine Hepburn part--but I thought she looked beautiful in it even though most don't.

I also liked Don Francks in 'FR' and was sorry his musical comedy career went nowhere after 'Kelly,' 'Leonard Bernstein Theater Songs,' and this one good movie role. I can definitely see what the problems with the film are, but often like a film if even only a single fragment comes all the way to life.

[Paul Parish]

"Damsel in Distress" is not worth much, BUT there's a trio for Fred, George Burns, and GRACIE ALLEN that has to be seen -- since Gracie was at least as dead-pan funny as a dancer as she was talking. I'd never seen it in any of the documentaries.

The 2 movies with Hayward -- well, You Were Never Lovelier is the stupidest thing there EVER was, unbearable even compared to Down Argentine Way (which is also a must-see for the NICHOLAS BROTHERS 5 minutes of glory), but the dance by that name is as great as Cheek to Cheek, and Hayward adds another dimension altogether -- she's like an orchid, just unbelievably beautiful, with a musicality of her own that's hard to describe but just astonishes you, like Suzanne Farrell's in a way -- her signature step is failli (which is suitable for a Latin dancer, it's such a Spanish step, Kitri is inconceivable without all her faillis) -- , she's in the air, and suddenly she's alighted in a lunge, croise, and there she stays for a glorious long moment, just settling down like a butterfly, such a luscious astonishing radiant moment of gathering clarity, and then she's off again...

The story of the other movie, the one where Fred joins the army, is not such an insult, quite, and the dancing is again really delicious -- but not like You Were Never Lovelier, which is just an epiphany, dancing in the moonlight.......so romantic, and so light

[jllaney]

THank you all for your input. Sounds like all I need is a weekend, netflix, and lots of popcorn.

[dirac]

but overall, I think the combination of screenplay, director, supporting cast, music, etc. on balance is the best of his career.

sidwich, that’s true in one sense, and the interesting thing to me is that you can have all those things and still come up with a picture that’s not his best. For me, as an Astaire fan, I like to see a supporting cast that complements but doesn’t upstage and dance routines and a story that showcase Fred and his partner to best advantage. If I have to trade in Minnelli and Comden and Green for Mark Sandrich and Dwight Taylor to get what’s best for Fred, I’ll do that.

(“The Girl Hunt” is the best of those awful ballets MGM used to inflict, but that’s not saying much, IMO.)

That's a good point about Douglas and, although I don't think he was a great leading man, when young it worked pretty well in 'As You Desire Me.' I've sometimes thought Garbo's one flaw in films was the casting of her men, with the exceptions being Robert Taylor in 'Camille', Clark Gable in 'Susan Lennox' (which I think is underrated)

papeetepatrick, I think Melvyn Douglas was a good actor and fine light comedian, but MGM kept him on the second string behind William Powell and it’s hard to say the front office was wrong. I like him lots, though, and thought he was a charming foil for Garbo in "Ninotchka."

I can only forgive the casting of Taylor in “Camille” because he’s so gorgeous. Garbo and Gable are fascinating together in Susan Lenox: Her Fall and Rise. The sexual chemistry is amazing, but aside from the love scenes they seem not to have met. Fredric March was a decent Vronsky, I thought, in "Anna Karenina."

[dirac]

"Damsel in Distress" is not worth much, BUT there's a trio for Fred, George Burns, and GRACIE ALLEN that has to be seen -- since Gracie was at least as dead-pan funny as a dancer as she was talking. I'd never seen it in any of the documentaries.

It also has that stupendous solo that Astaire does with a drum kit, and there's a spot in my heart for "The Jolly Tar and the Milkmaid" if that's the title of the song.

[dirac]

"Swing Time," I think suffers a bit from being helmed by a relatively young George Stevens (Sr.) in his directorial debut. However, I do think that it's worth watching ST once all the way through to appreciate the progression of the choreography throughout the film. "Pick Yourself Up" is my all-time favorite Astaire/Rogers piece, and I don't think you can quite fully appreciate it unless you see what happens in the first 20 mins of the movie (okay, it's a LONG 20 mins, but it's worth it). The Astaire/Pan choreography builds throughout the film to climax in "Never Gonna Dance" which draws on all the pieces throughout the film, and is truly spectacular.

All true, sidwich, but I do think Stevens did a good job with what he was given -- it's the script, IMO. (Also, it was far from his first picture -- he'd put in a long apprenticeship with Hal Roach, and if memory serves I think Alice Adams was his first proper feature film, a few years earlier -- Hepburn insisted on him, I think.

ST is also the first of the Fred and Ginger movies where you can call Rogers a true co-star and not a leading lady. You can really see here maturing here.

Excuse all the posts, but everyone who's chimed in has provided so much food for thought and comment!

[sidwich]

"Damsel in Distress" is not worth much, BUT there's a trio for Fred, George Burns, and GRACIE ALLEN that has to be seen -- since Gracie was at least as dead-pan funny as a dancer as she was talking. I'd never seen it in any of the documentaries

There's a lot of great Gershwin music in DiD, like a "A Foggy Day" and yet another great solo with drums in "Nice Work if you Can Get It." And Burns and Allen are hilarious as always. I'm a big fan of PG Wodehouse as well who wrote the original novel and worked on the script. It's actually a really nice film except for the fact that for some totally unexplained reason a very, very young Joan Fontaine was cast as the lead, and she absolutely can not dance, and it's kind of surreally interesting to watch Fred Astaire struggle with a leading lady who can barely put one foot in front of the other.

sidwich, that’s true in one sense, and the interesting thing to me is that you can have all those things and still come up with a picture that’s not his best. For me, as an Astaire fan, I like to see a supporting cast that complements but doesn’t upstage and dance routines and a story that showcase Fred and his partner to best advantage. If I have to trade in Minnelli and Comden and Green for Mark Sandrich and Dwight Taylor to get what’s best for Fred, I’ll do that.

I think part of what's interesting about "The Bandwagon" is it's not the film that showcases Astaire to absolutely the best advantage (although I think that "Dancing in the Dark" is one of the best things he did without Ginger Rogers). Yes, that would probably be one of the RKO films, probably TH. However, I think that it's the film that works the best as an overall film, not just as a Fred Astaire film. Fred is one piece of the film, as opposed to being the centerpiece that everything is built around. That's just my opinion, though.

The 2 movies with Hayward -- well, You Were Never Lovelier is the stupidest thing there EVER was, unbearable even compared to Down Argentine Way (which is also a must-see for the NICHOLAS BROTHERS 5 minutes of glory), but the dance by that name is as great as Cheek to Cheek, and Hayward adds another dimension altogether -- she's like an orchid, just unbelievably beautiful, with a musicality of her own that's hard to describe but just astonishes you, like Suzanne Farrell's in a way

Yes, Rita Hayworth is lovely, but I don't think there's a dance routine to the title tune of "You Were Never Lovelier." You're probably thinking of the piece to "I'm Old-Fashioned" which is gorgeous. I think the routine to "You Were Never Lovelier" was shot (there are pictures) but cut from the film before release. And I've heard that Fred Astaire privately considered Rita Hayworth the favorite of his dance partners, although that may be partly because she was the daughter of his vaudeville idols, the Cansinos.

[sidwich]

All true, sidwich, but I do think Stevens did a good job with what he was given -- it's the script, IMO. (Also, it was far from his first picture -- he'd put in a long apprenticeship with Hal Roach, and if memory serves I think Alice Adams was his first proper feature film, a few years earlier -- Hepburn insisted on him, I think.

I think you're right. For some reason, I've always though of ST as his debut, but he did do some work prior to it. My mind is clearly going...

ST is also the first of the Fred and Ginger movies where you can call Rogers a true co-star and not a leading lady. You can really see here maturing here.

Ginger Rogers has commented quite a bit on how much she liked working with George Stevens because he featured her in the film as opposed shooting everything around Fred Astaire (like say, Mark Sandrich who was brought up upthread). Dunno if that's true (the part about Sandrich), but I agree that you do see a confidence and assurance in her performance that wasn't there before, and you very much see the star in her own right that she would become. Well, before the self-consciousness in her performance that would set in.

[dirac]

sidwich writes: However, I think that it's the film that works the best as an overall film, not just as a Fred Astaire film. Fred is one piece of the film, as opposed to being the centerpiece that everything is built around.

We will indeed have to agree to disagree here, but I would be willing to try and make a case that “Top Hat” and “Swing Time” are both superior, taken as a whole, to “The Band Wagon” - and not just as star vehicles.

You're quite right about "You Were Never Lovelier" -- I think that "I'm Old Fashioned" was indeed the number to which Paul is referring. (Jerome Robbins built a ballet around it of the same name.) It was also said that Barrie Chase was Astaire's favorite partner, although I'd be unsurprised if Hayworth was. As Paul notes, she was even more ravishing than usual in YWNL -- just breathtaking to gaze upon.

[sidwich]

We will indeed have to agree to disagree here, but I would be willing to try and make a case that “Top Hat” and “Swing Time” are both superior, taken as a whole, to “The Band Wagon” - and not just as star vehicles.

We will have to agree to disagree. I can see a good argument for TH, but I can't for ST. I think ST features some of the best dancing of Fred Astaire's career, and it's my personal favorite from a dance perspective. I've seen parts of this film hundreds of times, and I never tire of it. The choreography is stellar. However, I think there are way too many problems with the script and direction for it to be considered superior to "The Bandwagon." The script is way too clunky and heavyhanded, and with 20 mins to get into the main plot, the pacing drags way too long in the beginning and other spots.

[Paul Parish]

Jlaney, let me recommend the great book about the Astaire/Rogers movies by Arlene Croce -- fantastic book, even has a flip-the-pages "kinescopes" of two dances, 'Waltz in Swing Time" and "Let Yourself Go" -- the pictures are great, and there are LOTS of them, the discussions of the movies are wonderfully written and insightful and fun to read. Croce is a great critic, and she never wrote better than she did in this book. I've given copies to susceptible friends for birthdays and Christmas and get it out to reread it again and again. AND it's a great reference book. "The Fred Astaire/Ginger Rogers Book," Arlene Croce, Outerbrdge and Lazard (dist EP Dutton), New York: 1972

I agree about "Pick Yourself Up' -- it's my all-time favorite thing (at the moment), and that's because it is such a turning point -- and a turning-point with several turning-points in it, such a LONG turning-point -- Ginger SMILES at him when she realizes he can dance, and it is like the sun coming out, and it has been built up to for so long, and with all that wonderful side-work with Helen Broderick and her club sandwich, and the owner of the dancing-school firing Ginger, and Fred saving the day -- silly as all the stuff at the very beginning of the movies is, with the cuffs on the pants, getting Fred out of the wedding to the girl we don't like, and all, but by the time we get to the big city the work-place Ginger is a thoroughly plausible dance-instructor modern working girl and the movie has become quite REAL, and the romance happens in the midst of all this quite plausible detail, including a little dance-school studio that's plausible as what it's supposed to be and also a wonderful place for their dance, complete with little fences to jump over.

Thanks for getting "I'm Old-fashioned" right for me.

I've been wondering all day what made me want to compare Hayworth to Farrell -- and the first thing that came to mind was, "How could I?" They're so different. ANd then I thought well, the biggest difference is Hayworth's smile -- Farrell never smiled, her mask was actually a lot like Ginger's in "Night and Day," remote as the moon.

But then it seemed that Hayworth is in fact as private as Farrell, and the smile is her own personal attribute, but not an ingratiation -- she smiles because the music smiles, like Louis Armstrong smiles.

[Anthony_NYC]

"Royal Wedding" must be mentioned, I think, because it includes two of his most iconic solos, the one with a hat rack and the one where he dances around the walls and ceiling of his room. I love Jane Powell, and their numbers together--especially "How Could You Believe Me When I Said I Loved You When You Know I've Been a Liar All My Life" (that must be the longest song title ever!)--are terrific. Great score by the perpetually underrated Burton Lane (who also wrote "Finian's Rainbow").

[carbro]

Royal Wedding also gives a chance to check out Winston Churchill's -- uh -- dancing daughter, Sarah.

I couldn't agree more with Paul's recommendation of Croce's indispensible book! I have it and the corners are frayed from excessive "kinescoping." But I can't get over how unmistakably the 1-2-3 of the Waltz in Swingtime comes through as those photos flip by. Amazing!

[Helene]

Due to worse-than-usual traffic -- 1 hour 40 minutes to go about 14 miles -- I missed both the PNB Conversation with Patricia Barker (scheduled long before her retirement announcement) and a full-screen showing of Black Orpheus at the Seattle International Film Festival. But the silver lining was that I saw Swing Time for the first time, and in addition to the dancing, I fell in love with the white dress Rogers wears in the last dance.

[dirac]

"Royal Wedding" must be mentioned, I think, because it includes two of his most iconic solos, the one with a hat rack and the one where he dances around the walls and ceiling of his room. I love Jane Powell, and their numbers together--especially "How Could You Believe Me When I Said I Loved You When You Know I've Been a Liar All My Life" (that must be the longest song title ever!)--are terrific. Great score by the perpetually underrated Burton Lane (who also wrote "Finian's Rainbow").

Astaire and Powell are really good together, aren’t they? (Although it’s not much of a picture.) It’s too bad a way couldn’t be found to team them again – she’s too young and pert for him, but at that stage in Astaire’s career the girls kept getting younger and younger, anyway.

It's not quite the longest title ever -- that award goes to a Hoagy Carmichael tune whose name I forget, I think.