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Fred astaire and ginger rogers essay


fred astaire and ginger rogers essay

both ineffable and inevitable. His achievement was solitary and unique extensive and varied enough for the most esteemed practitioners of high, middle and low art to declare him the best. But back in 1932, when Fred came to Hollywood, moguls could be forgiven for not spotting a potential movie star. Thus the famous pronouncement on Astaire's first screen test: "Can't act. In 1934, she married actor Lew Ayres. They divorced seven years later. Between then and 1939 Astaire and Rogers made eight films and movie history. I know of no film documentation of Adele's work. In film after film, she shies away from the undeniable love between them, only to be finally saved at the last moment during a dance scene of great romance and passion. Actually, they both had class, and sex was never the point. Tap dancing had traditionally been all legwork, with the upper body stationary (think Gene Kelly).

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There's also the great number Waltz in Swing Time, in an astounding art deco nightclub, as a duet about new love: Their movements don't suggest physical passion, but that early stage of idealism in which lovers discover they're soulmates. Known mostly for her dance partnership with Fred Astaire, she appeared in films as well as on stage. The mood of his dances also went beyond the comic energy of tap; his were stories of romance won and lost. Henry Fonda was just the opposite: a triumph of convex geometry, his thin body a question mark that ambled at Stepin Fetchit pace toward a girl or a cause. He wasn't grounded, in the old tap fashion; he floated, soared like Nijinsky. She got so that after a while everyone else who danced with me looked wrong." Personal Life Rogers first married at age 17 to her dancing partner Jack Pepper in 1929. Enlightened sensibilities are jarred by the sight of Astaire in blackface, but the Cinebooks essay calls this perhaps the only blackface number on film which doesn't make one squirm today. Add to this his gorgeous poise and his teeming ingenuity as a choreographer (he was, essentially, the author of his dances) and you have a snapshot of dancing Fred. She became one of the biggest box-office draws of the 1940s. It is a victory for the human side, over the enemies of clumsiness, timidity and exhaustion. But of all the Golden Age Hollywood stars it was. The four figures are all in perfect sync for most of the way, until the joke is revealed when one of the shadows breaks out of sync, and eventually all three exit-unable to keep up with him.


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