On May 10th in 1899 Fred Astaire was bornAccording to Hollywood folklore, a screen test report on Astaire for RKO Pictures, now lost along with the test, is reported to have read: "Can't sing. Can't act. Balding. Can dance a little." The producer of the Astaire-Rogers pictures, Pandro S. Berman, claimed he had never heard the story in the 1930s and that it only emerged years later. Astaire later insisted that the report had actually read: "Can't act. Slightly bald. Also dances". In any case, the test was clearly disappointing, and David O. Selznick, who had signed Astaire to RKO and commissioned the test, stated in a memo, "I am uncertain about the man, but I feel, in spite of his enormous ears and bad chin line, that his charm is so tremendous that it comes through even on this wretched test." However, this did not affect RKO's plans for Astaire, first lending him for a few days to MGM in 1933 for his Hollywood debut, where he appeared as himself dancing with Joan Crawford in the successful musical film Dancing Lady.
On his return to RKO Pictures, he got fifth billing alongside Ginger Rogers in the 1933 Dolores del Río vehicle Flying Down to Rio. In a review, Variety magazine attributed its massive success to Astaire's presence: "The main point of Flying Down to Rio is the screen promise of Fred Astaire.... He's assuredly a bet after this one, for he's distinctly likable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself. The latter observation will be no news to the profession, which has long admitted that Astaire starts dancing where the others stop hoofing."
Having already been linked to his sister Adele on stage, Astaire was initially very reluctant to become part of another dance team. He wrote his agent, "I don't mind making another picture with her but as for this team idea it's out! I've just managed to live down one partnership and I don't want to be bothered with any more." He was persuaded by the obvious public appeal of the Astaire-Rogers pairing. The partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical. Astaire and Rogers made ten films together, including The Gay Divorcee (1934), Roberta (1935), Top Hat (1935), Follow the Fleet (1936), Swing Time (1936), Shall We Dance (1937), and Carefree (1938). Six out of the nine musicals he created became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time. Their partnership elevated them both to stardom; as Katharine Hepburn reportedly said, "He gives her class and she gives him sex."
Astaire easily received the benefits of a percentage of the film's profits, something extremely rare in actors' contracts at that time; and complete autonomy over how the dances would be presented, allowing him to revolutionize dance on film.
Astaire is credited with two important innovations in early film musicals. First, he insisted that the (almost stationary) camera film a dance routine in a single shot, if possible, while holding the dancers in full view at all times. Astaire famously quipped: "Either the camera will dance, or I will." Astaire maintained this policy from The Gay Divorcee (1934) onwards (until overruled by Francis Ford Coppola, who directed Finian's Rainbow (1968), Astaire's last film musical). Astaire's style of dance sequences thus contrasted with the Busby Berkeley musicals, which were known for dance sequences filled with extravagant aerial shots, quick takes, and zooms on certain areas of the body, such as the arms or legs. Second, Astaire was adamant that all song and dance routines be seamlessly integrated into the plotlines of the film. Instead of using dance as spectacle as Busby Berkeley did, Astaire used it to move the plot along. Typically, an Astaire picture would include a solo performance by Astaire — which he termed his "sock solo" — a partnered comedy dance routine, and a partnered romantic dance routine.
An RKO publicity still of Astaire and Rogers dancing to "Smoke Gets in Your Eyes" in Roberta (1935)Dance commentators Arlene Croce,[20]:6 Hannah Hyam and John Mueller consider Rogers to have been Astaire's greatest dance partner, while recognizing that some of his later partners displayed superior technical dance skills, a view shared by Hermes Pan and Stanley Donen. Film critic Pauline Kael adopts a more neutral stance, while Time magazine film critic Richard Schickel writes "The nostalgia surrounding Rogers-Astaire tends to bleach out other partners."
Mueller sums up Rogers's abilities as follows: "Rogers was outstanding among Astaire's partners not because she was superior to others as a dancer but because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began ... the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable." According to Astaire, "Ginger had never danced with a partner before. She faked it an awful lot. She couldn't tap and she couldn't do this and that ... but Ginger had style and talent and improved as she went along. She got so that after a while everyone else who danced with me looked wrong."
For her part, Rogers described Astaire's uncompromising standards extending to the whole production, "Sometimes he'll think of a new line of dialogue or a new angle for the story...they never know what time of night he'll call up and start ranting enthusiastically about a fresh idea...No loafing on the job on an Astaire picture, and no cutting corners."
Astaire was still unwilling to have his career tied exclusively to any partnership, however. He negotiated with RKO to strike out on his own with A Damsel in Distress in 1937, unsuccessfully as it turned out. He returned to make two more films with Rogers, Carefree (1938) and The Story of Vernon and Irene Castle (1939). While both films earned respectable gross incomes, they both lost money due to increased production costs and Astaire left RKO. Rogers remained and went on to become the studio's hottest property in the early forties. They were reunited in 1949 at MGM for their final outing, The Barkleys of Broadway.
On his return to RKO Pictures, he got fifth billing alongside Ginger Rogers in the 1933 Dolores del Río vehicle Flying Down to Rio. In a review, Variety magazine attributed its massive success to Astaire's presence: "The main point of Flying Down to Rio is the screen promise of Fred Astaire.... He's assuredly a bet after this one, for he's distinctly likable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself. The latter observation will be no news to the profession, which has long admitted that Astaire starts dancing where the others stop hoofing."
Having already been linked to his sister Adele on stage, Astaire was initially very reluctant to become part of another dance team. He wrote his agent, "I don't mind making another picture with her but as for this team idea it's out! I've just managed to live down one partnership and I don't want to be bothered with any more." He was persuaded by the obvious public appeal of the Astaire-Rogers pairing. The partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical. Astaire and Rogers made ten films together, including The Gay Divorcee (1934), Roberta (1935), Top Hat (1935), Follow the Fleet (1936), Swing Time (1936), Shall We Dance (1937), and Carefree (1938). Six out of the nine musicals he created became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time. Their partnership elevated them both to stardom; as Katharine Hepburn reportedly said, "He gives her class and she gives him sex."
Astaire easily received the benefits of a percentage of the film's profits, something extremely rare in actors' contracts at that time; and complete autonomy over how the dances would be presented, allowing him to revolutionize dance on film.
Astaire is credited with two important innovations in early film musicals. First, he insisted that the (almost stationary) camera film a dance routine in a single shot, if possible, while holding the dancers in full view at all times. Astaire famously quipped: "Either the camera will dance, or I will." Astaire maintained this policy from The Gay Divorcee (1934) onwards (until overruled by Francis Ford Coppola, who directed Finian's Rainbow (1968), Astaire's last film musical). Astaire's style of dance sequences thus contrasted with the Busby Berkeley musicals, which were known for dance sequences filled with extravagant aerial shots, quick takes, and zooms on certain areas of the body, such as the arms or legs. Second, Astaire was adamant that all song and dance routines be seamlessly integrated into the plotlines of the film. Instead of using dance as spectacle as Busby Berkeley did, Astaire used it to move the plot along. Typically, an Astaire picture would include a solo performance by Astaire — which he termed his "sock solo" — a partnered comedy dance routine, and a partnered romantic dance routine.
An RKO publicity still of Astaire and Rogers dancing to "Smoke Gets in Your Eyes" in Roberta (1935)Dance commentators Arlene Croce,[20]:6 Hannah Hyam and John Mueller consider Rogers to have been Astaire's greatest dance partner, while recognizing that some of his later partners displayed superior technical dance skills, a view shared by Hermes Pan and Stanley Donen. Film critic Pauline Kael adopts a more neutral stance, while Time magazine film critic Richard Schickel writes "The nostalgia surrounding Rogers-Astaire tends to bleach out other partners."
Mueller sums up Rogers's abilities as follows: "Rogers was outstanding among Astaire's partners not because she was superior to others as a dancer but because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began ... the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable." According to Astaire, "Ginger had never danced with a partner before. She faked it an awful lot. She couldn't tap and she couldn't do this and that ... but Ginger had style and talent and improved as she went along. She got so that after a while everyone else who danced with me looked wrong."
For her part, Rogers described Astaire's uncompromising standards extending to the whole production, "Sometimes he'll think of a new line of dialogue or a new angle for the story...they never know what time of night he'll call up and start ranting enthusiastically about a fresh idea...No loafing on the job on an Astaire picture, and no cutting corners."
Astaire was still unwilling to have his career tied exclusively to any partnership, however. He negotiated with RKO to strike out on his own with A Damsel in Distress in 1937, unsuccessfully as it turned out. He returned to make two more films with Rogers, Carefree (1938) and The Story of Vernon and Irene Castle (1939). While both films earned respectable gross incomes, they both lost money due to increased production costs and Astaire left RKO. Rogers remained and went on to become the studio's hottest property in the early forties. They were reunited in 1949 at MGM for their final outing, The Barkleys of Broadway.
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