Loading video...

Video Failed to Load

There was a problem loading this video. This could be due to a temporary network issue or the video might be unavailable.

Fred Astaire performs “Drum Crazy” in the classic musical “Easter Parade” (1948)💞 Gene Kelly was originally cast opposite Garland, but broke his ankle. The part was then offered to Astaire, who had retired two years earlier. Very eager to work again, Astaire consulted Kelly about the offer, and Kelly... show more

Hollywood Golden Age of Cinema

79,141 subscribers

61,773 views • 8 months ago •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

0 Comments

No comments available

Comments from the original post will appear here

Related Videos

Gene Kelly and Fred Astaire perform a segment of “The Babbitt and the Bromide” in the 1945 musical revue film “Ziegfeld Follies”. It is one of only two films in which Kelly and Astaire dance together; the other being a short number in “That’s Entertainment, Part II” (1976).

Gene Kelly and Fred Astaire perform a segment of “The Babbitt and the Bromide” in the 1945 musical revue film “Ziegfeld Follies”. It is one of only two films in which Kelly and Astaire dance together; the other being a short number in “That’s Entertainment, Part II” (1976).

🌸🎵 Beautiful Melody 🎶💖

23,658 views • 7 months ago

Fred Astaire used to get ideas for his dance numbers while being awake at 4 in the morning. The cane being used has a gun in this scene in "Top Hat" (1935) was one such idea. While he was filming the scene, James Cagney visited the set. Cagney had expressed enthusiasm about Astaire's work and had sent him several telegrams to that effect which Astaire prized greatly. But when he turned up on the set, Astaire got nervous. Cagney liked what Astaire was doing and told him so. Astaire had to ad lib one part of the scene to get the spontaneous effect he wanted. Cagney watched and whispered to Astaire after the third take, “Don’t shoot it again, kid—you got it on the second take. You’ll never top that one.” Astaire insisted on one more take, but after seeing the rushes the next day, he understood Cagney was right and the second take was the perfect one. ("Steps in Time", Fred Astaire, 1981) P.S: On this day, 91 years ago, "Top Hat" (1935) premiered in Los Angeles, California, USA.

Fred Astaire used to get ideas for his dance numbers while being awake at 4 in the morning. The cane being used has a gun in this scene in "Top Hat" (1935) was one such idea. While he was filming the scene, James Cagney visited the set. Cagney had expressed enthusiasm about Astaire's work and had sent him several telegrams to that effect which Astaire prized greatly. But when he turned up on the set, Astaire got nervous. Cagney liked what Astaire was doing and told him so. Astaire had to ad lib one part of the scene to get the spontaneous effect he wanted. Cagney watched and whispered to Astaire after the third take, “Don’t shoot it again, kid—you got it on the second take. You’ll never top that one.” Astaire insisted on one more take, but after seeing the rushes the next day, he understood Cagney was right and the second take was the perfect one. ("Steps in Time", Fred Astaire, 1981) P.S: On this day, 91 years ago, "Top Hat" (1935) premiered in Los Angeles, California, USA.

DepressedBergman

22,476 views • 20 days ago

Rita Hayworth as Maria Acuña and Fred Astaire as Bob Davis performing the song and dance sequence in the 1942 musical romantic comedy film “You Were Never Lovelier” to the song “I'm Old Fashioned”: A Kern melody, with Hayworth lip-synching Mercer’s lyrics, inspires Astaire’s second Latin romantic partnered dance, and one of his best known. This dance was chosen by Jerome Robbins as the centerpiece to his ballet of the same name, created by him for the New York City Ballet in 1983, as a tribute to Astaire.

Rita Hayworth as Maria Acuña and Fred Astaire as Bob Davis performing the song and dance sequence in the 1942 musical romantic comedy film “You Were Never Lovelier” to the song “I'm Old Fashioned”: A Kern melody, with Hayworth lip-synching Mercer’s lyrics, inspires Astaire’s second Latin romantic partnered dance, and one of his best known. This dance was chosen by Jerome Robbins as the centerpiece to his ballet of the same name, created by him for the New York City Ballet in 1983, as a tribute to Astaire.

Hollywood Golden Age of Cinema

11,707 views • 5 months ago

Cyd Charisse and Fred Astaire perform a section of “The Girl Hunt Ballet” in 1953’s “The Band Wagon”. The sequence heavily influenced Michael Jackson’s “Smooth Criminal” music video from 1988. Choreographer Michael Kidd was terrified of showing Fred Astaire his ideas for “The Girl Hunt Ballet” because they were the antithesis of the persona that Astaire usually had ― that of an elegant man in top hat, white tie, and tails. But it turned out Astaire loved all Kidd’s ideas and even suggested some of his own.

Cyd Charisse and Fred Astaire perform a section of “The Girl Hunt Ballet” in 1953’s “The Band Wagon”. The sequence heavily influenced Michael Jackson’s “Smooth Criminal” music video from 1988. Choreographer Michael Kidd was terrified of showing Fred Astaire his ideas for “The Girl Hunt Ballet” because they were the antithesis of the persona that Astaire usually had ― that of an elegant man in top hat, white tie, and tails. But it turned out Astaire loved all Kidd’s ideas and even suggested some of his own.

Hollywood Golden Age of Cinema

44,123 views • 9 months ago

“The Trolley Song” performed by Judy Garland and Chorus in Meet Me in St. Louis (1944), directed by Vincente Minnelli. Its lyrics were written by Ralph Blane with composition from Hugh Martin and was nominated for Best Original Song at the 1945 Academy Awards but lost to “Swinging on a Star” from Going My Way. Meet Me in St. Louis became the second-highest-grossing film of the year, behind only Going My Way and was also MGM's most successful musical of the 1940s.

“The Trolley Song” performed by Judy Garland and Chorus in Meet Me in St. Louis (1944), directed by Vincente Minnelli. Its lyrics were written by Ralph Blane with composition from Hugh Martin and was nominated for Best Original Song at the 1945 Academy Awards but lost to “Swinging on a Star” from Going My Way. Meet Me in St. Louis became the second-highest-grossing film of the year, behind only Going My Way and was also MGM's most successful musical of the 1940s.

Hollywood Golden Age of Cinema

41,161 views • 1 month ago

Fred Astaire and Ginger Rogers dancing “Cheek to Cheek” in Top Hat (1935). For this “Cheek to Cheek” number, Ginger Rogers wanted to wear an elaborate blue dress heavily decked out with ostrich feathers. When director Mark Sandrich and Fred Astaire saw the dress, they knew it would be impractical for the dance. Sandrich suggested that Rogers wear the white gown she had worn performing “Night and Day” in The Gay Divorcee (1934). Rogers walked off the set, finally returning when Sandrich agreed to let her wear the offending blue dress. As there was no time for rehearsals, Ginger Rogers wore the blue feathered dress for the first time during filming, and as Astaire and Sandrich had feared, feathers started coming off the dress. Astaire later claimed it was like “a chicken being attacked by a coyote”. In the final film, some stray feathers can be seen drifting off it. To patch up the rift between them, Astaire presented Rogers with a locket of a gold feather. This was the origin of Rogers' nickname “Feathers”. The shedding feathers episode was recreated to hilarious results in a scene from Easter Parade (1948) in which Fred Astaire danced with a clumsy, comical dancer played by Judy Garland. “Cheek to Cheek” was nominated for the Best Song Academy Award for 1936, which it lost to “Lullaby of Broadway”. The song spent five weeks at #1 on Your Hit Parade and was named the #1 song of 1935. Astaire's 1935 recording with the Leo Reisman Orchestra was inducted into the Grammy Hall of Fame in 2000. In 2004, Astaire's version finished at No. 15 on AFI's 100 Years ... 100 Songs survey of top tunes in American cinema.

Fred Astaire and Ginger Rogers dancing “Cheek to Cheek” in Top Hat (1935). For this “Cheek to Cheek” number, Ginger Rogers wanted to wear an elaborate blue dress heavily decked out with ostrich feathers. When director Mark Sandrich and Fred Astaire saw the dress, they knew it would be impractical for the dance. Sandrich suggested that Rogers wear the white gown she had worn performing “Night and Day” in The Gay Divorcee (1934). Rogers walked off the set, finally returning when Sandrich agreed to let her wear the offending blue dress. As there was no time for rehearsals, Ginger Rogers wore the blue feathered dress for the first time during filming, and as Astaire and Sandrich had feared, feathers started coming off the dress. Astaire later claimed it was like “a chicken being attacked by a coyote”. In the final film, some stray feathers can be seen drifting off it. To patch up the rift between them, Astaire presented Rogers with a locket of a gold feather. This was the origin of Rogers' nickname “Feathers”. The shedding feathers episode was recreated to hilarious results in a scene from Easter Parade (1948) in which Fred Astaire danced with a clumsy, comical dancer played by Judy Garland. “Cheek to Cheek” was nominated for the Best Song Academy Award for 1936, which it lost to “Lullaby of Broadway”. The song spent five weeks at #1 on Your Hit Parade and was named the #1 song of 1935. Astaire's 1935 recording with the Leo Reisman Orchestra was inducted into the Grammy Hall of Fame in 2000. In 2004, Astaire's version finished at No. 15 on AFI's 100 Years ... 100 Songs survey of top tunes in American cinema.

Hollywood Golden Age of Cinema

50,601 views • 9 months ago

Fred Astaire brings in the New Year with his “drunk” dance in the 1942 musical “Holiday Inn”. His very patient partner is Marjorie Reynolds. Astaire wrote about shooting this scene in his autobiography, saying: “I had to look plenty drunk in that bit and figured there was only one good way to do it. Yes, you’re right. I took two stiff hookers of bourbon before the first take and one before each succeeding take. I had to fall down on my face and be carried out for the finish. It was hot on that stage, too! All in all we did it seven times. The last one was the best.”

Fred Astaire brings in the New Year with his “drunk” dance in the 1942 musical “Holiday Inn”. His very patient partner is Marjorie Reynolds. Astaire wrote about shooting this scene in his autobiography, saying: “I had to look plenty drunk in that bit and figured there was only one good way to do it. Yes, you’re right. I took two stiff hookers of bourbon before the first take and one before each succeeding take. I had to fall down on my face and be carried out for the finish. It was hot on that stage, too! All in all we did it seven times. The last one was the best.”

Hollywood Golden Age of Cinema

247,445 views • 8 months ago

Happy 89th Birthday Margaret O'Brien !!! Video | Margaret O'Brien and TCM Host Ben Mankiewicz take a look at the making of “Meet Me in St. Louis” (1944) and it's star Judy Garland. Margaret O'Brien, who played the precocious “Tootie” in the classic MGM musical came to St. Louis for a screening of the film and a Q&A with fans at the Tivoli Theatre. Her visit was the result of St. Louis winning a contest sponsored by Turner Classic Movies. TCM Host Ben Mankiewicz also came to St. Louis for the screening. Before the event, HEC's Paul Schankman interviewed them both about the film, getting behind the scenes stories about the making of the film, and it's star, Judy Garland.

Happy 89th Birthday Margaret O'Brien !!! Video | Margaret O'Brien and TCM Host Ben Mankiewicz take a look at the making of “Meet Me in St. Louis” (1944) and it's star Judy Garland. Margaret O'Brien, who played the precocious “Tootie” in the classic MGM musical came to St. Louis for a screening of the film and a Q&A with fans at the Tivoli Theatre. Her visit was the result of St. Louis winning a contest sponsored by Turner Classic Movies. TCM Host Ben Mankiewicz also came to St. Louis for the screening. Before the event, HEC's Paul Schankman interviewed them both about the film, getting behind the scenes stories about the making of the film, and it's star, Judy Garland.

Hollywood Golden Age of Cinema

22,104 views • 7 months ago

Debbie Reynolds on how Fred Astaire helped her when she thought of giving up during the filming of "Singin' in the Rain" (1952): "I’ve never worked so hard. I was dancing for eight hours a day. Making 'Singin’ in the Rain' (1952) and childbirth were the two hardest things I’ve ever done. The movie was actually harder, because it hurt me everywhere, most of all my brain and my feet. My father had raised me never to start a job unless I planned on finishing it, and I was determined to do my damnedest. The word quit was not in my vocabulary. Still, Daddy had never been in a musical film. One day I crumpled in a heap under the rehearsal piano, crying. Fred Astaire came to my rescue. He asked me why I was crying, and I told him the dancing was so hard, I thought I was going to die. “You’re not going to die,” he said. “That’s what it’s like to learn to dance. If you’re not sweating, you’re not doing it right.” He took me to the studio where he was rehearsing with Hermes Pan, another great MGM choreographer. I watched in awe as Fred worked on his routines to the point of frustration and anger. I realized that if it was hard for Fred Astaire, dancing was hard for everyone. No one ever made it look easier. His kind gesture helped me a great deal." ("Unsinkable: A Memoir", Debbie Reynolds and Dorian Hannaway, 2012) P.S: On this day, 74 years ago, "Singin' in the Rain" (1952) premiered in Miami, Florida, USA.

Debbie Reynolds on how Fred Astaire helped her when she thought of giving up during the filming of "Singin' in the Rain" (1952): "I’ve never worked so hard. I was dancing for eight hours a day. Making 'Singin’ in the Rain' (1952) and childbirth were the two hardest things I’ve ever done. The movie was actually harder, because it hurt me everywhere, most of all my brain and my feet. My father had raised me never to start a job unless I planned on finishing it, and I was determined to do my damnedest. The word quit was not in my vocabulary. Still, Daddy had never been in a musical film. One day I crumpled in a heap under the rehearsal piano, crying. Fred Astaire came to my rescue. He asked me why I was crying, and I told him the dancing was so hard, I thought I was going to die. “You’re not going to die,” he said. “That’s what it’s like to learn to dance. If you’re not sweating, you’re not doing it right.” He took me to the studio where he was rehearsing with Hermes Pan, another great MGM choreographer. I watched in awe as Fred worked on his routines to the point of frustration and anger. I realized that if it was hard for Fred Astaire, dancing was hard for everyone. No one ever made it look easier. His kind gesture helped me a great deal." ("Unsinkable: A Memoir", Debbie Reynolds and Dorian Hannaway, 2012) P.S: On this day, 74 years ago, "Singin' in the Rain" (1952) premiered in Miami, Florida, USA.

DepressedBergman

122,531 views • 5 months ago

Cyd Charisse in the green sequined dress (designed by Gone with the Wind (1939) costume designer Walter Plunkett) and hair in the style of Louise Brooks (hair stylist Sydney Guilaroff) who vamps Gene Kelly in the “Broadway Melody” sequence in Singin' in the Rain (1952). Before this film, Cyd Charisse appeared in films as a “dance specialty” or supporting player since her arrival at MGM in 1944. Her torrid performance in this video as a Louise Brooks-like vamp in the “Broadway Melody” sequence proved so revelatory that producer Arthur Freed elevated her to star status. Her next film was The Band Wagon (1953), co-starring Fred Astaire. Charisse's husband later claimed he could always tell who his wife had been dancing with each day on an MGM set. If she came home covered with bruises, her dance partner was the cruel and demanding Gene Kelly; if not, it was the affable and agile Fred Astaire. Costume designer Walter Plunkett said that this was the most work he had ever done on a film, including Gone with the Wind (1939). Both films were period pieces, but this one required a greater number of elaborate, ornately detailed costumes than Gone with the Wind did. They also had to be more accurate since 1952 audiences remembered Hollywood of the 1920s more clearly than 1939 audiences remembered the Civil War. In total, Plunkett designed about 500 costumes.

Cyd Charisse in the green sequined dress (designed by Gone with the Wind (1939) costume designer Walter Plunkett) and hair in the style of Louise Brooks (hair stylist Sydney Guilaroff) who vamps Gene Kelly in the “Broadway Melody” sequence in Singin' in the Rain (1952). Before this film, Cyd Charisse appeared in films as a “dance specialty” or supporting player since her arrival at MGM in 1944. Her torrid performance in this video as a Louise Brooks-like vamp in the “Broadway Melody” sequence proved so revelatory that producer Arthur Freed elevated her to star status. Her next film was The Band Wagon (1953), co-starring Fred Astaire. Charisse's husband later claimed he could always tell who his wife had been dancing with each day on an MGM set. If she came home covered with bruises, her dance partner was the cruel and demanding Gene Kelly; if not, it was the affable and agile Fred Astaire. Costume designer Walter Plunkett said that this was the most work he had ever done on a film, including Gone with the Wind (1939). Both films were period pieces, but this one required a greater number of elaborate, ornately detailed costumes than Gone with the Wind did. They also had to be more accurate since 1952 audiences remembered Hollywood of the 1920s more clearly than 1939 audiences remembered the Civil War. In total, Plunkett designed about 500 costumes.

Hollywood Golden Age of Cinema

29,585 views • 1 month ago

A very young Harold Nicholas performs “I Want to Be a Minstrel Man” with the Goldwyn Girls in the classic pre-Code musical “Kid Millions” (1934). Among the Goldwyn Girls in this film are Lucille Ball, Paulette Goddard, Mae Madison, Jane Hamilton, Lynne Carver, Helen Wood and Barbara Pepper. The music of “I Want to Be a Minstrel Man” was re-used by composer Burton Lane in Royal Wedding (1951) as “You’re All the World to Me”, where Fred Astaire dances on the floor, walls and ceiling.

A very young Harold Nicholas performs “I Want to Be a Minstrel Man” with the Goldwyn Girls in the classic pre-Code musical “Kid Millions” (1934). Among the Goldwyn Girls in this film are Lucille Ball, Paulette Goddard, Mae Madison, Jane Hamilton, Lynne Carver, Helen Wood and Barbara Pepper. The music of “I Want to Be a Minstrel Man” was re-used by composer Burton Lane in Royal Wedding (1951) as “You’re All the World to Me”, where Fred Astaire dances on the floor, walls and ceiling.

Hollywood Golden Age of Cinema

39,162 views • 8 months ago

Debbie Reynolds and Carleton Carpenter dance to “Aba Daba Honeymoon” in the 1950 MGM musical “Two Weeks With Love”. The song was originally recorded in 1914, but became a hit for Reynolds and Carpenter following the release of the film.

Debbie Reynolds and Carleton Carpenter dance to “Aba Daba Honeymoon” in the 1950 MGM musical “Two Weeks With Love”. The song was originally recorded in 1914, but became a hit for Reynolds and Carpenter following the release of the film.

🎵💖Loves classical music🎻🎹

26,734 views • 1 month ago

On one particular day of filming Summer Stock (1950), when it became apparent that Judy Garland was not fit to work, Gene Kelly reputedly feigned an injury of his own so that she would be able to take the day off. Kelly had remained devoted to Garland since she guided him through his paces in the making of his very first film, For Me and My Gal (1942)...

On one particular day of filming Summer Stock (1950), when it became apparent that Judy Garland was not fit to work, Gene Kelly reputedly feigned an injury of his own so that she would be able to take the day off. Kelly had remained devoted to Garland since she guided him through his paces in the making of his very first film, For Me and My Gal (1942)...

ScenesThatSlap

465,309 views • 8 months ago

Gene Kelly screened "The Red Shoes" (1948) at least fifteen to twenty times to different executives at MGM to persuade them to accept the script for Vincent Minnelli's "An American in Paris" (1951). He was told by the executives that the success of "The Red Shoes" was mainly due to the lead actress being foreign & if it were an American actress in that part, the movie would have bombed. Here is Michael Powell talking about it: "The American distributors put our films on their shelves, saying they were too British: a calculated insult, difficult to refute, because they were British. That was the point of a picture like 'The Red Shoes' (1948). It could never have been made in Hollywood in 1947. Hollywood had made films about art and life and love, but I can't remember a single one, and I have total recall. Gene Kelly told me that he ran 'The Red Shoes' fifteen to twenty times for different executives at MGM before he got acceptance of his script for Vincente Minnelli's 'American in Paris', and then it was mainly because he had a foreign ballerina for the part- Leslie Caron. He was told that the success of 'The Red Shoes' was due to the girl being foreign. An American girl in the same part would have bombed. He didn't argue, but took the money and Leslie Caron and ran. The film was a huge success. I never saw it, but Gene told me that it was full of quotes from 'The Red Shoes'. Art! But it had Gene Kelly." ("A Life in Movies", Michael Powell, 1986) P.S: On this day, 78 years ago, "The Red Shoes" (1948) premiered in London, UK.

Gene Kelly screened "The Red Shoes" (1948) at least fifteen to twenty times to different executives at MGM to persuade them to accept the script for Vincent Minnelli's "An American in Paris" (1951). He was told by the executives that the success of "The Red Shoes" was mainly due to the lead actress being foreign & if it were an American actress in that part, the movie would have bombed. Here is Michael Powell talking about it: "The American distributors put our films on their shelves, saying they were too British: a calculated insult, difficult to refute, because they were British. That was the point of a picture like 'The Red Shoes' (1948). It could never have been made in Hollywood in 1947. Hollywood had made films about art and life and love, but I can't remember a single one, and I have total recall. Gene Kelly told me that he ran 'The Red Shoes' fifteen to twenty times for different executives at MGM before he got acceptance of his script for Vincente Minnelli's 'American in Paris', and then it was mainly because he had a foreign ballerina for the part- Leslie Caron. He was told that the success of 'The Red Shoes' was due to the girl being foreign. An American girl in the same part would have bombed. He didn't argue, but took the money and Leslie Caron and ran. The film was a huge success. I never saw it, but Gene told me that it was full of quotes from 'The Red Shoes'. Art! But it had Gene Kelly." ("A Life in Movies", Michael Powell, 1986) P.S: On this day, 78 years ago, "The Red Shoes" (1948) premiered in London, UK.

DepressedBergman

26,411 views • 1 month ago

Bruce Willis was originally offered the role of Sam Wheat in Ghost (1990), opposite his then-wife Demi Moore, but he declined. Willis reasoned that he didn't understand how a dead character could be romanticized. Patrick Swayze took the role instead, and Ghost became the highest-grossing film of 1990, a decision Willis later regretted.

Bruce Willis was originally offered the role of Sam Wheat in Ghost (1990), opposite his then-wife Demi Moore, but he declined. Willis reasoned that he didn't understand how a dead character could be romanticized. Patrick Swayze took the role instead, and Ghost became the highest-grossing film of 1990, a decision Willis later regretted.

Some Scene

776,909 views • 1 month ago

Donald O’Connor originally didn’t think he was “good enough” to dance next to Gene Kelly on Singin’ in the Rain (1952). His words: “Gene Kelly was a legend, and I was the clown.” But later said: “He made me dance better than I ever had.”...

Donald O’Connor originally didn’t think he was “good enough” to dance next to Gene Kelly on Singin’ in the Rain (1952). His words: “Gene Kelly was a legend, and I was the clown.” But later said: “He made me dance better than I ever had.”...

YouSceneThis?

1,008,995 views • 8 months ago