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Likenesses and from
* Profile Likenesses of the Executive and Legislature of Georgia ( Silhouette Book ), by William H. Brown, 1855 from the collection of the Georgia Archives.

Likenesses and ).
Among his miscellaneous works is a paper on The Likenesses of Julius Caesar in Scribner's Magazine ( February 1887 ).

Astaire and Rogers
Later, in the 1930s, the on-screen dance pairing of Fred Astaire and Ginger Rogers influenced all forms of dance in the USA and elsewhere.
Musical stars such as Fred Astaire and Ginger Rogers were among the most popular and highly respected personalities in Hollywood during the classical era ; the Fred and Ginger pairing was particularly successful, resulting in a number of classic films, such as Top Hat ( 1935 ), Swing Time ( 1936 ) and Shall We Dance ( 1937 ).
Many of the Fred Astaire and Ginger Rogers musicals of the 1930s also feature screwball comedy plots, notably The Gay Divorcee ( 1934 ) and Top Hat ( 1935 ).
During development at the University of Plymouth, in conjunction with BAE Systems and Sumitomo Precision Products, the iBot was nicknamed Fred Upstairs ( after Fred Astaire ) because it can climb stairs: hence the name Ginger, after Astaire's regular film partner, Ginger Rogers, for a successor product.
Top Hat was the most successful picture of Astaire and Rogers ' partnership ( and Astaire's second most successful picture after Easter Parade ), achieving second place in worldwide box-office receipts for 1935.
Dwight Taylor was the principal screenwriter in this, the first screenplay written specially for Astaire and Rogers.
Astaire and Rogers dance across this flat bridge in " Cheek to Cheek ".
" According to choreographer Hermes Pan, Astaire lost his temper and yelled at Rogers, who promptly burst into tears, whereupon her mother, Lela, " came charging at him like a mother rhinoceros protecting her young.
An additional night's work by seamstresses resolved much of the problem, however, careful examination of the dance on film reveals feathers floating around Astaire and Rogers and lying on the dance floor.
Later, Astaire and Pan presented Rogers with a gold feather for her charm bracelet, and serenaded her with a ditty parodying Berlin's tune:
Thereafter, Astaire nicknamed Rogers " Feathers " — also a title of one of the chapters in his autobiography — and parodied his experience in a song and dance routine with Judy Garland in Easter Parade ( 1948 ).
In the film, Astaire suffers from what Rogers terms an " affliction ": " Every once in a while I suddenly find myself dancing.
The routine ends as Astaire, now dancing with a statue, is interrupted by Rogers ' entrance, a scene which, as in The Gay Divorcee and Roberta, typifies the way in which Astaire inadvertently incurs the hostility of Rogers, only to find her attractive and wear down her resistance.
In " No Strings ( reprise )", Rogers, after storming upstairs to complain, returns to her room at which point Astaire, still intent on dancing, nominates himself her " sandman ", sprinkling sand from a cuspidor and lulling her, Horton and eventually himself to sleep with a soft and gentle sand dance, to a diminuendo reprise of the melody, in a scene which has drawn considerable admiration from dance commentators, and has been the subject of affectionate screen parodies.
Astaire sings to Rogers ' back, but the audience can see that Rogers ' attitude towards him softens during the song, and the purpose of the ensuing dance is for her to communicate this change to her partner.
Until the last thirty seconds of this two and a half minute dance the pair appear to pull back from touching, then with a crook of her elbow Rogers invites Astaire in.
The final supported backbend – Astaire and Rogers in the climax to " Cheek to Cheek "
The first backbends occur at the end of a sequence where Astaire sends Rogers into a spin, collects her upstage and maneuvers her into a linked-arm stroll forward, repeats the spin but this time encircles her while she turns and then takes her in his arms.
With the music reaching its grand climax Astaire and Rogers rush toward the camera, then away in a series of bold, dramatic manoeuvers culminating in three ballroom lifts which showcase Rogers ' dress before abruptly coming to a halt in a final, deepest backbend, maintained as the music approaches its closing bars.
Rogers, having conducted the dance in a state of dreamlike abandon now glances uneasily at Astaire before walking away, as if reminded that their relationship cannot proceed.

Astaire and over
This is the only time Rogers took billing over Astaire.
Astaire received a percentage of the films ' 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.
During the course of filming the series in 1969 Le Mesurier was flown to Venice over a series of weekends for filming Midas Run, an Alf Kjellin-directed crime film that also starred Richard Crenna, Anne Heywood and Fred Astaire.
The first dancer featured on film as a partner of both the stars Fred Astaire and Gene Kelly, Hayworth appeared in a total of 61 films over 37 years.
This alludes to the song " Pick Yourself Up " from the 1936 film Swing Time, for which Jerome Kern had written the music, in which Ginger Rogers and Fred Astaire sang Fields's words " Pick yourself up ; dust yourself off ; start all over again ".
The film is jokingly regarded as the first ( and only ) M-G-M musical made at Paramount Studios since Roger Edens was the producer, Stanley Donen was the director, and quite a few of the staff members under the Arthur Freed Unit at Metro ( including Adolph Deutsch, Conrad Salinger, and Skip Martin ), along with Astaire and Kay Thompson, were brought over to Paramount to make this film.
He received top billing over Pat O ' Brien in the TV-movie The Over-the-Hill Gang in 1969 and Fred Astaire in The Over-the-Hill Gang Rides Again the following year.
In 1957, she rejoined Astaire in the film version of Silk Stockings, a musical remake of 1939's Ninotchka, with Charisse taking over Greta Garbo's role.
( Astaire would " retire " several more times over the next decade, but he would also go on to make a number of additional classic musicals in between retirements.
Others who appeared on the show over the years include Malcolm X, Martin Luther King, Jr., James Meredith, Sam Sheppard, Mother Teresa, Jerry Rubin, Angela Davis, Madelyn Murray O ' Hair, Alfred Hitchcock, Fred Astaire, Judy Garland, Bette Davis, Gene Kelly, Gene Tierney, Lucille Ball, Vivian Vance, Mark Hamill, Ginger Rogers, Ricardo Montalban, Howard Keel, Celeste Holm, Dorothy Lamour, Dana Andrews, Vincent Price, Natalie Wood, Joan Crawford, Cliff Robertson, Peter Lawford, Nanette Fabray, Jack Lemmon, Tony Curtis, Lee Marvin, Paul Newman, Sean Connery, Roger Moore, Carrie Fisher, Robert Wagner, Diahann Carroll, George Hamilton, Victor Buono, Peter Ustinov, Tammy Grimes, Valerie Harper, Richard Dreyfuss, John Travolta, Louis Armstrong, Rosemary Clooney, Bing Crosby, Ethel Merman, Sammy Davis, Jr., Harrison Ford, Eydie Gorme, Jack Jones, Harry Belafonte, Liza Minnelli, Paul Anka, Robert Goulet, Carol Lawrence, Edie Adams, Debbie Reynolds, Gwen Verdon, Connie Francis, Olivia Newton-John, Ben Vereen, Joey Heatherton, Frankie Laine, Eartha Kitt, Sergio Mendes, Buddy Rich, Jerry Vale, Lola Falana, Frankie Valli, Pearl Bailey, Lou Rawls, Yank Barry, Tina Turner, Tom Waits, Eddy Arnold, Johnny Cash, Roy Clark, Kenny Rogers, Ray Stevens, Janis Ian, Bernie Taupin, Ian Anderson, Marcel Marceau, Muhammad Ali, Howard Cosell, Joe Namath, Mason Reese, Ralph Nader, Rex Reed, Martha Mitchell, Victor Borge, Kreskin, Imogene Coca, Phyllis Diller, Fannie Flagg, Lily Tomlin, Joan Rivers, Elayne Boosler, Milton Berle, George Burns, Sid Caesar, Mel Brooks, Alan King, Bill Cosby, Henny Youngman, Jack Carter, Redd Foxx, Rodney Dangerfield, Jan Murray, Shecky Greene, Buddy Hacket, Joey Bishop, Red Skelton, Steve Allen, Dan Rowan, Dick Martin, George Schindler, Marty Allen, Robert Klein, George Carlin, Sandy Baron, Artie Johnson, Frank Gorshin, Soupy Sales, Jonathan Winters, Charlie Callas, Norm Crosby, Rip Taylor, Foster Brooks, Irwin Corey, Leonard Barr, Pat Cooper, Rich Little, Stan Kann, Steve Landesberg, Andy Kaufman, Jimmie Walker, Jay Leno, Moe Howard of The Three Stooges, Gloria Parker with her Musical Glasses, Ruth Dickson, Jimmy Edmonson ( better known as " Professor Backwards " who appeared more times than any other guest ).
Matthew Bourne has twice been nominated as Best Director at the Olivier Awards, and his achievements in choreography have been recognised with over 30 international awards, including the Evening Standard Award, The South Bank Show Award, Time Out Award and the Astaire Award for Dance on Broadway.
In one of these, a succession of men ( ranging from Lennon and Ono's assistants to celebrities including Fred Astaire, Jack Palance, Dick Cavett, and even George Harrison ) escort Ono over and over through a doorway ; in another, John and Yoko lose each other on the Tittenhurst grounds, and go looking.
While Astaire was trying to work out a series of steps for " The Carioca " number, it was suggested to him that Pan had a few ideas and Pan was invited over.
The young director Francis Ford Coppola had no prior experience with musical films, and proceeded to ride roughshod over Astaire and Pan's plans for the film's dance routines, reintroducing the style of dancing camera of the early 1930s which Astaire had done so much to banish from the Hollywood musical.
Sung by Astaire with a short solo dance by Cyd Charisse, followed by Lucille Ball cracking a whip over eight chorus-girl panthers, and finally Virginia O ' Brien spoofs the previous scene by singing " Bring on those Wonderful Men "

Astaire and from
Also from the Homeless Brother album, " Wonderful Baby " was a number 1 on the AOR chart in 1975 and was later recorded by Fred Astaire.
He withdrew from the film and encouraged Fred Astaire to come out of retirement to replace him.
" In particular, he wanted to create a completely different image from that associated with Fred Astaire, not least because he believed his physique didn't suit such refined elegance: " I used to envy his cool aristocratic style, so intimate and contained.
In the " Opening Sequence ", after the RKO logo appears, Astaire, shown only from the waist down, dances onto a polished stage floor, backed by a male chorus sporting canes.
Astaire sings it through twice and during the last phrase leaps into a ballet jump, accompanied by leg beats, and launches into a short solo dance that builds in intensity and volume progressing from tap shuffles sur place, via traveling patterns, to rapid-fire heel jabs finishing with a carefree tour of the suite during which he beats on the furniture with his hands.
For " Top Hat, White Tie and Tails ", probably Astaire's most celebrated tap solo, the idea for the title song came from Astaire who described to Berlin a routine he had created for the 1930 Ziegfeld Broadway flop Smiles called " Say, Young Man of Manattan ," in which he gunned down a chorus of men – which included teenagers Bob Hope and Larry Adler – with his cane.
As the camera retreats the lights dim and, in the misterioso passage which follows, Astaire mimes a series of stances, ranging from overt friendliness, wariness, surprise to watchful readiness and jaunty confidence.
" It is a song about a song and Rogers sings it to Astaire after which an off-camera chorus repeats it while the dance ensemble is photographed, Busby Berkeley-style, from above.
Since 2005, a digitally restored version of Top Hat is available separately and as part of The Astaire & Rogers Collection, Vol. 1 from Warner Home Video.
Of the 33 partnered dances she performed with Astaire, Croce and Mueller have highlighted the infectious spontaneity of her performances in the comic numbers " I'll Be Hard to Handle " from Roberta ( 1935 ), " I'm Putting All My Eggs in One Basket " from Follow the Fleet ( 1936 ) and " Pick Yourself Up " from Swing Time ( 1936 ).
They also point to the use Astaire made of her remarkably flexible back in classic romantic dances such as " Smoke Gets in Your Eyes " from Roberta ( 1935 ), " Cheek to Cheek " from Top Hat ( 1935 ) and " Let's Face the Music and Dance " from Follow the Fleet ( 1936 ).
For special praise, they have singled out her performance in " Waltz in Swing Time " from Swing Time ( 1936 ), which is generally considered to be the most virtuosic partnered routine ever committed to film by Astaire.
She generally avoided solo dance performances: Astaire always included at least one virtuoso solo routine in each film, while Rogers performed only one: " Let Yourself Go " from Follow the Fleet ( 1936 ).
Furthermore, in song duets with Astaire, she co-introduced Berlin's " I'm Putting All My Eggs in One Basket " from Follow the Fleet ( 1936 ), Jerome Kern and Dorothy Fields's " Pick Yourself Up " and " A Fine Romance " from Swing Time ( 1936 ) and the Gershwins ' " Let's Call the Whole Thing Off " from Shall We Dance ( 1937 ).

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