What Older Movies Demonstrated Some of Fred Astaire's Best Dancing
Fred Astaire, widely regarded as one of the greatest dancers in film history, left an indelible mark on cinema through his exceptional dancing abilities. His performances in numerous classic films showcased his technical prowess, emotional depth, and narrative skill. Let's delve into some of his standout movies that highlight his talent:
Standout Films and Dance Sequences
Among the many films that Astaire starred in, several stand out for their exceptional dance sequences. Here are some of his most memorable favorites:
Top Hat (1935)
Top Hat is known for its iconic dance numbers, such as the 'White Tie and Tails' and 'Isn't This a Lovely Day.' These segments are a testament to Astaire's ability to express emotion and narrative through dance. His transformation from a star in the world of striptease to a sophisticated gentleman partner exemplifies his versatility. Many of these sequences were so beloved that they continue to be cherished by audiences today.
Swing Time (1936)
Swing Time is perhaps one of Astaire's most iconic films, featuring a memorable duet with his partner Ginger Rogers in the 'Cheek to Cheek' number. This film is renowned for its incredible musical numbers, including 'Let Yourself Go' and 'Let's Face the Music and Dance.' Both of these sequences are a joy to watch and showcase Astaire's ability to bring emotion and storytelling through dance. The entire film is a celebration of dance, music, and humor, making it a timeless classic.
Shall We Dance (1937)
In Shall We Dance, the chemistry between Astaire and Judy Garland is palpable. 'Isn't This the Life We Live' is a memorable sequence that highlights Astaire's unique ability to create engaging and visually stunning routines. The film also includes the 'The Continental' sequence, which is a showcase of his inventiveness and creativity, as he incorporates various settings and props to keep the audience engaged.
Funny Face (1957)
Funny Face features Astaire dancing with Audrey Hepburn in a visually stunning musical. The 'In the Woodlands' sequence is particularly enchanting, showcasing Astaire's ability to blend emotion with technical precision. This film is a standout, capturing the essence of both performers and their on-screen chemistry.
Broadway Melody of 1940 (1940)
Although not starring Astaire, this film features Eleanor Powell, another legendary dancer. Powell's performances, such as her iconic number 'Shall I Murder,' are a testament to the era's talent and skill in musical films.
You Were Never Lovelier (1942)
This film stars Astaire and Rita Hayworth, featuring memorable dance numbers like 'Let's Do It (Let's Fall in Love)' and 'Kiss the Girl.' Both sequences are a joy to watch and showcase Astaire's ability to engage audiences with complex and dynamic dance routines.
The Band Wagon (1953)
Despite concerns about how Astaire's style would mesh with Ballet dancer Cyd Charisse, the film's iconic 'Dancing in the Dark' sequence is a standout. Both dancers deliver a perfect performance, blending their unique styles seamlessly to create a memorable and captivating dance routine. The film also includes 'Bojangles of Harlem' and 'Never Gonna Dance,' both featuring incredible performances by Astaire.
Other Favorites
For fans of Astaire, his films with Ginger Rogers are an absolute must-watch. Top Hat, Follow the Fleet, and Swing Time are particularly cherished. Swing Time's 'Bojangles of Harlem' and 'Never Gonna Dance' are wonderful examples of his peak performance. Top Hat's 'Isn't This a Lovely Day' and Follow the Fleet's 'Let Yourself Go' and 'Let's Face the Music and Dance' are joyous and captivating dance sequences.
In addition to these classics, the films The Gay Divorcee and Follow the Fleet also feature memorable dancing, such as the long-lasting 'The Continental' in The Gay Divorcee and the varied styles in Follow the Fleet. Dancing in the Dark from The Band Wagon is especially perfect, showcasing Astaire's adaptability and creativity.
While later films like Carefree have more thin plots, Astaire's dancing remains impressive. It's rare to find a number from him where you'd think, 'That's not his best.' His inventive and dynamic performances are a hallmark of his legacy.
One noteworthy story is that while working on Dancing in the Dark in The Band Wagon, the director suggested a particular move. However, Astaire famously quipped, "I can't do that. I did that move in —— with Ginger Rogers, so I can't do it again." This highlights his commitment to innovation and avoiding repetition. His numbers are always changing and engaging, never starting with a move or theme and wearing it out.
These films not only showcase Astaire's technical prowess but also his ability to tell a story through dance, solidifying his place as one of the greatest dancers in film history.