Five Insanely Romantic Fred Astaire Dances

Five Insanely Romantic Fred Astaire Dances (photo)

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Call me old-fashioned, call me an insanely committed movie dork; hell, call me an insanely committed, old-fashioned movie dork but there’s nothing I like better on Valentine’s Day than a quiet night in with my wife, a home-cooked meal and great old films. Our favorites are the classic MGM musicals. You can’t go wrong with Gene Kelly, of course, but I think Valentine’s Day belongs to Fred Astaire, who produced many of his best onscreen moments with a woman at his side. The air of romance in Astaire’s best films is so thick it’s beyond intoxicating: it’s positively infectious. Here are five of his most insanely romantic dance numbers.

“I’ll Be Hard to Handle”
From “Roberta” (1935)
Featuring Astaire and Ginger Rogers

The first image we think of when we think of Astaire is the elegant gentleman in top hat and tails, squiring Ginger Rogers to some impossibly lavish Depression-era ball. And nobody made unattainable opulence look quite as warm and inviting as Astaire and Rogers. But the most famous dancing team in movie history often had their best chemistry in more casual numbers, like the ebullient “Pick Yourself Up” from “Swing Time” or the rambunctious “I’ll Be Hard to Handle” from “Roberta,” which captures the team at their most flirtatiously playful. Astaire and Rogers play former sweethearts who reunite in Paris and reignite their relationship. The routine, a high-spirited tap, finds the pair even finishing each others sentences — through dance of course — as they trade intricate steps back and forth like fast-paced screwball banter. Bonus points for the all-natural tap sounds, which are clearly coming straight from Astaire and Rogers’ feet and not from any artificial post-production sweetening.

“So Near and Yet So Far”
From “You’ll Never Get Rich” (1941)
Featuring Astaire and Rita Hayworth

Astaire built a persona of gentility and refinement, and as he aged he played opposite a lot of much younger leading ladies, a situation that often made him look like Mr. Rogers romancing one of his fans. He wasn’t exactly known as a sensual dancer — which is why I love this Latin-flavored number he did with the gorgeous and very sensual Rita Hayworth in 1941’s “You’ll Never Get Rich.” It’s called “So Near and Yet So Far” — a title that could refer to fact that dance, while pleasurable, is not nearly as pleasurable as what dance often acts as a stand-in for in old movies, namely sex. Astaire seems genuinely enchanted by the hip-shaking Hayworth as they twirl on an ocean-view balcony. The number ends with Hayworth leaning back into Astaire’s arms, so near and yet so far, as they cuddle and exit stage right. To do what, we’ll never know.

“They Can’t Take That Away From Me”
From “The Barkleys of Broadway” (1949)
Featuring Astaire and Rogers

“The Barkleys of Broadway” was Astaire and Rogers’ final cinematic pairing, and it only came about after Astaire’s original co-star, Judy Garland, needed to be replaced at the very last moment. When they made “The Barkleys,” Astaire and Rogers hadn’t danced together for ten years, adding a great deal of poignancy to the film’s plotline, about a husband-and-wife dance team who split up and then reconnect, and to this touching final number, where Fred serenades Ginger with George and Ira Gershwin’s “They Can’t Take That Away From Me.” The words are almost too perfect for a legendary couple reuniting for what would be the last time onscreen: “We may never, never meet again on that bumpy road to love / Still I’ll always, always keep the memory of / The way you hold your knife / The way we danced ’til three / The way you changed my life / No, no they can’t take that away from me.” After Astaire’s touching vocal, the pair enact an elegiac final dance, a celebration for has been and what will never be again. It’s not one of their most intricate or most graceful scenes, but it feels more charged with genuine emotion than anything else they’d ever danced.

“Dancing in the Dark”
From “The Band Wagon” (1953)
Featuring Astaire and Cyd Charisse

A simple walk in the park becomes a rapturous dream of falling in love in “Dancing in the Dark” from Vincente Minnelli’s “The Band Wagon.” The scene contains no words of either the spoken or sung variety. Instead, everything is communicated through movement: Astaire and Cyd Charisse’s hopeful glances, followed by their first tentative steps, and culminating in remarkable duet between two incredible artists. Astaire tended to be the most graceful member of any pair he danced in, but Charisse is his equal: watch the effortless way she bends in his arms around the 3:15 minute mark, or the her seductive swoon into Astaire’s neck after the twirl at 2:03. The choreography perfectly matches the rise and fall of Arthur Schwartz’s soaring music: the climactic crescendo is echoed by the dancers’ symbolic climb up a small flight of stairs to a waiting carriage. Also: I’m no fashion expert, but I think dresses like Charisse’s, which bounces and floats with her every movement as if it’s made out of some kind of gravity-defying material, desperately need to make a comeback.

“He Loves and She Loves”
From “Funny Face” (1957)
Featuring Astaire and Audrey Hepburn

Here’s one of those potentially creepy May/December romances I was talking about: Astaire was a full thirty years older than Audrey Hepburn when they made “Funny Face” together in 1967. After a series of comic confusions and misadventures, Astaire, a fashion photographer, and Hepburn, a model, have finally realized their mutual love for one another. Still dressed in her fashion show wedding gown, she looks adoringly into Astaire’s eyes as he sings “He Loves and She Loves” then joins him for a low-key “stroll” through the French countryside. Most of Astaire’s musicals were shot on soundstages, so there is something especially striking about watching him move through director Stanley Donen’s lushly verdant mise en scene, and the choreography makes the most of the freedom that comes with location shooting — it’s not every film that you see two dances connected via a ride on a river raft. Despite the age difference, the chemistry works. Hepburn seems genuinely smitten with Astaire; in my favorite moment from this dance, they’re so enraptured by each other’s presence they nearly dance themselves right into a pond.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”

Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”

But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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Draught Pick

Sam Adams “Keeps It Brockmire”

All New Brockmire airs Wednesdays at 10P on IFC.

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From baseball to beer, Jim Brockmire calls ’em like he sees ’em.


It’s no wonder at all, then, that Sam Adams would reach out to Brockmire to be their shockingly-honest (and inevitably short-term) new spokesperson. Unscripted and unrestrained, he’ll talk straight about Sam—and we’ll take his word. Check out this new testimonial for proof:

See more Brockmire Wednesdays at 10P on IFC, presented by Samuel Adams. Good f***** beer.

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