query: what was fred astaire and ginger rogers first movie together

pos: Fred Astaire and Ginger Rogers in Vaudeville, partnering with his older sister, Adele. He made his first movie in 1933, taking on a small role in the movie "Dancing Lady" starring Clark Gable and Joan Crawford. Rogers made her first appearance in a 1929 movie short, then made feature Pre-Code movies with Warner Brothers Pictures such as "42nd Street" and "Gold Diggers of 1933". Astaire and Rogers made their first pairing in a movie in 1933, "Flying Down to Rio", in which they had supporting roles; the main star was Dolores Del Rio. The film, released late in 1933, earned worldwide rentals of $1.5 million.

pos: Ginger Rogers 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, when they were first teamed together in "Flying Down to Rio", "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." Author Dick Richards, in his

pos: Fred Astaire 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 "Flying Down to Rio". She faked it an awful lot. She couldn't tap and she couldn't do this and that

pos: Edward Killy assisted Seiter again on another Wheeler & Woolsey comedy, "Diplomaniacs", as well as being one of three assistants to Thornton Freeland on the RKO musical "Flying Down to Rio", which featured the first on-screen pairing of Fred Astaire and Ginger Rogers. The following year Killy assisted Philip Moeller on the classic drama "The Age of Innocence", the first talking version of the novel, starring Irene Dunne and John Boles. He would also work with Hepburn again, being one of three assistants to Richard Wallace on "The Little Minister". It was during the filming of this movie when Killy gained notoriety

pos: Vincent Youmans for "Take a Chance" (1932). In 1933, Youmans wrote the songs for Flying Down to Rio, the first film to feature Fred Astaire and Ginger Rogers as a featured dancing pair. His score contained "Orchids in the Moonlight", "The Carioca", "Music Makes Me", and the title song. The film was a tremendous hit, and it revived the composer's professional prospects, though he never again wrote for Astaire/Rogers. After a professional career of only 13 years, Youmans was forced into retirement in 1934 after contracting tuberculosis. He spent the remainder of his life battling the disease. His only return to Broadway

pos: Ray Lissner on were: the original Beau Geste in 1926 (again with Brenon); Flying Down to Rio, the first film teaming Ginger Rogers and Fred Astaire; and The Gay Divorcee, again with Astaire and Rogers. Lissner would die in 1944 at the age of 41. Ray Lissner Ray Lissner (January 10, 1903 – April 28, 1944) was an American filmmaker who worked during the end of the silent era into the beginning of sound films. He spent his entire career as an assistant director, working with such directors such as Herbert Brenon, Charles Vidor, George Archainbaud, and Otto Brower. Born in New

pos: Flying Down to Rio Flying Down to Rio Flying Down to Rio is a 1933 American pre-Code RKO musical film noted for being the first screen pairing of Fred Astaire and Ginger Rogers, although Dolores del Río and Gene Raymond received top billing and the leading roles. Among the featured players are Franklin Pangborn and Eric Blore. The songs in the film were written by Vincent Youmans (music), Gus Kahn and Edward Eliscu (lyrics), with musical direction and additional music by Max Steiner. This is the only film in which Rogers was billed above famed Broadway dancer Astaire. The black-and-white film (later computer-colorized) was

pos: Fred Astaire opportunity to integrate Latin American dance idioms into his style (the first being with Ginger Rogers in "The Carioca" number from "Flying Down to Rio" (1933) and the second, again with Rogers, was the "Dengozo" dance from "The Story of Vernon and Irene Castle" (1939)), taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, "You Were Never Lovelier" (1942), was equally successful and featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the

pos: Hermes Pan boy in 1928 in the Marx Brothers Broadway production of "Animal Crackers." He also danced in partnership with his sister Vasso, who subsequently appeared in the chorus of many of the Astaire-Rogers pictures. He first met Ginger Rogers in 1930, when he appeared as a chorus singer in the Broadway musical "Top Speed." He retained links with his relatives in Greece and made an extensive visit in the 1970s to meet them. Pan was also a devout Roman Catholic and was a well-known homosexual. He met Fred Astaire, whom he physically resembled, on the set of "Flying Down to Rio"

pos: Ginger Rogers in "We're In The Money" from "Gold Diggers" included a verse in Pig Latin. Rogers was known for her partnership with Fred Astaire. Together, from 1933 to 1939, they made nine musical films at RKO: "Flying Down to Rio" (1933), "The Gay Divorcee" (1934), "Roberta" (1935), "Top Hat" (1935), "Follow the Fleet" (1936), "Swing Time" (1936), "Shall We Dance" (1937), "Carefree" (1938), and "The Story of Vernon and Irene Castle" (1939). "The Barkleys of Broadway" (1949) was produced later at MGM. They revolutionized the Hollywood musical, introducing dance routines of unprecedented elegance and virtuosity, set to songs specially composed for

pos: Ginger Rogers filmography with RKO Radio Pictures, where she was paired with dancer Fred Astaire in commercially successful "Flying Down to Rio" (1933). The pair achieved greater success in subsequent musicals "The Gay Divorcee" (1934), "Top Hat" (1935), "Swing Time" (1936), and "Shall We Dance" (1937), totaling 8 films made between 1933 and 1939. Without Astaire, Rogers starred in critically and commercially successful non-musicals throughout the remainder of the 1930s such as "Stage Door" (1937) with Katharine Hepburn, "Vivacious Lady" (1938) with James Stewart, and "Bachelor Mother" (1939) with David Niven, culminating with an Academy Award for Best Actress for her performance in

neg: Fred Astaire and Ginger Rogers of $2,325,420. "The Barkleys of Broadway" would be Astaire and Rogers' final movie together, although both would continue to make films with other stars. In the 50s, Rogers' movie career declined due to a move away from classic film stars, but Astaire remained in the industry and branched out into television. Fred Astaire and Ginger Rogers Fred Astaire (May 10, 1899 – June 22, 1987) and Ginger Rogers (July 16, 1911 – April 25, 1995) were iconic dance partners who made motion pictures together from 1933 to 1949. They made a total of 10 films, nine of them with RKO

neg: Fred Astaire and Ginger Rogers long period apart, Astaire and Rogers made only one movie together in 1938, the 80-minute "Carefree". During their time apart, Rogers appeared in the successful movie "Stage Door", while Astaire's career did not reach the same heights he had experienced with Rogers. The duo reunited, but "Carefree" marked a departure for their on-screen partnership, featuring Astaire in a role unlike his usual typecast persona, as well as less emphasis on the musical element of the film. "Carefree" was originally going to contain sequences shot in Technicolor, but RKO considered the cost prohibitive so it was filmed in black and white.

neg: Fred Astaire and Ginger Rogers Fred Astaire and Ginger Rogers Fred Astaire (May 10, 1899 – June 22, 1987) and Ginger Rogers (July 16, 1911 – April 25, 1995) were iconic dance partners who made motion pictures together from 1933 to 1949. They made a total of 10 films, nine of them with RKO Radio Pictures from 1933 to 1939, and one, "The Barkleys of Broadway", with M-G-M in 1949, their only color (Technicolor) film. Many years later, they became known by the portmanteau nickname of "Fringer", popularised by Australian entertainer Dave Gorr. Astaire started dancing in the early 1900s as a child on stage

neg: Fred Astaire and Ginger Rogers his retirement. Due to their success as a partnership, Garland and Astaire were due to reunite for "The Barkleys of Broadway", but Garland was forced to drop out and Rogers took her place. The film, released in 1949, reunited Astaire and Rogers for their only movie for MGM and their only color film. During production, Astaire received an honorary Academy Award, which was presented to him by Rogers. This film was greeted with joy by critics, who were thrilled to see the partnership together once again. It was a success, earning a worldwide total of $5,421,000 on an estimated budget

neg: Fred Astaire and Ginger Rogers In 1934, Astaire and Rogers made the musical movie "The Gay Divorcee" which co-starred Edward Everett Horton; it was their first joint starring role in a movie and grossed even more with worldwide rentals of $1.8 million; the movie also featured the classic Cole Porter song "Night and Day". The song "The Continental" from the movie was a hit and was also the first song to win the Academy Award for Best Original Song in the 1934 Academy Awards. Astaire and Rogers made two movies in 1935, "Roberta", which featured the song "I Won't Dance" and "Top Hat", which also

neg: Johnny Mercer long sustained notes required for live performance. Performers such as Fred Astaire and Ginger Rogers could now sing more conversationally and more nonchalantly. Mercer, as a singer, was attuned to this shift and his style fitted the need perfectly. Mercer's first Hollywood assignment was not the Astaire-Rogers vehicle of which he had dreamed but a B-movie college musical, "Old Man Rhythm," to which he contributed two undistinguished songs and even worse acting. His next project, "To Beat the Band," was another flop, but it did lead to a meeting and a collaboration with Fred Astaire on the moderately successful Astaire

neg: Mark Sandrich Fred Astaire and Ginger Rogers. In 1934, Sandrich was given the job of directing the first proper Astaire-Rogers musical, "The Gay Divorcee", which proved a tremendous success. The following year, he directed "Top Hat" (1935), another Fred Astaire and Ginger Rogers musical. He continued working with the team on "Follow the Fleet" (1936). After directing Katharine Hepburn in "A Woman Rebels" (1936) he returned to Astaire and Rogers for "Shall We Dance" (1937), and "Carefree" (1938). In 1939, Sandrich left RKO for Paramount, which offered him a chance to be not only director, but a producer as well. Sandrich's first

neg: Ginger and Fred Ginger and Fred Ginger and Fred () is a 1986 comedy/drama film directed by Federico Fellini and starring Marcello Mastroianni and Giulietta Masina. The title is a reference to the American dancing couple Fred Astaire and Ginger Rogers. The two leads portray Italian impersonators of Astaire and Rogers who reunite after thirty years of retirement for a vulgar and bizarre television extravaganza. The film was the subject of a trademark claim in the United States by Ginger Rogers, who claimed in "Rogers v. Grimaldi" that the film violated her Lanham Act trademark rights, right of publicity, and was a "false

neg: The Story of Vernon and Irene Castle The Story of Vernon and Irene Castle The Story of Vernon and Irene Castle is a 1939 American biographical musical comedy directed by H.C. Potter. The film stars Fred Astaire, Ginger Rogers, Edna May Oliver, and Walter Brennan. The film is based on the stories "My Husband" and "My Memories of Vernon Castle", by Irene Castle. The movie was adapted by Oscar Hammerstein II, Dorothy Yost and Richard Sherman. The film tells of novice American dancer Irene Foote (Ginger Rogers) who convinces New York-based British vaudeville comic Vernon Castle (Fred Astaire) to give up slapstick comedy in favor of sophisticated

neg: Fred Astaire and Ginger Rogers This movie feature an Irving Berlin musical score with only four songs, the fewest in any Astaire and Rogers film. While the film was well-received by critics, with Motion Picture Herald's William R. Weaver calling it "the greatest Astaire-Rogers picture", it was their most expensive film to date costing $1.3 million and ultimately lost money for the studio despite earning worldwide rentals of $1.7 million. In 1939, Astaire and Rogers made "The Story of Vernon and Irene Castle". It was the end of their partnership for ten years, until they reunited for "The Barkleys of Broadway". Although their relationship was

neg: They Can't Take That Away from Me They Can't Take That Away from Me "They Can't Take That Away from Me" is a 1937 popular song with music by George Gershwin and lyrics by Ira Gershwin. It was introduced by Fred Astaire in the 1937 film "Shall We Dance". The song is performed by Astaire on the lonely foggy deck of a ferry from New Jersey to Manhattan. It is sung to Ginger Rogers, who remains silent listening throughout. No dance sequence follows, which was unusual for the Astaire-Rogers numbers. Astaire and Rogers did dance to it later in their last movie "The Barkleys of Broadway" (1949)

neg: Fred Astaire and Ginger Rogers for Astaire and Rogers, "Shall We Dance", which co-starred Edward Everett Horton. Although the film was RKO's biggest film of the year with worldwide rentals of $2.2 million, it did not perform as well as expected by the studio. "Shall We Dance" had the first Hollywood score by the brothers George and Ira Gershwin, and included the song "They Can't Take That Away from Me". Although Astaire and Rogers would go on to make two more films together for RKO, the film's comparative disappointment in the box office was the beginning of the end for their partnership. After an unusually

neg: Cheek to Cheek on AFI's 100 Years...100 Songs survey of top tunes in American cinema. Cheek to Cheek "Cheek to Cheek" is a song written by Irving Berlin in 1935, for the Fred Astaire/Ginger Rogers movie "Top Hat" (1935). In the movie, Astaire sings the song to Rogers as they dance. The song 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

neg: Cheek to Cheek Cheek to Cheek "Cheek to Cheek" is a song written by Irving Berlin in 1935, for the Fred Astaire/Ginger Rogers movie "Top Hat" (1935). In the movie, Astaire sings the song to Rogers as they dance. The song 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

neg: George Stevens stage from his parents and worked and toured with them on his path to filmmaking. He broke into the movie business as a cameraman, working on many Laurel and Hardy short films, such as "Night Owls" (1930). His first feature film was "The Cohens and Kellys in Trouble" in 1933. In 1934 he got his first directing job, the slapstick "Kentucky Kernels". His big break came when he directed Katharine Hepburn in "Alice Adams" in 1935. He went on in the late 1930s to direct several Ginger Rogers and Fred Astaire movies, not only with the two actors together, but

neg: Fred Astaire ... 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." In his book "Ginger: Salute to a Star" author Dick Richards quotes Astaire saying to Raymond Rohauer, curator of the New York Gallery of Modern Art, "Ginger was brilliantly effective. She made everything work for her." 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

neg: Carefree (film) according to RKO records still lost the studio $68,000. It was the first Astaire and Rogers films not to show a profit upon its original release. "Carefree" was nominated for three Academy Awards: Best Art Direction (Van Nest Polglase), Best Musical Scoring (Victor Baravalle) and Best Song "Change Partners", written by Irving Berlin. Carefree (film) Carefree is a 1938 musical film starring Fred Astaire and Ginger Rogers. With a plot similar to screwball comedies of the period, "Carefree" is the shortest of the Astaire-Rogers films, featuring only four musical numbers. "Carefree" is often remembered as the film in which Astaire

neg: The Barkleys of Broadway Rogers came in as a last minute replacement for Judy Garland, whose frequent absences due to a dependency on prescription medication cost her the role. This turned out to be the last film that Astaire and Rogers made together, and their only film together in color. Josh and Dinah Barkley (Fred Astaire and Ginger Rogers) are a husband-and-wife musical comedy team at the peak of their careers. After finishing a new show, Dinah meets serious French playwright Jacques Pierre Barredout (Jacques François), who suggests that Dinah should take up dramatic acting. Dinah tries to keep the suggestion a secret from

neg: Fred Astaire and Ginger Rogers by Dorothy Fields, which Astaire sang to Rogers. John Mueller has cited "Swing Time" for possessing "the greatest dancing in the history of the universe.". The dance sequences for "Swing Time" (e.g. "Never Gonna Dance") are considered by Arlene Croce to be the high point of their art. This scene took 47 takes to perfect, during which the dancers had to ascend stairs, spinning, until they perfected it. By the end of the shoot, Rogers' feet were bleeding. They were voted the third biggest money making stars of the year in the annual Quigley poll. 1937 featured only one movie

neg: Rogers v. Grimaldi Rogers v. Grimaldi Rogers v. Grimaldi, 875 F.2d 994 (2d Cir. 1989) is a trademark and intellectual freedom case, known for establishing the ""Rogers" test" for protecting uses of trademarks that implicate intellectual freedom issues. Noted artist Ginger Rogers sued Alberto Grimaldi and MGM for production and distribution of the 1986 Federico Fellini film "Ginger and Fred", a film about Pippo and Amelia, two Italian cabaret performers whose routine emulated the more famous pairing of Fred Astaire and Ginger Rogers. Rogers claimed that the film violated her Lanham Act trademark rights, right of publicity, and was a "false light" defamation.

neg: June Allyson braces, Allyson's true escape from her impoverished life was to go to the cinema, where she was enraptured by Ginger Rogers and Fred Astaire movies. As a teen, Allyson memorized the trademark Ginger Rogers dance routines; she claimed later to have watched "The Gay Divorcee" 17 times. She also tried to emulate the singing styles of movie stars although she never mastered reading music. When her mother remarried and the family was reunited with a more stable financial standing, Allyson was enrolled in the Ned Wayburn Dancing Academy and began to enter dance competitions with the stage name of "Elaine

neg: Ginger Rogers book "Ginger: Salute to a Star", quoted Astaire saying to Raymond Rohauer, curator at the New York Gallery of Modern Art, "Ginger was brilliantly effective. She made everything work for her. Actually she made things very fine for both of us and she deserves most of the credit for our success." In her classic 1930s musicals with Astaire, Ginger Rogers, co-billed with him, was paid less than Fred, the creative force behind the dances, who also received 10% of the profits. She was also paid less than many of the supporting "farceurs" billed beneath her, in spite of her much

neg: Fred Astaire and Ginger Rogers amicable, both wanted to explore new avenues. Rogers was interested in more dramatic roles than those she was offered with Astaire. Meanwhile, Astaire, who worked with many dancers throughout his career, no longer wanted to be paired with one permanent partner. Despite several successful films, RKO was facing bankruptcy. Due to the high cost and low profit of recent Astaire-Rogers vehicles, along with the stars' mutual desire to branch out, RKO announced the end of the on-screen partnership. Their farewell film was a musical biography of ballroom dancers Vernon and Irene Castle. When Astaire and Rogers filmed the last dance

neg: Gene Sheldon movie "Susie's Affairs", as Slug the Banjoist. The next year, he had a small part in the early Fred Astaire, Ginger Rogers musical "Roberta" as a banjo player in the film's band: In the musical number "Let's Begin" he had a short comedy scene tuning the banjo and afterwards dancing in the comedy dance number with Fred Astaire and Candy Candido. Sheldon appeared in the Broadway revue "Priorities of 1942", performing a comedy banjo act in which he did not speak, wearing an outfit resembling the costume of silent film comedian Harry Langdon and mimicking some of Langdon's distinctive gestures.

neg: The Way You Look Tonight The Way You Look Tonight "The Way You Look Tonight" is a song from the film "Swing Time" that was performed by Fred Astaire and written by Dorothy Fields and Jerome Kern. It won the Academy Award for Best Original Song in 1936. Fields remarked, "The first time Jerry played that melody for me I went out and started to cry. The release absolutely killed me. I couldn't stop, it was so beautiful." In the movie, Astaire sang "The Way You Look Tonight" to Ginger Rogers while she was washing her hair in an adjacent room. His recording reached the

neg: Ginger Rogers George Gershwin and Ira Gershwin. Fred Astaire was hired to help the dancers with their choreography. Her appearance in "Girl Crazy" made her an overnight star at the age of 19. Rogers' first movie roles were in a trio of short films made in 1929—"Night in the Dormitory", "A Day of a Man of Affairs", and "Campus Sweethearts". In 1930, she was signed by Paramount Pictures to a seven-year contract. Rogers soon got herself out of the Paramount contract—under which she had made five feature films at Astoria Studios in Astoria, Queens—and moved with her mother to Hollywood. When she

neg: Fred Astaire and Ginger Rogers although her career waned post war. Astaire continued to make musicals including "Holiday Inn" (1942) with Bing Crosby, "Sky's The Limit" (1943) with Joan Leslie and "Blue Skies" (1946), his second and last movie with Crosby. He also partnered with numerous other dancers, including Rita Hayworth, Cyd Charisse and Judy Garland. Fearing his career was failing, "Blue Skies" was due to be Astaire's last film, after which he retired for two years. In 1948 Gene Kelly was due to star in MGM's "Easter Parade" alongside Judy Garland, but he broke his ankle, and MGM convinced Astaire to fill in, ending

neg: Top Hat of "Top Hat" is available separately and as part of "The Astaire & Rogers Collection, Vol.1" from Warner Home Video. In both cases, the film features a commentary by Astaire's daughter, Ava Astaire McKenzie, and Larry Billman, author of "Fred Astaire, a Bio-bibliography." Since 2003, a digitally restored version of "Top Hat" (not the same as the US restoration) is available separately, and as part of "The Fred and Ginger Collection, Vol. 1" from Universal Studios, which controls the rights to the RKO Astaire-Rogers pictures in the UK. In both releases, the film features an introduction by Ava Astaire McKenzie.

neg: Smartest Girl in Town "ketchup blood" on his face and then embraces him. RKO Pictures was also the studio which produced the Fred Astaire-Ginger Rogers series of films, thus "Smartest Girl's" comic supporting players, Helen Broderick, Eric Blore and Erik Rhodes, all had prominent roles in the previous year's Astaire-Rogers hit, "Top Hat". Furthermore, two months before "Smartest Girl's" release, Blore and Broderick were seen in the dancing duo's very successful 1936 effort, "Swing Time" and, the previous year, had been in another RKO musical comedy, "To Beat the Band". As for Blore and Rhodes, both had earlier appeared in the first Astaire-Rogers vehicle,

neg: Ginger Rogers Convention. A Republican and a devout Christian Scientist, Rogers was married five times, with all of her marriages ending in divorce; she had no children. During her long career, Rogers made 73 films, and her musical films with Fred Astaire are credited with revolutionizing the genre. Rogers was a major movie star during the Golden Age of Hollywood, and is often considered an American icon. She ranks number 14 on the AFI's 100 Years...100 Stars list of female stars of classic American cinema. Virginia Katherine McMath was born on July 16, 1911, in Independence, Missouri, the only child of Lela

neg: Victor Baravalle music director for the Rudy Vallée vehicle "The Vagabond Lover" (1929). He was the musical director for three of the Fred Astaire-Ginger Rogers films, "A Damsel in Distress" (1937), "Carefree" (1938), which earned him an Academy Award nomination for Best Musical Scoring, although it was Irving Berlin who wrote the actual songs in the film, and "The Story of Vernon and Irene Castle" (1939), which is the last film Astaire and Rogers made together at RKO. Victor Baravalle Victor Baravalle (1885–1939) was an Italian born composer and conductor. He conducted the orchestra for the Broadway premiere production of "Show Boat"

neg: Carefree (film) Carefree (film) Carefree is a 1938 musical film starring Fred Astaire and Ginger Rogers. With a plot similar to screwball comedies of the period, "Carefree" is the shortest of the Astaire-Rogers films, featuring only four musical numbers. "Carefree" is often remembered as the film in which Astaire and Rogers shared a long on-screen kiss at the conclusion of their dance to "I Used to Be Color Blind," all previous kisses having been either quick pecks or simply implied. "Carefree" was a reunion for the team of Astaire and Rogers after a brief hiatus following "Shall We Dance" and six other

neg: Guy Endore ("Lady from Louisiana"), and a Ginger Rogers/Fred Astaire picture ("Carefree"). His Hollywood career ended in 1969 with a made for TV movie entitled "Fear No Evil", for which he wrote the story. It was the first US Television “Movie of the Week” and a success in the ratings, spawning a sequel in later years. While he attended Columbia, he was drawn to the political left by Whittaker Chambers, who was a fellow student at the time, and by the harsh Great Depression world in which he lived. He would openly describe himself as opposed to capitalist class society and to

neg: Dorothy Coburn horseback-stuntwoman opposite such stars as Gary Cooper and Joel McCrea, and as a stand-in for Ginger Rogers in several of her dancing films with Fred Astaire. Coburn retired from the movie business in the early 1930s. An accomplished rider and a fit athlete, Coburn also occasionally worked as a stunt performer in westerns. After the advent of sound, she was sometimes engaged as a stand-in for Rogers at RKO. After leaving the movie business in 1936, she found employment as a receptionist for an insurance company. She was married twice and died in 1978, aged 72, from emphysema. She is

neg: Fred Astaire and Ginger Rogers in the 1930s with profits of $1.3 million. They were voted fourth on the Top Ten Money Making Stars Poll published by Quigley Publishing Company. By 1936, Astaire and Rogers were top box office names. That year they made another two movies together: "Follow the Fleet" and "Swing Time", which were both hits, earning worldwide rentals of $2.7 million and $2.6 million respectively. "Follow the Fleet" boasted another Irving Berlin score, which featured the well known vignette "Let's Face the Music and Dance". "Swing Time" spawned the Oscar-winning song "The Way You Look Tonight", written by Jerome Kern with lyrics

neg: Rogers v. Grimaldi The Second Circuit, on appeal, noted that, "This appeal presents a conflict between Rogers' right to protect her celebrated name and the right of others to express themselves freely in their own artistic work. Specifically, we must decide whether Rogers can prevent the use of the title "Ginger and Fred" for a fictional movie that only obliquely relates to Rogers and Astaire." The lower court found Grimaldi not liable. The Second Circuit affirmed, with Judge Jon O. Newman writing for the panel that "suppressing an artistically relevant though ambiguous[ly] title[d] film" on trademark grounds would "unduly restrict expression." The court

neg: Ginger Rogers remains. Ginger Rogers Ginger Rogers (born Virginia Katherine McMath; July 16, 1911 – April 25, 1995) was an American actress, dancer, and singer. She is known for her starring role in "Kitty Foyle" (1940), but is best remembered for performing in RKO's musical films (partnered with Fred Astaire) on stage, radio and television, throughout much of the 20th century. Born in Independence, Missouri, and raised in Kansas City, Rogers and her family moved to Fort Worth, Texas, when she was nine years old. After winning a 1925 Charleston dance contest that launched a successful vaudeville career, she gained recognition as

neg: Ginger Rogers Ginger Rogers Ginger Rogers (born Virginia Katherine McMath; July 16, 1911 – April 25, 1995) was an American actress, dancer, and singer. She is known for her starring role in "Kitty Foyle" (1940), but is best remembered for performing in RKO's musical films (partnered with Fred Astaire) on stage, radio and television, throughout much of the 20th century. Born in Independence, Missouri, and raised in Kansas City, Rogers and her family moved to Fort Worth, Texas, when she was nine years old. After winning a 1925 Charleston dance contest that launched a successful vaudeville career, she gained recognition as a

neg: Donald Duk has two older twin sisters named Penelope and Venus Duk. From the start of the book we are told how embarrassed Donald is of his name and of being introduced with his family. The story begins with Donald comparing himself to Fred Astaire. Donald believes he dances as well as Fred and throughout the novel considers himself the real "Chinese Fred Astaire" (91). Donald immerses himself in old black-and-white movies, and especially admires Fred Astaire and Ginger Rogers films. He envies the way "everyone" adores Fred when he dances. Donald wishes he could "live the late-night life in old black-and-white

neg: Robert Aldrich his Rockefeller connections to enter the studio as an associate producer. He married his first wife, Harriet Foster, a childhood sweetheart, shortly before he departed for Hollywood in May 1941. Though the smallest of Hollywood‘s top studios, RKO could boast an impressive roster of directors (George Cukor, John Ford and Howard Hawks) as well as movie stars (Fred Astaire and Ginger Rogers, Cary Grant, Katharine Hepburn and the Marx Brothers). The 23-year-old Aldrich assumed his duties shortly after Orson Welles, at 26, signed a six-movie contract with RKO after the release of the widely acclaimed "Citizen Kane" (1941). When the

neg: Ballroom dance huge Arthur Murray organisation in America, and the dance societies in England, such as the Imperial Society of Teachers of Dancing, were highly influential. Finally, much of this happened during and after a period of World War, and the effect of such a conflict in dissolving older social customs was considerable. Later, in the 1930s, the on-screen dance pairing of Fred Astaire and Ginger Rogers influenced all forms of dance in the U.S. and elsewhere. Although both actors had separate careers, their filmed dance sequences together, which included portrayals of the Castles, have reached iconic status. Much of Astaire and

neg: Sidney Glazier and resources, Glazier succeeded in bringing the film in under budget. Brooks remembered Glazier as a producer was "very bright, warm and a bit of a bon vivant. Sidney was the first one to say, "The dailies look good, let's have a party." He'd have a party about anything – have a few drinks, canapés and pretty girls. He was right out of a black-and-white Fred Astaire and Ginger Rogers movie." The film, renamed "The Producers" at the insistence of Levine, had a mixed reception. Many critics gave it poor reviews, but the actor and comedian Peter Sellers was so

neg: Hermes Pan Hermes Pan Hermes Pan (December 10, 1909 – September 19, 1990) was an American dancer and choreographer, principally remembered as Fred Astaire's choreographic collaborator on the famous 1930s movie musicals starring Astaire and Ginger Rogers. Pan was born Hermes Joseph Panagiotopoulos in 1909 in Memphis, Tennessee to Pantelis Panagiotopoulos, a Greek immigrant, and Mary Aljeanne Huston, a Southerner. Pantelis, a confectioner by trade, was from a prominent family in Aigio in Peloponnese, where his family had opened the first theater. In 1895, at the age of twenty-seven, Pantelis was chosen to represent Aigio at the Tennessee Centennial and International Exposition

neg: Dolores del Río to Rio" (1933). In the film Fred Astaire and Ginger Rogers first appeared as dance partners. It featured del Río opposite Fred Astaire in an intricate dance number called "Orchids in the Moonlight". But after the premiere, RKO were worried about their economic problems and decided not to renew del Río's contract. In 1934 Jack Warner met del Río at a party and offered her a starring role in two films for Warner. The first was the musical comedy "Wonder Bar", directed by Lloyd Bacon. Busby Berkeley was the choreographer and Al Jolson her co-star. Del Río and Jolson were

neg: Fred Astaire's solo and partnered dances its inventiveness, virtuosity and precision of execution, indeed a hallmark of Astaire was his determination never to repeat himself. "Roberta" (1935) was the last film where the taps were all recorded live, after this virtually all of Fred Astaire's taps were re-recorded by him in post production, and while this was common practice in Hollywood musicals of the time - for example Ginger Rogers' taps on the Astaire-Rogers pictures were post-recorded by Astaire's collaborator Hermes Pan - it was unusual for a major star to undertake such a tedious and time-consuming task. It was the act of a perfectionist who

neg: Gay Divorce Gay Divorce Gay Divorce is a musical with music and lyrics by Cole Porter and book by Dwight Taylor, adapted by Kenneth Webb and Samuel Hoffenstein. It was Fred Astaire's last Broadway show and featured the hit song "Night and Day" in which Astaire danced with co-star Claire Luce. It was made into a musical film by RKO Radio Pictures in 1934, starring Fred Astaire and Ginger Rogers, and renamed "The Gay Divorcee". Guy Holden, an American writer traveling in England, falls madly in love with a woman named Mimi, who disappears after their first encounter. To take his mind

neg: Nicolas Dromard He went on to study music at École secondaire publique De La Salle, a performing arts high school in Ottawa, where he learned to play the piano and the flute. He was inspired to start dancing when he saw a Fred Astaire and Ginger Rogers movie. He would dance in the halls at school, and his teacher told his parents to sign him up for dance lessons. He studied singing under the instruction of Yoriko Tanno-Kimmons, who runs a voice studio in Ottawa. Dromard's first language was French; born to French parents, he didn't learn English until the age of

neg: Vernon and Irene Castle radio dramatizations of her European travels with her husband, bulldog Zowie, and Walter ("father's coloured servant") around the capitals of Europe in "The Life of Irene Castle". Only one episode (episode #4) is known to exist. In 1939, the Castles' life was turned into a movie, "The Story of Vernon and Irene Castle", produced by RKO and starring Fred Astaire and Ginger Rogers. Edna May Oliver played their agent, and Lew Fields was his 33 years younger self. Irene Castle served as a technical advisor on the film, but clashed with Rogers, who refused to wear Castle's trademark short bob

neg: Fred Astaire and Ginger Rogers co-starred comedian Edward Everett Horton. In "Roberta", Astaire and Rogers had a supporting role with Irene Dunne starring. In this film, the song and dance, "I'll Be Hard to Handle", was an early example of the electricity and vivacity of the pairing. It was RKO's biggest hit of the 1934-1935 season with worldwide rentals of $2.3 million. "Top Hat" marked the first time the duo had a film written solely for them, and it proved to be one of the most successful films of the year with worldwide rentals of $3.2 million. It was the most profitable film RKO made

neg: Irene (costume designer) number of Hollywood stars. Lentz's designs at Bullocks gained her much attention in the film community and she was contracted by independent production companies to design the wardrobe for some of their productions. Billing herself simply as "Irene," her first work came in 1933 on the film Goldie Gets Along featuring her designs for star Lily Damita. However, her big break came when she was hired to create the gowns for Ginger Rogers for her 1937 film "Shall We Dance" with Fred Astaire. This was followed by more designs in another Ginger Rogers film as well as work for other

neg: Eric Blore United States and began playing character roles on Broadway. After the death of his first wife, Violet Winter, he married Clara Mackin in 1926. His stage work in the musical "Gay Divorce" with Fred Astaire earned him a role in films. He moved on to film and appeared in over eighty Hollywood films. Blore, in his role as an English butler, appeared more frequently than any other supporting player in the series of Fred Astaire and Ginger Rogers musicals at RKO Radio Pictures, five of ten. Some of his most memorable on-screen moments took place in "Top Hat" (1935) and

neg: Pandro S. Berman Both Selznick and Berman were proud of the picture, with Berman later saying it was the "first good movie" he had produced. The Fred Astaire/Ginger Rogers musicals were in production during the Berman regime, Katharine Hepburn rose to prominence, and such RKO classics as "The Hunchback of Notre Dame" and "Gunga Din" (both 1939) were completed. Upset when an RKO power-play diminished his authority, Berman left for MGM in 1940, where he oversaw such productions as "Ziegfeld Girl" (1941), "National Velvet" (1944), "The Bribe" (1949), "Father of the Bride" (1950), "Blackboard Jungle" (1955) and "BUtterfield 8" (1960). He survived several

neg: Never Gonna Dance (song) Never Gonna Dance (song) "Never Gonna Dance" is a song performed by Fred Astaire and danced with Ginger Rogers in their movie "Swing Time". The words were by Dorothy Fields and the music was by Jerome Kern. This dramatic dance was performed at the end of the movie after John 'Lucky' Garnett finds out Penelope 'Penny' Carroll is engaged to Ricardo 'Ricky' Romero, Georges Metaxa. This is a dance of desperation, despair and love. It starts slowly, Lucky not wanting Penny to leave. As she is walking up the stairs, he begins his serenade to her in hopes that she

neg: Mel Berns Mel Berns Mel Berns (September 27, 1897 - May 7, 1977) was an American make-up artist. He was the Head of Makeup at RKO Pictures for more than twenty years. Berns began his career in the entertainment industry while working as an agent at the William Morris Agency. Later he became the Head of Makeup at RKO Pictures for more than twenty years, creating the makeup for Fred Astaire and Ginger Rogers and Katharine Hepburn's screentest. He was a lifelong friend of Ginger Rogers, who makes ample reference to their friendship in her autobiography: "Ginger: My Story". He worked extensively

neg: Harriet Hoctor a young aviator: "A young girl, flying cross-country in pursuance of a non-stop record, crashes and is killed. Out of the wreckage rises the soul of the plane fused with that of the young girl." In the late 1930s, she was a dancer in a number of Hollywood movies. She appeared as herself in "The Great Ziegfeld" (1936), "Shall We Dance" (1937), and "Billy Rose's Casa Manana Revue" (1938). "Shall We Dance" featured Fred Astaire and Ginger Rogers, and Hoctor danced with Astaire. Hoctor missed at least two chances to star in major Hollywood movies with Fred Astaire. In 1935,

neg: Lucille Ball by Florenz Ziegfeld, from a touring company of "Rio Rita". After an uncredited stint as a Goldwyn Girl in "Roman Scandals" (1933), starring Eddie Cantor and Gloria Stuart, Ball moved permanently to Hollywood to appear in films. She had many small movie roles in the 1930s as a contract player for RKO Radio Pictures, including a two-reel comedy short with the Three Stooges ("Three Little Pigskins", 1934) and a movie with the Marx Brothers ("Room Service", 1938). She also appeared as one of the featured models in the Fred Astaire and Ginger Rogers film "Roberta" (1935), as the flower girl

neg: Movie ranch town of Osage. In addition to "Cimarron" scenery, RKO continued to create a vast array of diverse sets for their ever-expanding movie ranch that included a New York avenue, brownstone street, English row houses, slum district, small town square, residential neighborhood, three working train depots, mansion estate, New England farm, western ranch, a mammoth medieval City of Paris, European marketplace, Russian village, Yukon mining camp, ocean tank with sky backdrop, Moorish casbah, Mexican outpost, Sahara Desert fort, plaster mountain range diorama, and a football field sized United States map on which Fred Astaire and Ginger Rogers danced across in "The

neg: Reeling (book) cinema. The book is out-of-print in the United States, but is still published by Marion Boyars Publishers in the United Kingdom. Reeling (book) Reeling (1976) is Pauline Kael's fifth collection of movie reviews, covering the years 1972 through 1975. The book is largely composed of movie reviews, ranging from her famous review of "Last Tango in Paris" to her review of "A Woman Under the Influence", but it also contains a longer essay entitled "On the Future of Movies" as well as a book review of "The Fred Astaire & Ginger Rogers Book", by fellow "The New Yorker" dance critic

neg: Reeling (book) Reeling (book) Reeling (1976) is Pauline Kael's fifth collection of movie reviews, covering the years 1972 through 1975. The book is largely composed of movie reviews, ranging from her famous review of "Last Tango in Paris" to her review of "A Woman Under the Influence", but it also contains a longer essay entitled "On the Future of Movies" as well as a book review of "The Fred Astaire & Ginger Rogers Book", by fellow "The New Yorker" dance critic Arlene Croce. In 2010, four film critics polled by the British Film Institute listed "Reeling" among their favorite books related to

neg: Fred Astaire and Ginger Rogers in this film, Missouri Waltz, they attracted a large crowd of co-workers and crew members from RKO and numerous other studios, all of whom attended to bid an emotional farewell to the great dance team. The film earned worldwide rentals of $1.8 million but again did not make a profit. Rogers had long been keen to pursue more dramatic roles, which she successfully managed after her split from Astaire. At the 1941 Academy Awards ceremony, Rogers won the Academy Award for Best Actress for her performance in "Kitty Foyle" and by the mid-1940s she was the highest-paid actress in Hollywood,

neg: Paramount Theatre (Oakland, California) features as "Dancing Lady" (1933) with Joan Crawford and Clark Gable, "Dames" (1934) with Dick Powell, and "The Gay Divorcee" (1934) with Fred Astaire and Ginger Rogers. The Great Depression gave way to World War II, and the Port of Oakland became a major departure and arrival point for servicemen. The Paramount's comfortable chairs and spacious lounges were a favorite gathering place. In the 1950s, popcorn machines and candy counters were installed, and on the lobby walls the incandescent lights were taken out and replaced by neon tubing in red and blue. In 1953, it played the first CinemaScope movie

neg: Pennies from Heaven (1981 film) the characters' sad lives with brightly colored dream-fantasy lavish musical sequences. The characters break into song and dance to express their emotions. For example, Eileen turns into a silver-gowned torch singer in her school-room, with her students lip-synching and dancing ("Love Is Good for Anything That Ails You"). Tom seduces Eileen with a tap dance/striptease routine on top of a bar ("Let's Misbehave"). Arthur and Eileen go to a movie ("Follow the Fleet") and wind up dancing in formal wear, first with, then in, a Fred Astaire-Ginger Rogers musical number from the film, "Let's Face the Music and Dance". All

neg: IBOT segment by John Hockenberry on June 30, 1999. By this time, Johnson & Johnson had already spent on the project. The iBOT entered clinical trials in 1999, with FDA approval arriving four years after the reveal on August 13, 2003. During development the iBot was nicknamed Fred after Fred Astaire. The Segway PT, which was the result of the non-medical product development was nicknamed Ginger (after Ginger Rogers, Fred Astaire's dance partner) was released in 2001. Starting in 2009, the iBOT was no longer available for sale from Independence Technology, but support for existing units was available until the end

neg: Fred Astaire interest of Ginger Rogers, with whom he co-starred in a series of ten Hollywood musicals. Astaire was named by the American Film Institute as the fifth greatest male star of Classic Hollywood cinema in 100 Years... 100 Stars. Gene Kelly, another renowned star of filmed dance, said that "the history of dance on film begins with Astaire." Later, he asserted that Astaire was "the only one of today's dancers who will be remembered." Beyond film and television, many dancers and choreographers, including Rudolf Nureyev, Sammy Davis Jr., Michael Jackson, Gregory Hines, Mikhail Baryshnikov, George Balanchine, Jerome Robbins, Madhuri Dixit and

neg: Stanley Donen and Helen (Cohen), the daughter of a jewelry salesman. His younger sister Carla Donen Davis was born in August 1937. Although born to Jewish parents, he became an atheist in his youth. Donen described his childhood as lonely and unhappy as one of the few Jews in Columbia, and he was occasionally bullied by anti-semitic classmates at school. To help cope with his isolation, he spent much of his youth in local movie theaters and was especially fond of Westerns, comedies and thrillers. The film that had the strongest impact on him was the 1933 Fred Astaire and Ginger Rogers

neg: Boris Morros misinformation back to Moscow. Morros' codename in Soviet intelligence and the Venona files was "FROST." In 1960, "Man on a String", a feature film loosely based on Morros' adventures as a counterspy, was released. Ernest Borgnine played Morros, who co-wrote the screenplay. Morros, who was employed by Paramount Pictures, worked there in several capacities. His movie production credits include "The Flying Deuces" (1939) with Laurel and Hardy and "Second Chorus" (1940) with Paulette Goddard and Fred Astaire. Morros also worked with Bing Crosby, Ginger Rogers, Martha Raye, and Rudy Vallee. Morros was also the music director at Paramount, where he

neg: Lillian Miles Lillian Miles Lillian Miles (August 1, 1907 – February 27, 1972) was an American actress in several films in the 1930s. Miles was born in 1907 in Oskaloosa, Iowa. Aside from singing and performing in the celebrated 'Continental' musical number in "The Gay Divorcee" (1934), starring Fred Astaire and Ginger Rogers, Miles's film career was brief, unremarkable, and confined to low-budget 'B' pictures. However, she has something of a cult following nowadays for her performance in the infamous anti-dope exploitation movie "Reefer Madness," made in 1936. It is she who appears in the film's most remembered sequence, playing an increasingly

neg: Pat Wictor their first album, "Souls Are Falling." According to a review, the album contains "creative "new acoustic" sounds (i.e., elements of folk, rock, jazz, and soul). Touches of world music – African, Latin, Middle Eastern – can be heard throughout their work, distinguishing it from the pack of other current adult contemporary music. The band's focus and strength lies not in its vocals, but in the sound of Wictor's and Ypsilantis's guitars blending together, weaving in and out, dancing about like Fred Astaire and Ginger Rogers." He and Ypsilantis released a second album on October 4, 2001, titled "Things You Know."

neg: Henry Creamer the lyrics, are "After You've Gone" (1918), which was popularized by Sophie Tucker, and "Way Down Yonder in New Orleans" (1922), which was included in the soundtrack for one of the dance numbers in the Fred Astaire / Ginger Rogers 1939 movie "The Story of Vernon and Irene Castle". Success on Broadway arrived in 1922 when Creamer’s Creole Production Company produced the show "Strut Miss Lizzie", and in 1923 to seal their success, Bessie Smith recorded their song "Whoa, Tillie, Take Your Time". Creamer's other Broadway stage scores include "Three Showers". Creamer and Layton disbanded as a duo in 1924,

neg: Dick Skeen Karel Kozeluh, Vinnie Richards, Frank Kovacs, Welby Van Horn, Bruce Barnes, Wayne Sabin, and Lester Stoefen. He believed that Frank Kovacs had the best backhand he played against. Dick Skeen also was a tennis teacher to many Hollywood Movie Stars, including Errol Flynn, Bing Crosby, Gary Cooper, Cary Grant, Fred Astaire, Kirk Douglas, Ginger Rogers, Doris Day, Joseph Cotten, Merle Oberon, Johnny Weissmuller, Norma Shearer, Hugh O'Brian, Dolores del Rio, Robert Stack, Efrem Zimbalist, Jr. and Cornel Wilde. Dick Skeen Dick Skeen was born in Dallas, Texas in 1906 and died in Medford, Oregon in 1990 at age 84. He

neg: I Won't Dance that it is now included in all stage revivals and recordings of "Roberta". The song was added to the 1935 film version of "Roberta", sung by Fred Astaire and Ginger Rogers, danced to (solo) by Fred Astaire, then reprised as a dance by both. The song is anachronistically used as a musical number performed by Felicia Day in the television film biography of President Franklin D. Roosevelt, "Warm Springs", which largely takes place in the year 1924. The song was also performed by Lucille Bremer and Van Johnson for the 1946 Kern biopic "Till the Clouds Roll By". Since the

neg: Swing Time (film) Swing Time (film) Swing Time is a 1936 American RKO musical comedy film set mainly in New York City, and starring Fred Astaire and Ginger Rogers. It features Helen Broderick, Victor Moore, Betty Furness, Eric Blore and Georges Metaxa, with music by Jerome Kern and lyrics by Dorothy Fields. The film was directed by George Stevens. Noted dance critic Arlene Croce considers "Swing Time" Astaire and Rogers' best dance musical, a view shared by John Mueller and Hannah Hyam. It features four dance routines that are each regarded as masterpieces. According to "The Oxford Companion to the American Musical", "Swing

neg: Top Hat (musical) critics appreciated the spectacle but agreed that the plot was weak; “the plot, for want of a better word, doesn't bear too much close inspection”, said Christopher Hart in the "Sunday Times". The musical was also criticised for its length. “The second half could be cut down by a good 15 minutes“, according to "Exeunt" magazine. Michael Billington of "The Guardian" wrote, “The evening can be quickly summed up as 'great songs, daft book'". Paul Taylor of "The Independent" said, “The producers of this irresistible show, a freely adapted version of the Fred Astaire and Ginger Rogers movie, don't subscribe

neg: Charles Walters the studio, "Easter Parade" (1948) with Fred Astaire and Judy Garland, which was a mammoth hit for the studio, earning a profit of over $5 million, establishing Walters as a director. Walters was meant to reteam with Astaire and Garland in "The Barkleys of Broadway" (1949), but the latter fell ill and was replaced by Ginger Rogers. Walters then directed Garland and Gene Kelly in "Summer Stock" (1950). He followed this with his first non-musical comedy "Three Guys Named Mike" (1951), then the Esther Williams vehicle "Texas Carnival" (1951). Walters went to Broadway to direct Garland's appearance at the Palace

neg: Jerome Kern Yourself Up" and "Never Gonna Dance". "The Oxford Companion to the American Musical" calls "Swing Time" "a strong candidate for the best of the Fred Astaire and Ginger Rogers musicals" and says that, although the screenplay is contrived, it "left plenty of room for dance and all of it was superb. ... Although the movie is remembered as one of the great dance musicals, it also boasts one of the best film scores of the 1930s." For the 1936 film version of "Show Boat", Kern and Hammerstein wrote three new songs, including "I Have The Room Above Her" and "Ah

neg: Swing Time (film) Time" is "a strong candidate for the best of the Fred Astaire and Ginger Rogers musicals". The Oxford Companion says that, although the screenplay is contrived, it "left plenty of room for dance and all of it was superb. … Although the movie is remembered as one of the great dance musicals, it also boasts one of the best film scores of the 1930s." "Never Gonna Dance" is often singled out as the partnership's and collaborator Hermes Pan's most profound achievement in filmed dance, while "The Way You Look Tonight" won the Academy Award for Best Original Song and went

neg: Rick Rudd chimpanzees, gorillas, mandrills and orangutans. In 1979 Rudd produced a series of plaques featuring Hollywood movie stars like Fred Astaire, Ginger Rogers and Marilyn Monroe. At the time Rudd was producing a radio talkback show for David Hartnell in Auckland, and had visited Universal Studios in California on a trip organised by Hartnell. In the 1980s Rudd made works where male and female torsos appear to be emerging from columns, which 'allude to the sculptural tradition of carving from a block'. His 2015 survey exhibition "Rick Rudd: Beyond True to Form" included numerous figurative pieces such as the group "Second

neg: Guy Endore a cult following in recent years. Throughout his career Endore showed himself to be fascinated with hypnotism and the inability of characters to control their own actions, centering his stories on supernatural maladies such as lycanthropy and hypnosis. "Mad Love", Peter Lorre’s American debut, involves a man who, after an accident, is fitted with the hands of a murderer which try to continue in their gruesome career. His novel "Methinks The Lady...", which was made into a movie with Gene Tierney, centered around a woman affected by a quack hypnotist. Even his Fred Astaire and Ginger Rogers comedy, "Carefree", still

neg: Martin Faulkner that period: his subject matter ranges from portraits and scenes to mechanical subjects, particularly steam trains and vintage cars. It also inspired his work as a designer of vintage fashions and sets. Adopting the Art Deco lifestyle lead him to swing music and ballroom dancing, and one decade of his career was spent pursuing professionally what started as a keen leisure interest: first as one half of the Fred Astaire-Ginger Rogers-inspired 1930s dance cabaret act Ruby Fox & Johnny Martin for five years, entertaining at high society venues, among them The Cliveden Club and The Waldorf, backed by top nostalgic/swing

neg: Bob Thaves the 1980s. Its format was identical to "Frank and Ernest", but featured the titular King. His son Tom began collaborating with him on "Frank and Ernest" in 1997. The elder Thaves had planned on transitioning his son to take over the strip before his death. Bob Thaves died of respiratory failure in Torrance, California at the age of 81. In a 1982 "Frank and Ernest" comic strip Thaves wrote about Fred Astaire: "Sure he was great, but don't forget that Ginger Rogers did everything he did, backwards…and in high heels." The official Ginger Rogers website credits Thaves and uses his

neg: Screwball comedy film 39 Steps" (1935) features the gimmick of a young couple who find themselves handcuffed together and who eventually, almost in spite of themselves, fall in love with one another, and Woody Van Dyke's detective comedy "The Thin Man" (1934), which portrays a witty, urbane couple who trade barbs as they solve mysteries together. 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). The Eddie Cantor musicals "Whoopee!" (1930) and "Roman Scandals" (1933), and slapstick road movies such as "Six of a Kind" (1934)

neg: Andrea Zuckerman she decides to finally call him. This begins a torrid affair, with the two sneaking around at work together, and later going as far as booking their own motel room for sex. Things come to a head for Andrea when she, along with Jesse, run into Peter and his wife Adrian, and they all end up having dinner together, at which time Andrea and Peter share a mutual fantasy that paints them as silver screen dance legends Fred Astaire and Ginger Rogers. Andrea finally decides she is in love with Peter, and informs Peter that she plans to leave Jesse

neg: Dancing House styles. The then Czech president, Václav Havel, who lived for decades next to the site, had avidly supported this project, hoping that the building would become a center of cultural activity. Gehry originally named the house "Fred and Ginger" (after the famous dancers Fred Astaire and Ginger Rogers – the house resembles a pair of dancers) but this nickname is now rarely used; moreover, Gehry himself was later "afraid to import American Hollywood kitsch to Prague", and thus discarded his own idea. The "Dancing House" is set on a property of great historical significance. Its site was the location of

neg: Edna May Oliver including "A Tale of Two Cities" (1935), starring Ronald Colman, as the prim but acidic Miss Pross and "David Copperfield" (also 1935) as the eccentric Betsy Trotwood. Oliver was also seen in two 1939 movie musicals, with Tyrone Power in the Sonja Henie skating film "Second Fiddle" and in a supporting role as the agent of the title characters in the Fred Astaire/Ginger Rogers musical "The Story of Vernon and Irene Castle". That same year, she was nominated for a Supporting Actress Academy Award for her performance in "Drums Along the Mohawk" as an early American settler who gives shelter

neg: Haywire (book) well-known theatrical agent and stage, film, and television producer “who taught Fred Astaire how to dress and whom Katharine Hepburn called ‘the most wonderful man in the world’–even after he ended their romance…,“ and who “thrived on the glamorous Hollywood scene.“ His clients included Fred Astaire, Jimmy Stewart, Henry Fonda, Ernest Hemingway, Judy Garland, Ginger Rogers, Billy Wilder, Gene Kelly, Myrna Loy, Herman Mankiewicz, Gene Fowler, Gregory Peck, William Wyler, Fredric March, Boris Karloff, Lillian Hellman, Helen Hayes, Dashiell Hammett, Greta Garbo, and Katharine Hepburn. He was a Tony Award-winning Broadway producer of "Call Me Madam," "South Pacific," "," "The

neg: Musical film (1933), Berkeley choreographed a number of films in his unique style. Berkeley's numbers typically begin on a stage but gradually transcend the limitations of theatrical space: his ingenious routines, involving human bodies forming patterns like a kaleidoscope, could never fit onto a real stage and the intended perspective is viewing from straight above. 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),

neg: John Wilson Orchestra Sierra Boggess and Julian Ovenden. This was another televised concert from films made between 1935 and 1969, taking the audience through the birth of movie musicals to the last of the musicals made using the old studio format. Styles ranged from romantic to brash, and moods from elegiac to inspirational. The soloists and orchestra re-created interpretations by Fred Astaire, Ginger Rogers, Gene Kelly, Judy Garland, Julie Andrews and Doris Day. Highlights included the title songs from "42nd Street" (Annalene Beechey), "Strike Up the Band" (Caroline O'Connor), and "Top Hat" (Matthew Ford). Other outstanding numbers were "A Fine Romance" and "Secret

neg: Oakwood Memorial Park Cemetery Oakwood Memorial Park Cemetery The Oakwood Memorial Park Cemetery is located at 22601 Lassen Street, Chatsworth, Los Angeles, California. It is the resting place for several movie stars such as Fred Astaire, Ginger Rogers, Gloria Grahame, and Stephen Boyd. Oakwood Memorial Park is located in the San Fernando Valley, surrounded by rocky hills that have served as a backdrop for many a film setting. It has been used as a cemetery since 1924, and there was a Native American graveyard next to the cemetery before a fire destroyed the old wooden crosses that marked the site. The Old Stagecoach Trail