![]() The ruffles at the elbows were brought up to the shoulders.īy the time Fred and Ginger’s third film Top Hat (1935 ) was being made, Walter Plunkett had left RKO due to a salary dispute. Walter Plunkett’s costume sketch below shows the costume worn by the chorines (the white version, there was also a black). Walter Plunkett designed Gay Divorcee, and with his first two RKO movies he set the pattern for her dance dresses: a tight fit at the waist and bodice that showed off her gorgeous figure, and a flowing skirt that twirled as she danced with Fred. They meet seemingly by accident, and while there’s attraction, things go wrong and keep going wrong until they finally unite at the very end. And a plot that became a standard with RKO’s Fred and Ginger movies. ![]() Their dancing was infectious to look at, a symbol of the romance that was always bubbling as part of the plot. As someone said about the duo, “He gave her class and she gave him sex.” Fred’s early screen test meant nothing now, especially with his chemistry with Ginger Rogers. Deep in the Depression, this was a winning combination for the audience. Plus they smiled as they danced, looking like they were having the greatest time. No jump cuts or edits of close-up foot-work or head shots would be used until they were finished. This movie musical launched something different: Fred insisted on the cameras shooting Ginger and him dancing full bodied cross the studio floor. RKO realized they had something special with Fred and Ginger, and when Broadway’s Gay Divorce was turned into RKO’s 1935 film The Gay Divorcee (a gay divorce could not possibly happen according to the censor), the studio realized they had gold. Walter Plunkett was RKO’s costume designer and he designed Ginger Rogers’ costumes and those of the chorines. Dolores Del Rio was a big star at the time and used her favorite designer Irene (Lentz Gibbins) to design her wardrobe for the film. Fred and Ginger had smaller parts, especially Ginger, but they smoked the floor when they danced to “The Carioca.” They stole the show, as they say in show business. The stars of the movie were Dolores Del Rio and Gene Raymond. Ironically, the future dancing dynamos were not even top-billed. But lightning sparked when Fred was paired with Ginger Rogers in RKO’s Flying Down to Rio. Yet RKO’s first role for him wasn’t ready so he was loaned out to MGM for a role starring as himself with a dance partner not quite up to the task: Joan Crawford, in Dancing Lady (1933). Also dances.” But all Fred needed was a dance partner. According to Fred Astaire’s later memory, it summarized him as, “Can’t act. ![]() Fred’s first screen test for the studio didn’t bring down the house. Selznick was the head of production at the time, with Pandro Berman a leading producer. After closing the show he went to Hollywood with a contract at RKO Pictures.ĭavid O. He managed to find himself in another successful Broadway musical, Gay Divorce (1932-1933) , with dancing partner Clare Luce, with Cole Porter’s music including the catchy number, Night and Day. But now he was without a partner and his act fell apart. Along with his natural grace Fred picked up the impeccable style of the British upper class. There, Adele was wooed and wed by Lord Charles Cavendish. ![]() They performed in several musicals that took them to London. Fred met George Gershwin in 1916 and they remained friends for the rest of George’s short life. He and his older sister Adele began a Vaudeville act when he was 7. Fred & Adele Astaire in Smiles (Broadway) 1930-1931 Photo courtesy Photofestįred Astaire was born to entertain. His dance partners have included Ginger Rogers, who he danced with in several movies: Rita Hayworth Eleanor Powell Judy Garland Vera-Ellen Cyd Charisse, Leslie Caron and Audrey Hepburn, and he even partnered with Gene Kelly in Ziegfeld Follies. And while they danced with him they were dressed by some of the best studio costume designers. Fred Astaire danced with the best dancing stars of classic Hollywood. ![]()
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