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Ranking my favorite Fred Astaire musicals in reverse — a thread with a new film each day.
Astaire appeared in 32 between 1933 and 1976, all but two by 1957. In the vast majority he was one of the principal stars and a driving creative force. (I’ve seen all—most multiple times.)
Astaire appeared in 32 between 1933 and 1976, all but two by 1957. In the vast majority he was one of the principal stars and a driving creative force. (I’ve seen all—most multiple times.)
[32] “That’s Entertainment Part 2” (1976)
Since Fred Astaire and Gene Kelly did some modest dancing in between retrospectives, I’ll count this. While worthwhile, it’s my least favorite of the three movies in this nostalgia franchise and severely overuses its theme song.
![[32] “That’s Entertainment Part 2” (1976) Since Fred Astaire and Gene Kelly did some modest dancing in between retrospectives, I’ll count this. While worthwhile, it’s my least favorite of the three movies in this nostalgia franchise and severely overuses its theme song.](https://pbs.twimg.com/media/Ebo3HoXWsAI28Ci.jpg "[32] “That’s Entertainment Part 2” (1976) Since Fred Astaire and Gene Kelly did some modest dancing in between retrospectives, I’ll count this. While worthwhile, it’s my least favorite of the three movies in this nostalgia franchise and severely overuses its theme song.")
![[32] “That’s Entertainment Part 2” (1976) Since Fred Astaire and Gene Kelly did some modest dancing in between retrospectives, I’ll count this. While worthwhile, it’s my least favorite of the three movies in this nostalgia franchise and severely overuses its theme song.](https://pbs.twimg.com/media/Ebo3HoaXkAEOkN8.jpg "[32] “That’s Entertainment Part 2” (1976) Since Fred Astaire and Gene Kelly did some modest dancing in between retrospectives, I’ll count this. While worthwhile, it’s my least favorite of the three movies in this nostalgia franchise and severely overuses its theme song.")
Since Fred Astaire and Gene Kelly did some modest dancing in between retrospectives, I’ll count this. While worthwhile, it’s my least favorite of the three movies in this nostalgia franchise and severely overuses its theme song.
[31] “Finian’s Rainbow” (1968)
This Francis Ford Coppola-directed Fred Astaire musical has such a bad reputation that I was pleasantly surprised when I first watched it in 2015. But every time I consider re-visiting it, I wince and decide to watch something else instead.
![[31] “Finian’s Rainbow” (1968)This Francis Ford Coppola-directed Fred Astaire musical has such a bad reputation that I was pleasantly surprised when I first watched it in 2015. But every time I consider re-visiting it, I wince and decide to watch something else instead.](https://pbs.twimg.com/media/EbtlodqWsAE2sU2.jpg "[31] “Finian’s Rainbow” (1968)This Francis Ford Coppola-directed Fred Astaire musical has such a bad reputation that I was pleasantly surprised when I first watched it in 2015. But every time I consider re-visiting it, I wince and decide to watch something else instead.")
![[31] “Finian’s Rainbow” (1968)This Francis Ford Coppola-directed Fred Astaire musical has such a bad reputation that I was pleasantly surprised when I first watched it in 2015. But every time I consider re-visiting it, I wince and decide to watch something else instead.](https://pbs.twimg.com/media/EbtlodrX0AQzhTK.jpg "[31] “Finian’s Rainbow” (1968)This Francis Ford Coppola-directed Fred Astaire musical has such a bad reputation that I was pleasantly surprised when I first watched it in 2015. But every time I consider re-visiting it, I wince and decide to watch something else instead.")
This Francis Ford Coppola-directed Fred Astaire musical has such a bad reputation that I was pleasantly surprised when I first watched it in 2015. But every time I consider re-visiting it, I wince and decide to watch something else instead.
[30] “Dancing Lady” (1933)
Fred Astaire’s first movie! He has a cameo as himself, then does some not-very-special-by-his-standards dances with Joan Crawford in the finale. This was just Fred warming up for the first true Astaire movie later that year: “Flying Down to Rio”.
![[30] “Dancing Lady” (1933)Fred Astaire’s first movie! He has a cameo as himself, then does some not-very-special-by-his-standards dances with Joan Crawford in the finale. This was just Fred warming up for the first true Astaire movie later that year: “Flying Down to Rio”.](https://pbs.twimg.com/media/Eby2I1XXkAA9cDx.jpg "[30] “Dancing Lady” (1933)Fred Astaire’s first movie! He has a cameo as himself, then does some not-very-special-by-his-standards dances with Joan Crawford in the finale. This was just Fred warming up for the first true Astaire movie later that year: “Flying Down to Rio”.")
![[30] “Dancing Lady” (1933)Fred Astaire’s first movie! He has a cameo as himself, then does some not-very-special-by-his-standards dances with Joan Crawford in the finale. This was just Fred warming up for the first true Astaire movie later that year: “Flying Down to Rio”.](https://pbs.twimg.com/media/Eby2I1ZXYAATCdX.jpg "[30] “Dancing Lady” (1933)Fred Astaire’s first movie! He has a cameo as himself, then does some not-very-special-by-his-standards dances with Joan Crawford in the finale. This was just Fred warming up for the first true Astaire movie later that year: “Flying Down to Rio”.")
![[30] “Dancing Lady” (1933)Fred Astaire’s first movie! He has a cameo as himself, then does some not-very-special-by-his-standards dances with Joan Crawford in the finale. This was just Fred warming up for the first true Astaire movie later that year: “Flying Down to Rio”.](https://pbs.twimg.com/media/Eby2I1bWoAEWJt2.jpg "[30] “Dancing Lady” (1933)Fred Astaire’s first movie! He has a cameo as himself, then does some not-very-special-by-his-standards dances with Joan Crawford in the finale. This was just Fred warming up for the first true Astaire movie later that year: “Flying Down to Rio”.")
Fred Astaire’s first movie! He has a cameo as himself, then does some not-very-special-by-his-standards dances with Joan Crawford in the finale. This was just Fred warming up for the first true Astaire movie later that year: “Flying Down to Rio”.
[29] “Silk Stockings” (1957)
Fred Astaire’s last musical during his prime was a re-make of “Ninotchka” (1939). Fun in places, and of course it has some spectacular dancing from Astaire and Cyd Charisse. Alas, I don’t really care for the music, or the acting of Charisse.
![[29] “Silk Stockings” (1957)Fred Astaire’s last musical during his prime was a re-make of “Ninotchka” (1939). Fun in places, and of course it has some spectacular dancing from Astaire and Cyd Charisse. Alas, I don’t really care for the music, or the acting of Charisse.](https://pbs.twimg.com/media/Eb3L3Q6XkAI2Aqk.jpg "[29] “Silk Stockings” (1957)Fred Astaire’s last musical during his prime was a re-make of “Ninotchka” (1939). Fun in places, and of course it has some spectacular dancing from Astaire and Cyd Charisse. Alas, I don’t really care for the music, or the acting of Charisse.")
![[29] “Silk Stockings” (1957)Fred Astaire’s last musical during his prime was a re-make of “Ninotchka” (1939). Fun in places, and of course it has some spectacular dancing from Astaire and Cyd Charisse. Alas, I don’t really care for the music, or the acting of Charisse.](https://pbs.twimg.com/media/Eb3L3Q3WAAMSsyU.jpg "[29] “Silk Stockings” (1957)Fred Astaire’s last musical during his prime was a re-make of “Ninotchka” (1939). Fun in places, and of course it has some spectacular dancing from Astaire and Cyd Charisse. Alas, I don’t really care for the music, or the acting of Charisse.")
Fred Astaire’s last musical during his prime was a re-make of “Ninotchka” (1939). Fun in places, and of course it has some spectacular dancing from Astaire and Cyd Charisse. Alas, I don’t really care for the music, or the acting of Charisse.
[28] “Blue Skies” (1946)
Fred Astaire’s last musical before his first, short-lived, retirement was an Irving Berlin extravaganza. By far the best part is Astaire’s legendary “Puttin’ on the Ritz” solo. Most of the rest of the film is dominated by Bing Crosby and his singing.
![[28] “Blue Skies” (1946)Fred Astaire’s last musical before his first, short-lived, retirement was an Irving Berlin extravaganza. By far the best part is Astaire’s legendary “Puttin’ on the Ritz” solo. Most of the rest of the film is dominated by Bing Crosby and his singing.](https://pbs.twimg.com/media/Eb8kQb6WoAAbxo0.jpg "[28] “Blue Skies” (1946)Fred Astaire’s last musical before his first, short-lived, retirement was an Irving Berlin extravaganza. By far the best part is Astaire’s legendary “Puttin’ on the Ritz” solo. Most of the rest of the film is dominated by Bing Crosby and his singing.")
![[28] “Blue Skies” (1946)Fred Astaire’s last musical before his first, short-lived, retirement was an Irving Berlin extravaganza. By far the best part is Astaire’s legendary “Puttin’ on the Ritz” solo. Most of the rest of the film is dominated by Bing Crosby and his singing.](https://pbs.twimg.com/media/Eb8kQb-WAAIta8q.jpg "[28] “Blue Skies” (1946)Fred Astaire’s last musical before his first, short-lived, retirement was an Irving Berlin extravaganza. By far the best part is Astaire’s legendary “Puttin’ on the Ritz” solo. Most of the rest of the film is dominated by Bing Crosby and his singing.")
Fred Astaire’s last musical before his first, short-lived, retirement was an Irving Berlin extravaganza. By far the best part is Astaire’s legendary “Puttin’ on the Ritz” solo. Most of the rest of the film is dominated by Bing Crosby and his singing.
[27] “The Belle of New York” (1952)
This film has a certain odd charm despite a lifeless plot and sub-par music. Plus it is substantially elevated by the classic Astaire solo “I Wanna Be a Dancin’ Man”. I’ve liked this more on re-watches than I did originally.
![[27] “The Belle of New York” (1952)This film has a certain odd charm despite a lifeless plot and sub-par music. Plus it is substantially elevated by the classic Astaire solo “I Wanna Be a Dancin’ Man”. I’ve liked this more on re-watches than I did originally.](https://pbs.twimg.com/media/EcBDgu8WsAsBMsG.jpg "[27] “The Belle of New York” (1952)This film has a certain odd charm despite a lifeless plot and sub-par music. Plus it is substantially elevated by the classic Astaire solo “I Wanna Be a Dancin’ Man”. I’ve liked this more on re-watches than I did originally.")
![[27] “The Belle of New York” (1952)This film has a certain odd charm despite a lifeless plot and sub-par music. Plus it is substantially elevated by the classic Astaire solo “I Wanna Be a Dancin’ Man”. I’ve liked this more on re-watches than I did originally.](https://pbs.twimg.com/media/EcBDgu8X0AAPaFy.jpg "[27] “The Belle of New York” (1952)This film has a certain odd charm despite a lifeless plot and sub-par music. Plus it is substantially elevated by the classic Astaire solo “I Wanna Be a Dancin’ Man”. I’ve liked this more on re-watches than I did originally.")
![[27] “The Belle of New York” (1952)This film has a certain odd charm despite a lifeless plot and sub-par music. Plus it is substantially elevated by the classic Astaire solo “I Wanna Be a Dancin’ Man”. I’ve liked this more on re-watches than I did originally.](https://pbs.twimg.com/media/EcBDgu7XsAExtO9.jpg "[27] “The Belle of New York” (1952)This film has a certain odd charm despite a lifeless plot and sub-par music. Plus it is substantially elevated by the classic Astaire solo “I Wanna Be a Dancin’ Man”. I’ve liked this more on re-watches than I did originally.")
This film has a certain odd charm despite a lifeless plot and sub-par music. Plus it is substantially elevated by the classic Astaire solo “I Wanna Be a Dancin’ Man”. I’ve liked this more on re-watches than I did originally.
[26] “The Band Wagon” (1953)
Some great stuff in this movie. But, unusually for a Fred Astaire film, there is also stuff I cannot stand—in particular the song “That’s Entertainment”. Oscar Levant is also uncharacteristically off—recovering from a heart attack and clearly ill.
![[26] “The Band Wagon” (1953)Some great stuff in this movie. But, unusually for a Fred Astaire film, there is also stuff I cannot stand—in particular the song “That’s Entertainment”. Oscar Levant is also uncharacteristically off—recovering from a heart attack and clearly ill.](https://pbs.twimg.com/media/EcGQWjFWsAkSK4q.jpg "[26] “The Band Wagon” (1953)Some great stuff in this movie. But, unusually for a Fred Astaire film, there is also stuff I cannot stand—in particular the song “That’s Entertainment”. Oscar Levant is also uncharacteristically off—recovering from a heart attack and clearly ill.")
![[26] “The Band Wagon” (1953)Some great stuff in this movie. But, unusually for a Fred Astaire film, there is also stuff I cannot stand—in particular the song “That’s Entertainment”. Oscar Levant is also uncharacteristically off—recovering from a heart attack and clearly ill.](https://pbs.twimg.com/media/EcGQWjHXgAI0pAR.jpg "[26] “The Band Wagon” (1953)Some great stuff in this movie. But, unusually for a Fred Astaire film, there is also stuff I cannot stand—in particular the song “That’s Entertainment”. Oscar Levant is also uncharacteristically off—recovering from a heart attack and clearly ill.")
![[26] “The Band Wagon” (1953)Some great stuff in this movie. But, unusually for a Fred Astaire film, there is also stuff I cannot stand—in particular the song “That’s Entertainment”. Oscar Levant is also uncharacteristically off—recovering from a heart attack and clearly ill.](https://pbs.twimg.com/media/EcGQWjKWsAEWfDD.jpg "[26] “The Band Wagon” (1953)Some great stuff in this movie. But, unusually for a Fred Astaire film, there is also stuff I cannot stand—in particular the song “That’s Entertainment”. Oscar Levant is also uncharacteristically off—recovering from a heart attack and clearly ill.")
Some great stuff in this movie. But, unusually for a Fred Astaire film, there is also stuff I cannot stand—in particular the song “That’s Entertainment”. Oscar Levant is also uncharacteristically off—recovering from a heart attack and clearly ill.
[25] “Funny Face” (1957)
Kay Thompson manages to steal this from both Audrey Hepburn and Fred Astaire—quite an accomplishment! The age difference between Astaire and Hepburn works against this film.
![[25] “Funny Face” (1957)Kay Thompson manages to steal this from both Audrey Hepburn and Fred Astaire—quite an accomplishment! The age difference between Astaire and Hepburn works against this film.](https://pbs.twimg.com/media/EcMZS_fWAAAQvZ1.jpg "[25] “Funny Face” (1957)Kay Thompson manages to steal this from both Audrey Hepburn and Fred Astaire—quite an accomplishment! The age difference between Astaire and Hepburn works against this film.")
![[25] “Funny Face” (1957)Kay Thompson manages to steal this from both Audrey Hepburn and Fred Astaire—quite an accomplishment! The age difference between Astaire and Hepburn works against this film.](https://pbs.twimg.com/media/EcMZS_fWkAE1JGY.jpg "[25] “Funny Face” (1957)Kay Thompson manages to steal this from both Audrey Hepburn and Fred Astaire—quite an accomplishment! The age difference between Astaire and Hepburn works against this film.")
![[25] “Funny Face” (1957)Kay Thompson manages to steal this from both Audrey Hepburn and Fred Astaire—quite an accomplishment! The age difference between Astaire and Hepburn works against this film.](https://pbs.twimg.com/media/EcMZS_iXgAMenZw.jpg "[25] “Funny Face” (1957)Kay Thompson manages to steal this from both Audrey Hepburn and Fred Astaire—quite an accomplishment! The age difference between Astaire and Hepburn works against this film.")
Kay Thompson manages to steal this from both Audrey Hepburn and Fred Astaire—quite an accomplishment! The age difference between Astaire and Hepburn works against this film.
[24] “Second Chorus” (1940)
Too little dancing! Fortunately it has the music of Artie Shaw to make up for some of that. Fred Astaire’s co-star is Paulette Goddard, but I don’t recall her having much to do outside her one dance routine with Fred, which is very fun.
![[24] “Second Chorus” (1940)Too little dancing! Fortunately it has the music of Artie Shaw to make up for some of that. Fred Astaire’s co-star is Paulette Goddard, but I don’t recall her having much to do outside her one dance routine with Fred, which is very fun.](https://pbs.twimg.com/media/EcQO2BOXkAcE4gg.jpg "[24] “Second Chorus” (1940)Too little dancing! Fortunately it has the music of Artie Shaw to make up for some of that. Fred Astaire’s co-star is Paulette Goddard, but I don’t recall her having much to do outside her one dance routine with Fred, which is very fun.")
![[24] “Second Chorus” (1940)Too little dancing! Fortunately it has the music of Artie Shaw to make up for some of that. Fred Astaire’s co-star is Paulette Goddard, but I don’t recall her having much to do outside her one dance routine with Fred, which is very fun.](https://pbs.twimg.com/media/EcQO2BQXQAALdPW.jpg "[24] “Second Chorus” (1940)Too little dancing! Fortunately it has the music of Artie Shaw to make up for some of that. Fred Astaire’s co-star is Paulette Goddard, but I don’t recall her having much to do outside her one dance routine with Fred, which is very fun.")
Too little dancing! Fortunately it has the music of Artie Shaw to make up for some of that. Fred Astaire’s co-star is Paulette Goddard, but I don’t recall her having much to do outside her one dance routine with Fred, which is very fun.
[23] “Yolanda and the Thief” (1946)
Lucille Bremer is one of my favorite of Fred Astaire’s dancing partners. Alas, she became the scapegoat for this peculiar film’s commercial failure and her career never recovered. The musical numbers are magical; the rest, not.
![[23] “Yolanda and the Thief” (1946) Lucille Bremer is one of my favorite of Fred Astaire’s dancing partners. Alas, she became the scapegoat for this peculiar film’s commercial failure and her career never recovered. The musical numbers are magical; the rest, not.](https://pbs.twimg.com/media/EcVrIaHXQAUrsgg.jpg "[23] “Yolanda and the Thief” (1946) Lucille Bremer is one of my favorite of Fred Astaire’s dancing partners. Alas, she became the scapegoat for this peculiar film’s commercial failure and her career never recovered. The musical numbers are magical; the rest, not.")
![[23] “Yolanda and the Thief” (1946) Lucille Bremer is one of my favorite of Fred Astaire’s dancing partners. Alas, she became the scapegoat for this peculiar film’s commercial failure and her career never recovered. The musical numbers are magical; the rest, not.](https://pbs.twimg.com/media/EcVrIaLXsAA4vF1.jpg "[23] “Yolanda and the Thief” (1946) Lucille Bremer is one of my favorite of Fred Astaire’s dancing partners. Alas, she became the scapegoat for this peculiar film’s commercial failure and her career never recovered. The musical numbers are magical; the rest, not.")
![[23] “Yolanda and the Thief” (1946) Lucille Bremer is one of my favorite of Fred Astaire’s dancing partners. Alas, she became the scapegoat for this peculiar film’s commercial failure and her career never recovered. The musical numbers are magical; the rest, not.](https://pbs.twimg.com/media/EcVrIaNWoAEvrHu.jpg "[23] “Yolanda and the Thief” (1946) Lucille Bremer is one of my favorite of Fred Astaire’s dancing partners. Alas, she became the scapegoat for this peculiar film’s commercial failure and her career never recovered. The musical numbers are magical; the rest, not.")
Lucille Bremer is one of my favorite of Fred Astaire’s dancing partners. Alas, she became the scapegoat for this peculiar film’s commercial failure and her career never recovered. The musical numbers are magical; the rest, not.
[22] “Let’s Dance” (1950)
Feelings about Betty Hutton seem to dictate feelings on this Fred Astaire musical. I like her in moderation and feel she’s quite good in this. The “Oh Them Dudes” cowboy satire is hilarious.
This needs to be more available!
![[22] “Let’s Dance” (1950)Feelings about Betty Hutton seem to dictate feelings on this Fred Astaire musical. I like her in moderation and feel she’s quite good in this. The “Oh Them Dudes” cowboy satire is hilarious. This needs to be more available!](https://pbs.twimg.com/media/Ecau07yWAAIl4P0.jpg "[22] “Let’s Dance” (1950)Feelings about Betty Hutton seem to dictate feelings on this Fred Astaire musical. I like her in moderation and feel she’s quite good in this. The “Oh Them Dudes” cowboy satire is hilarious. This needs to be more available!")
![[22] “Let’s Dance” (1950)Feelings about Betty Hutton seem to dictate feelings on this Fred Astaire musical. I like her in moderation and feel she’s quite good in this. The “Oh Them Dudes” cowboy satire is hilarious. This needs to be more available!](https://pbs.twimg.com/media/Ecau07zX0AAhyz1.jpg "[22] “Let’s Dance” (1950)Feelings about Betty Hutton seem to dictate feelings on this Fred Astaire musical. I like her in moderation and feel she’s quite good in this. The “Oh Them Dudes” cowboy satire is hilarious. This needs to be more available!")
![[22] “Let’s Dance” (1950)Feelings about Betty Hutton seem to dictate feelings on this Fred Astaire musical. I like her in moderation and feel she’s quite good in this. The “Oh Them Dudes” cowboy satire is hilarious. This needs to be more available!](https://pbs.twimg.com/media/Ecau073XQAcTZhb.jpg "[22] “Let’s Dance” (1950)Feelings about Betty Hutton seem to dictate feelings on this Fred Astaire musical. I like her in moderation and feel she’s quite good in this. The “Oh Them Dudes” cowboy satire is hilarious. This needs to be more available!")
Feelings about Betty Hutton seem to dictate feelings on this Fred Astaire musical. I like her in moderation and feel she’s quite good in this. The “Oh Them Dudes” cowboy satire is hilarious.
This needs to be more available!
[21] “Holiday Inn” (1942)
This is one of the most famous of Fred Astaire’s films, thanks to Bing Crosby introducing “White Christmas”. Fred’s drunk dance with Marjorie Reynolds is the highlight for me. Beware the horrible blackface routine by Crosby and Reynolds.
![[21] “Holiday Inn” (1942)This is one of the most famous of Fred Astaire’s films, thanks to Bing Crosby introducing “White Christmas”. Fred’s drunk dance with Marjorie Reynolds is the highlight for me. Beware the horrible blackface routine by Crosby and Reynolds.](https://pbs.twimg.com/media/EcgMOWlWkAAyh-W.jpg "[21] “Holiday Inn” (1942)This is one of the most famous of Fred Astaire’s films, thanks to Bing Crosby introducing “White Christmas”. Fred’s drunk dance with Marjorie Reynolds is the highlight for me. Beware the horrible blackface routine by Crosby and Reynolds.")
![[21] “Holiday Inn” (1942)This is one of the most famous of Fred Astaire’s films, thanks to Bing Crosby introducing “White Christmas”. Fred’s drunk dance with Marjorie Reynolds is the highlight for me. Beware the horrible blackface routine by Crosby and Reynolds.](https://pbs.twimg.com/media/EcgMOWnWoAEveRO.jpg "[21] “Holiday Inn” (1942)This is one of the most famous of Fred Astaire’s films, thanks to Bing Crosby introducing “White Christmas”. Fred’s drunk dance with Marjorie Reynolds is the highlight for me. Beware the horrible blackface routine by Crosby and Reynolds.")
This is one of the most famous of Fred Astaire’s films, thanks to Bing Crosby introducing “White Christmas”. Fred’s drunk dance with Marjorie Reynolds is the highlight for me. Beware the horrible blackface routine by Crosby and Reynolds.
[20] “Ziegfeld Follies” (1945)
An unusual musical, as it is a revue with many unrelated 5-10 minute skits of various types. Fred Astaire is in several.
His “This Heart of Mine” routine with Lucille Bremer and “The Babbitt and the Bromide” with Gene Kelly are highlights.
![[20] “Ziegfeld Follies” (1945)An unusual musical, as it is a revue with many unrelated 5-10 minute skits of various types. Fred Astaire is in several. His “This Heart of Mine” routine with Lucille Bremer and “The Babbitt and the Bromide” with Gene Kelly are highlights.](https://pbs.twimg.com/media/EclPQybWAAAlLOS.jpg "[20] “Ziegfeld Follies” (1945)An unusual musical, as it is a revue with many unrelated 5-10 minute skits of various types. Fred Astaire is in several. His “This Heart of Mine” routine with Lucille Bremer and “The Babbitt and the Bromide” with Gene Kelly are highlights.")
![[20] “Ziegfeld Follies” (1945)An unusual musical, as it is a revue with many unrelated 5-10 minute skits of various types. Fred Astaire is in several. His “This Heart of Mine” routine with Lucille Bremer and “The Babbitt and the Bromide” with Gene Kelly are highlights.](https://pbs.twimg.com/media/EclPQycXkAUYkVV.jpg "[20] “Ziegfeld Follies” (1945)An unusual musical, as it is a revue with many unrelated 5-10 minute skits of various types. Fred Astaire is in several. His “This Heart of Mine” routine with Lucille Bremer and “The Babbitt and the Bromide” with Gene Kelly are highlights.")
![[20] “Ziegfeld Follies” (1945)An unusual musical, as it is a revue with many unrelated 5-10 minute skits of various types. Fred Astaire is in several. His “This Heart of Mine” routine with Lucille Bremer and “The Babbitt and the Bromide” with Gene Kelly are highlights.](https://pbs.twimg.com/media/EclPQygWAAcneSJ.jpg "[20] “Ziegfeld Follies” (1945)An unusual musical, as it is a revue with many unrelated 5-10 minute skits of various types. Fred Astaire is in several. His “This Heart of Mine” routine with Lucille Bremer and “The Babbitt and the Bromide” with Gene Kelly are highlights.")
An unusual musical, as it is a revue with many unrelated 5-10 minute skits of various types. Fred Astaire is in several.
His “This Heart of Mine” routine with Lucille Bremer and “The Babbitt and the Bromide” with Gene Kelly are highlights.
[19] “You Were Never Lovelier” (1942)
The 2nd and final of Fred Astaire’s pairings with Rita Hayworth. It has the excellent “Shorty George” duet and another great Astaire solo. The plot has some funny parts near the end, but is a bit on the creepy side.
![[19] “You Were Never Lovelier” (1942)The 2nd and final of Fred Astaire’s pairings with Rita Hayworth. It has the excellent “Shorty George” duet and another great Astaire solo. The plot has some funny parts near the end, but is a bit on the creepy side.](https://pbs.twimg.com/media/EcrHyJ-WAAYyFyb.jpg "[19] “You Were Never Lovelier” (1942)The 2nd and final of Fred Astaire’s pairings with Rita Hayworth. It has the excellent “Shorty George” duet and another great Astaire solo. The plot has some funny parts near the end, but is a bit on the creepy side.")
![[19] “You Were Never Lovelier” (1942)The 2nd and final of Fred Astaire’s pairings with Rita Hayworth. It has the excellent “Shorty George” duet and another great Astaire solo. The plot has some funny parts near the end, but is a bit on the creepy side.](https://pbs.twimg.com/media/EcrHyJ9XgAAtLR6.jpg "[19] “You Were Never Lovelier” (1942)The 2nd and final of Fred Astaire’s pairings with Rita Hayworth. It has the excellent “Shorty George” duet and another great Astaire solo. The plot has some funny parts near the end, but is a bit on the creepy side.")
The 2nd and final of Fred Astaire’s pairings with Rita Hayworth. It has the excellent “Shorty George” duet and another great Astaire solo. The plot has some funny parts near the end, but is a bit on the creepy side.
[18] “You’ll Never Get Rich” (1941)
The first movie Fred Astaire did with Rita Hayworth. The two are interchangeable in many ways, but this feels fresher and funnier to me. The initial tap duet is spectacular and Fred has one of his best tap solos. Best not to discuss the finale
![[18] “You’ll Never Get Rich” (1941)The first movie Fred Astaire did with Rita Hayworth. The two are interchangeable in many ways, but this feels fresher and funnier to me. The initial tap duet is spectacular and Fred has one of his best tap solos. Best not to discuss the finale](https://pbs.twimg.com/media/EcvHVzOXsAA2n5_.jpg "[18] “You’ll Never Get Rich” (1941)The first movie Fred Astaire did with Rita Hayworth. The two are interchangeable in many ways, but this feels fresher and funnier to me. The initial tap duet is spectacular and Fred has one of his best tap solos. Best not to discuss the finale")
![[18] “You’ll Never Get Rich” (1941)The first movie Fred Astaire did with Rita Hayworth. The two are interchangeable in many ways, but this feels fresher and funnier to me. The initial tap duet is spectacular and Fred has one of his best tap solos. Best not to discuss the finale](https://pbs.twimg.com/media/EcvHVzNXYAA0S6v.jpg "[18] “You’ll Never Get Rich” (1941)The first movie Fred Astaire did with Rita Hayworth. The two are interchangeable in many ways, but this feels fresher and funnier to me. The initial tap duet is spectacular and Fred has one of his best tap solos. Best not to discuss the finale")
![[18] “You’ll Never Get Rich” (1941)The first movie Fred Astaire did with Rita Hayworth. The two are interchangeable in many ways, but this feels fresher and funnier to me. The initial tap duet is spectacular and Fred has one of his best tap solos. Best not to discuss the finale](https://pbs.twimg.com/media/EcvHVzOXoAATr1Y.jpg "[18] “You’ll Never Get Rich” (1941)The first movie Fred Astaire did with Rita Hayworth. The two are interchangeable in many ways, but this feels fresher and funnier to me. The initial tap duet is spectacular and Fred has one of his best tap solos. Best not to discuss the finale")
The first movie Fred Astaire did with Rita Hayworth. The two are interchangeable in many ways, but this feels fresher and funnier to me. The initial tap duet is spectacular and Fred has one of his best tap solos. Best not to discuss the finale
[17] “Three Little Words” (1950)
An unsung Fred Astaire musical biopic of songwriters Ruby and Kalmar, this is light, charming fun throughout. Red Skelton tones his act down and is enjoyable. Fred and Vera-Ellen have a unique comic number “Mr and Mrs Hoofer At Home”.
![[17] “Three Little Words” (1950) An unsung Fred Astaire musical biopic of songwriters Ruby and Kalmar, this is light, charming fun throughout. Red Skelton tones his act down and is enjoyable. Fred and Vera-Ellen have a unique comic number “Mr and Mrs Hoofer At Home”.](https://pbs.twimg.com/media/Ec0_FRzXgAAHT7s.jpg "[17] “Three Little Words” (1950) An unsung Fred Astaire musical biopic of songwriters Ruby and Kalmar, this is light, charming fun throughout. Red Skelton tones his act down and is enjoyable. Fred and Vera-Ellen have a unique comic number “Mr and Mrs Hoofer At Home”.")
![[17] “Three Little Words” (1950) An unsung Fred Astaire musical biopic of songwriters Ruby and Kalmar, this is light, charming fun throughout. Red Skelton tones his act down and is enjoyable. Fred and Vera-Ellen have a unique comic number “Mr and Mrs Hoofer At Home”.](https://pbs.twimg.com/media/Ec0_FR3XYAAw2XG.jpg "[17] “Three Little Words” (1950) An unsung Fred Astaire musical biopic of songwriters Ruby and Kalmar, this is light, charming fun throughout. Red Skelton tones his act down and is enjoyable. Fred and Vera-Ellen have a unique comic number “Mr and Mrs Hoofer At Home”.")
![[17] “Three Little Words” (1950) An unsung Fred Astaire musical biopic of songwriters Ruby and Kalmar, this is light, charming fun throughout. Red Skelton tones his act down and is enjoyable. Fred and Vera-Ellen have a unique comic number “Mr and Mrs Hoofer At Home”.](https://pbs.twimg.com/media/Ec0_FR2XkAE5izR.jpg "[17] “Three Little Words” (1950) An unsung Fred Astaire musical biopic of songwriters Ruby and Kalmar, this is light, charming fun throughout. Red Skelton tones his act down and is enjoyable. Fred and Vera-Ellen have a unique comic number “Mr and Mrs Hoofer At Home”.")
An unsung Fred Astaire musical biopic of songwriters Ruby and Kalmar, this is light, charming fun throughout. Red Skelton tones his act down and is enjoyable. Fred and Vera-Ellen have a unique comic number “Mr and Mrs Hoofer At Home”.
[16] “Royal Wedding” (1951)
This has two classic Fred Astaire solos: his hat rack dance and ceiling dance. Less famously, it has two great duets with Jane Powell. This was inspired by Fred’s experiences with his sister Adele during their stage career in the 1920s and early ‘30s.
![[16] “Royal Wedding” (1951)This has two classic Fred Astaire solos: his hat rack dance and ceiling dance. Less famously, it has two great duets with Jane Powell. This was inspired by Fred’s experiences with his sister Adele during their stage career in the 1920s and early ‘30s.](https://pbs.twimg.com/media/Ec5tow5XYAI_ZFy.jpg "[16] “Royal Wedding” (1951)This has two classic Fred Astaire solos: his hat rack dance and ceiling dance. Less famously, it has two great duets with Jane Powell. This was inspired by Fred’s experiences with his sister Adele during their stage career in the 1920s and early ‘30s.")
![[16] “Royal Wedding” (1951)This has two classic Fred Astaire solos: his hat rack dance and ceiling dance. Less famously, it has two great duets with Jane Powell. This was inspired by Fred’s experiences with his sister Adele during their stage career in the 1920s and early ‘30s.](https://pbs.twimg.com/media/Ec5tow-XsAAMB-o.jpg "[16] “Royal Wedding” (1951)This has two classic Fred Astaire solos: his hat rack dance and ceiling dance. Less famously, it has two great duets with Jane Powell. This was inspired by Fred’s experiences with his sister Adele during their stage career in the 1920s and early ‘30s.")
![[16] “Royal Wedding” (1951)This has two classic Fred Astaire solos: his hat rack dance and ceiling dance. Less famously, it has two great duets with Jane Powell. This was inspired by Fred’s experiences with his sister Adele during their stage career in the 1920s and early ‘30s.](https://pbs.twimg.com/media/Ec5tow8XkAMMNDg.jpg "[16] “Royal Wedding” (1951)This has two classic Fred Astaire solos: his hat rack dance and ceiling dance. Less famously, it has two great duets with Jane Powell. This was inspired by Fred’s experiences with his sister Adele during their stage career in the 1920s and early ‘30s.")
This has two classic Fred Astaire solos: his hat rack dance and ceiling dance. Less famously, it has two great duets with Jane Powell. This was inspired by Fred’s experiences with his sister Adele during their stage career in the 1920s and early ‘30s.
[15] “The Sky’s the Limit” (1943)
Fred Astaire’s performance of “One for My Baby”, written by Harold Arlen and Johnny Mercer for this movie, makes this a classic all by itself.
The other numbers are quite enjoyable. Joan Leslie is at her best.
![[15] “The Sky’s the Limit” (1943)Fred Astaire’s performance of “One for My Baby”, written by Harold Arlen and Johnny Mercer for this movie, makes this a classic all by itself.The other numbers are quite enjoyable. Joan Leslie is at her best.](https://pbs.twimg.com/media/Ec_CkIcXYAUFTow.jpg "[15] “The Sky’s the Limit” (1943)Fred Astaire’s performance of “One for My Baby”, written by Harold Arlen and Johnny Mercer for this movie, makes this a classic all by itself.The other numbers are quite enjoyable. Joan Leslie is at her best.")
![[15] “The Sky’s the Limit” (1943)Fred Astaire’s performance of “One for My Baby”, written by Harold Arlen and Johnny Mercer for this movie, makes this a classic all by itself.The other numbers are quite enjoyable. Joan Leslie is at her best.](https://pbs.twimg.com/media/Ec_CkIbX0AIsjzv.jpg "[15] “The Sky’s the Limit” (1943)Fred Astaire’s performance of “One for My Baby”, written by Harold Arlen and Johnny Mercer for this movie, makes this a classic all by itself.The other numbers are quite enjoyable. Joan Leslie is at her best.")
![[15] “The Sky’s the Limit” (1943)Fred Astaire’s performance of “One for My Baby”, written by Harold Arlen and Johnny Mercer for this movie, makes this a classic all by itself.The other numbers are quite enjoyable. Joan Leslie is at her best.](https://pbs.twimg.com/media/Ec_CkIYWkAAT-L6.jpg "[15] “The Sky’s the Limit” (1943)Fred Astaire’s performance of “One for My Baby”, written by Harold Arlen and Johnny Mercer for this movie, makes this a classic all by itself.The other numbers are quite enjoyable. Joan Leslie is at her best.")
Fred Astaire’s performance of “One for My Baby”, written by Harold Arlen and Johnny Mercer for this movie, makes this a classic all by itself.
The other numbers are quite enjoyable. Joan Leslie is at her best.
[14] “A Damsel in Distress” (1937)
Gershwin music and the offbeat hilarity of Gracie Allen help sell Fred Astaire’s first starring musical away from Ginger Rogers. Early-career Joan Fontaine is the co-star, but Burns and Allen are Astaire’s real partners in this fun film.
![[14] “A Damsel in Distress” (1937)Gershwin music and the offbeat hilarity of Gracie Allen help sell Fred Astaire’s first starring musical away from Ginger Rogers. Early-career Joan Fontaine is the co-star, but Burns and Allen are Astaire’s real partners in this fun film.](https://pbs.twimg.com/media/EdEgIxyXsAMZ5Ln.jpg "[14] “A Damsel in Distress” (1937)Gershwin music and the offbeat hilarity of Gracie Allen help sell Fred Astaire’s first starring musical away from Ginger Rogers. Early-career Joan Fontaine is the co-star, but Burns and Allen are Astaire’s real partners in this fun film.")
![[14] “A Damsel in Distress” (1937)Gershwin music and the offbeat hilarity of Gracie Allen help sell Fred Astaire’s first starring musical away from Ginger Rogers. Early-career Joan Fontaine is the co-star, but Burns and Allen are Astaire’s real partners in this fun film.](https://pbs.twimg.com/media/EdEgIx1X0AA-WnV.jpg "[14] “A Damsel in Distress” (1937)Gershwin music and the offbeat hilarity of Gracie Allen help sell Fred Astaire’s first starring musical away from Ginger Rogers. Early-career Joan Fontaine is the co-star, but Burns and Allen are Astaire’s real partners in this fun film.")
![[14] “A Damsel in Distress” (1937)Gershwin music and the offbeat hilarity of Gracie Allen help sell Fred Astaire’s first starring musical away from Ginger Rogers. Early-career Joan Fontaine is the co-star, but Burns and Allen are Astaire’s real partners in this fun film.](https://pbs.twimg.com/media/EdEgIx1WsAISP9i.jpg "[14] “A Damsel in Distress” (1937)Gershwin music and the offbeat hilarity of Gracie Allen help sell Fred Astaire’s first starring musical away from Ginger Rogers. Early-career Joan Fontaine is the co-star, but Burns and Allen are Astaire’s real partners in this fun film.")
Gershwin music and the offbeat hilarity of Gracie Allen help sell Fred Astaire’s first starring musical away from Ginger Rogers. Early-career Joan Fontaine is the co-star, but Burns and Allen are Astaire’s real partners in this fun film.
[13] “Flying Down to Rio” (1933)
Fred Astaire’s 2nd film and first pairing with Ginger Rogers—as supporting characters, but dancing to the soon- legendary Carioca. This is a totally off-the-wall, mostly very fun musical where it’s best to not be too particular about “reality”.
![[13] “Flying Down to Rio” (1933) Fred Astaire’s 2nd film and first pairing with Ginger Rogers—as supporting characters, but dancing to the soon- legendary Carioca. This is a totally off-the-wall, mostly very fun musical where it’s best to not be too particular about “reality”.](https://pbs.twimg.com/media/EdJYt_MWoAYp6r-.jpg "[13] “Flying Down to Rio” (1933) Fred Astaire’s 2nd film and first pairing with Ginger Rogers—as supporting characters, but dancing to the soon- legendary Carioca. This is a totally off-the-wall, mostly very fun musical where it’s best to not be too particular about “reality”.")
![[13] “Flying Down to Rio” (1933) Fred Astaire’s 2nd film and first pairing with Ginger Rogers—as supporting characters, but dancing to the soon- legendary Carioca. This is a totally off-the-wall, mostly very fun musical where it’s best to not be too particular about “reality”.](https://pbs.twimg.com/media/EdJYt_OXkAIYJot.jpg "[13] “Flying Down to Rio” (1933) Fred Astaire’s 2nd film and first pairing with Ginger Rogers—as supporting characters, but dancing to the soon- legendary Carioca. This is a totally off-the-wall, mostly very fun musical where it’s best to not be too particular about “reality”.")
![[13] “Flying Down to Rio” (1933) Fred Astaire’s 2nd film and first pairing with Ginger Rogers—as supporting characters, but dancing to the soon- legendary Carioca. This is a totally off-the-wall, mostly very fun musical where it’s best to not be too particular about “reality”.](https://pbs.twimg.com/media/EdJYt_8XsAEgctK.jpg "[13] “Flying Down to Rio” (1933) Fred Astaire’s 2nd film and first pairing with Ginger Rogers—as supporting characters, but dancing to the soon- legendary Carioca. This is a totally off-the-wall, mostly very fun musical where it’s best to not be too particular about “reality”.")
Fred Astaire’s 2nd film and first pairing with Ginger Rogers—as supporting characters, but dancing to the soon- legendary Carioca. This is a totally off-the-wall, mostly very fun musical where it’s best to not be too particular about “reality”.
[12] “Daddy Long Legs” (1955)
Easily my favorite of Fred Astaire’s 1950s musicals. I am fortunate that this was the first Astaire film I saw (rather than, say, Silk Stockings). The opening drum dance won me over. Sluefoot is one of the most pure fun dance sequences of all time.
![[12] “Daddy Long Legs” (1955)Easily my favorite of Fred Astaire’s 1950s musicals. I am fortunate that this was the first Astaire film I saw (rather than, say, Silk Stockings). The opening drum dance won me over. Sluefoot is one of the most pure fun dance sequences of all time.](https://pbs.twimg.com/media/EdOI-9dXYAEX0xE.jpg "[12] “Daddy Long Legs” (1955)Easily my favorite of Fred Astaire’s 1950s musicals. I am fortunate that this was the first Astaire film I saw (rather than, say, Silk Stockings). The opening drum dance won me over. Sluefoot is one of the most pure fun dance sequences of all time.")
![[12] “Daddy Long Legs” (1955)Easily my favorite of Fred Astaire’s 1950s musicals. I am fortunate that this was the first Astaire film I saw (rather than, say, Silk Stockings). The opening drum dance won me over. Sluefoot is one of the most pure fun dance sequences of all time.](https://pbs.twimg.com/media/EdOI-9hWoAAWuoY.jpg "[12] “Daddy Long Legs” (1955)Easily my favorite of Fred Astaire’s 1950s musicals. I am fortunate that this was the first Astaire film I saw (rather than, say, Silk Stockings). The opening drum dance won me over. Sluefoot is one of the most pure fun dance sequences of all time.")
![[12] “Daddy Long Legs” (1955)Easily my favorite of Fred Astaire’s 1950s musicals. I am fortunate that this was the first Astaire film I saw (rather than, say, Silk Stockings). The opening drum dance won me over. Sluefoot is one of the most pure fun dance sequences of all time.](https://pbs.twimg.com/media/EdOI-9iWkAE9b7_.jpg "[12] “Daddy Long Legs” (1955)Easily my favorite of Fred Astaire’s 1950s musicals. I am fortunate that this was the first Astaire film I saw (rather than, say, Silk Stockings). The opening drum dance won me over. Sluefoot is one of the most pure fun dance sequences of all time.")
Easily my favorite of Fred Astaire’s 1950s musicals. I am fortunate that this was the first Astaire film I saw (rather than, say, Silk Stockings). The opening drum dance won me over. Sluefoot is one of the most pure fun dance sequences of all time.
[11] “Broadway Melody of 1940” (1940)
This MGM musical with Eleanor Powell was Fred Astaire’s first after leaving RKO. It is uneven, but the high points are brilliant (and the low parts aren’t too bad). The famous “Begin the Beguine” finale is as good as all the hype it gets.
![[11] “Broadway Melody of 1940” (1940)This MGM musical with Eleanor Powell was Fred Astaire’s first after leaving RKO. It is uneven, but the high points are brilliant (and the low parts aren’t too bad). The famous “Begin the Beguine” finale is as good as all the hype it gets.](https://pbs.twimg.com/media/EdTU1XUWkAAq0X-.jpg "[11] “Broadway Melody of 1940” (1940)This MGM musical with Eleanor Powell was Fred Astaire’s first after leaving RKO. It is uneven, but the high points are brilliant (and the low parts aren’t too bad). The famous “Begin the Beguine” finale is as good as all the hype it gets.")
![[11] “Broadway Melody of 1940” (1940)This MGM musical with Eleanor Powell was Fred Astaire’s first after leaving RKO. It is uneven, but the high points are brilliant (and the low parts aren’t too bad). The famous “Begin the Beguine” finale is as good as all the hype it gets.](https://pbs.twimg.com/media/EdTU1XYXgAIL2bp.jpg "[11] “Broadway Melody of 1940” (1940)This MGM musical with Eleanor Powell was Fred Astaire’s first after leaving RKO. It is uneven, but the high points are brilliant (and the low parts aren’t too bad). The famous “Begin the Beguine” finale is as good as all the hype it gets.")
![[11] “Broadway Melody of 1940” (1940)This MGM musical with Eleanor Powell was Fred Astaire’s first after leaving RKO. It is uneven, but the high points are brilliant (and the low parts aren’t too bad). The famous “Begin the Beguine” finale is as good as all the hype it gets.](https://pbs.twimg.com/media/EdTU1XUX0AA98gi.jpg "[11] “Broadway Melody of 1940” (1940)This MGM musical with Eleanor Powell was Fred Astaire’s first after leaving RKO. It is uneven, but the high points are brilliant (and the low parts aren’t too bad). The famous “Begin the Beguine” finale is as good as all the hype it gets.")
This MGM musical with Eleanor Powell was Fred Astaire’s first after leaving RKO. It is uneven, but the high points are brilliant (and the low parts aren’t too bad). The famous “Begin the Beguine” finale is as good as all the hype it gets.
[10] “The Barkleys of Broadway” (1949)
The oddball of the Fred Astaire-Ginger Rogers films: only non-RKO, only Technicolor, 10-years separated, orig intended for FA and Judy Garland. This is my least favorite of the A-R partnership as stars, but it is still absolutely wonderful.
![[10] “The Barkleys of Broadway” (1949)The oddball of the Fred Astaire-Ginger Rogers films: only non-RKO, only Technicolor, 10-years separated, orig intended for FA and Judy Garland. This is my least favorite of the A-R partnership as stars, but it is still absolutely wonderful.](https://pbs.twimg.com/media/EdYuGQpXsAA0h4s.jpg "[10] “The Barkleys of Broadway” (1949)The oddball of the Fred Astaire-Ginger Rogers films: only non-RKO, only Technicolor, 10-years separated, orig intended for FA and Judy Garland. This is my least favorite of the A-R partnership as stars, but it is still absolutely wonderful.")
![[10] “The Barkleys of Broadway” (1949)The oddball of the Fred Astaire-Ginger Rogers films: only non-RKO, only Technicolor, 10-years separated, orig intended for FA and Judy Garland. This is my least favorite of the A-R partnership as stars, but it is still absolutely wonderful.](https://pbs.twimg.com/media/EdYuGQsXsAEVfjV.jpg "[10] “The Barkleys of Broadway” (1949)The oddball of the Fred Astaire-Ginger Rogers films: only non-RKO, only Technicolor, 10-years separated, orig intended for FA and Judy Garland. This is my least favorite of the A-R partnership as stars, but it is still absolutely wonderful.")
![[10] “The Barkleys of Broadway” (1949)The oddball of the Fred Astaire-Ginger Rogers films: only non-RKO, only Technicolor, 10-years separated, orig intended for FA and Judy Garland. This is my least favorite of the A-R partnership as stars, but it is still absolutely wonderful.](https://pbs.twimg.com/media/EdYuGQtWsAIiCub.jpg "[10] “The Barkleys of Broadway” (1949)The oddball of the Fred Astaire-Ginger Rogers films: only non-RKO, only Technicolor, 10-years separated, orig intended for FA and Judy Garland. This is my least favorite of the A-R partnership as stars, but it is still absolutely wonderful.")
![[10] “The Barkleys of Broadway” (1949)The oddball of the Fred Astaire-Ginger Rogers films: only non-RKO, only Technicolor, 10-years separated, orig intended for FA and Judy Garland. This is my least favorite of the A-R partnership as stars, but it is still absolutely wonderful.](https://pbs.twimg.com/media/EdYuGQuX0AEAxc2.jpg "[10] “The Barkleys of Broadway” (1949)The oddball of the Fred Astaire-Ginger Rogers films: only non-RKO, only Technicolor, 10-years separated, orig intended for FA and Judy Garland. This is my least favorite of the A-R partnership as stars, but it is still absolutely wonderful.")
The oddball of the Fred Astaire-Ginger Rogers films: only non-RKO, only Technicolor, 10-years separated, orig intended for FA and Judy Garland. This is my least favorite of the A-R partnership as stars, but it is still absolutely wonderful.
[9] “The Story of Vernon and Irene Castle” (1939)
Fred Astaire’s last with Ginger Rogers for 10 yrs. Unique amongst their films in being a biopic, with music/dances from an earlier era. An excellent, emotional film, yet many fascinating aspects of the Castles’ lives are untold
![[9] “The Story of Vernon and Irene Castle” (1939)Fred Astaire’s last with Ginger Rogers for 10 yrs. Unique amongst their films in being a biopic, with music/dances from an earlier era. An excellent, emotional film, yet many fascinating aspects of the Castles’ lives are untold](https://pbs.twimg.com/media/EddzOckWsAEMrmZ.jpg "[9] “The Story of Vernon and Irene Castle” (1939)Fred Astaire’s last with Ginger Rogers for 10 yrs. Unique amongst their films in being a biopic, with music/dances from an earlier era. An excellent, emotional film, yet many fascinating aspects of the Castles’ lives are untold")
![[9] “The Story of Vernon and Irene Castle” (1939)Fred Astaire’s last with Ginger Rogers for 10 yrs. Unique amongst their films in being a biopic, with music/dances from an earlier era. An excellent, emotional film, yet many fascinating aspects of the Castles’ lives are untold](https://pbs.twimg.com/media/EddzOcmXkAAHXaZ.jpg "[9] “The Story of Vernon and Irene Castle” (1939)Fred Astaire’s last with Ginger Rogers for 10 yrs. Unique amongst their films in being a biopic, with music/dances from an earlier era. An excellent, emotional film, yet many fascinating aspects of the Castles’ lives are untold")
![[9] “The Story of Vernon and Irene Castle” (1939)Fred Astaire’s last with Ginger Rogers for 10 yrs. Unique amongst their films in being a biopic, with music/dances from an earlier era. An excellent, emotional film, yet many fascinating aspects of the Castles’ lives are untold](https://pbs.twimg.com/media/EddzOcqWoAID0Tb.jpg "[9] “The Story of Vernon and Irene Castle” (1939)Fred Astaire’s last with Ginger Rogers for 10 yrs. Unique amongst their films in being a biopic, with music/dances from an earlier era. An excellent, emotional film, yet many fascinating aspects of the Castles’ lives are untold")
Fred Astaire’s last with Ginger Rogers for 10 yrs. Unique amongst their films in being a biopic, with music/dances from an earlier era. An excellent, emotional film, yet many fascinating aspects of the Castles’ lives are untold
[8] “Shall We Dance” (1937)
The 7th Astaire-Rogers musical—frustrating first time I watched it, despite spectacular Gershwin music, great A-R chemistry: first duet is delayed, Ginger’s normal role in a big production number is given to Harriet Hoctor. It’s still wonderful.
![[8] “Shall We Dance” (1937)The 7th Astaire-Rogers musical—frustrating first time I watched it, despite spectacular Gershwin music, great A-R chemistry: first duet is delayed, Ginger’s normal role in a big production number is given to Harriet Hoctor. It’s still wonderful.](https://pbs.twimg.com/media/EdjB2D7XYAI1Tpm.jpg "[8] “Shall We Dance” (1937)The 7th Astaire-Rogers musical—frustrating first time I watched it, despite spectacular Gershwin music, great A-R chemistry: first duet is delayed, Ginger’s normal role in a big production number is given to Harriet Hoctor. It’s still wonderful.")
![[8] “Shall We Dance” (1937)The 7th Astaire-Rogers musical—frustrating first time I watched it, despite spectacular Gershwin music, great A-R chemistry: first duet is delayed, Ginger’s normal role in a big production number is given to Harriet Hoctor. It’s still wonderful.](https://pbs.twimg.com/media/EdjB2D6XgAYzDT5.jpg "[8] “Shall We Dance” (1937)The 7th Astaire-Rogers musical—frustrating first time I watched it, despite spectacular Gershwin music, great A-R chemistry: first duet is delayed, Ginger’s normal role in a big production number is given to Harriet Hoctor. It’s still wonderful.")
![[8] “Shall We Dance” (1937)The 7th Astaire-Rogers musical—frustrating first time I watched it, despite spectacular Gershwin music, great A-R chemistry: first duet is delayed, Ginger’s normal role in a big production number is given to Harriet Hoctor. It’s still wonderful.](https://pbs.twimg.com/media/EdjB2F1XsAIDaIv.jpg "[8] “Shall We Dance” (1937)The 7th Astaire-Rogers musical—frustrating first time I watched it, despite spectacular Gershwin music, great A-R chemistry: first duet is delayed, Ginger’s normal role in a big production number is given to Harriet Hoctor. It’s still wonderful.")
The 7th Astaire-Rogers musical—frustrating first time I watched it, despite spectacular Gershwin music, great A-R chemistry: first duet is delayed, Ginger’s normal role in a big production number is given to Harriet Hoctor. It’s still wonderful.
[7] “Easter Parade” (1948)
The movie that brought Astaire out of brief retirement—thanks to a Gene Kelly injury. Not only one of Fred’s best musicals (best non-RKO), but also one of Judy Garland’s best. Combine them with Ann Miller and Irving Berlin’s music and there is magic
![[7] “Easter Parade” (1948)The movie that brought Astaire out of brief retirement—thanks to a Gene Kelly injury. Not only one of Fred’s best musicals (best non-RKO), but also one of Judy Garland’s best. Combine them with Ann Miller and Irving Berlin’s music and there is magic](https://pbs.twimg.com/media/Edn4fkLXsAcPA4y.jpg "[7] “Easter Parade” (1948)The movie that brought Astaire out of brief retirement—thanks to a Gene Kelly injury. Not only one of Fred’s best musicals (best non-RKO), but also one of Judy Garland’s best. Combine them with Ann Miller and Irving Berlin’s music and there is magic")
![[7] “Easter Parade” (1948)The movie that brought Astaire out of brief retirement—thanks to a Gene Kelly injury. Not only one of Fred’s best musicals (best non-RKO), but also one of Judy Garland’s best. Combine them with Ann Miller and Irving Berlin’s music and there is magic](https://pbs.twimg.com/media/Edn4fkMXgAIhHOm.jpg "[7] “Easter Parade” (1948)The movie that brought Astaire out of brief retirement—thanks to a Gene Kelly injury. Not only one of Fred’s best musicals (best non-RKO), but also one of Judy Garland’s best. Combine them with Ann Miller and Irving Berlin’s music and there is magic")
![[7] “Easter Parade” (1948)The movie that brought Astaire out of brief retirement—thanks to a Gene Kelly injury. Not only one of Fred’s best musicals (best non-RKO), but also one of Judy Garland’s best. Combine them with Ann Miller and Irving Berlin’s music and there is magic](https://pbs.twimg.com/media/Edn4fkMXYAALnu_.jpg "[7] “Easter Parade” (1948)The movie that brought Astaire out of brief retirement—thanks to a Gene Kelly injury. Not only one of Fred’s best musicals (best non-RKO), but also one of Judy Garland’s best. Combine them with Ann Miller and Irving Berlin’s music and there is magic")
The movie that brought Astaire out of brief retirement—thanks to a Gene Kelly injury. Not only one of Fred’s best musicals (best non-RKO), but also one of Judy Garland’s best. Combine them with Ann Miller and Irving Berlin’s music and there is magic
[6] “Carefree” (1938)
Often referred to as more screwball comedy than musical, yet very definitely a musical—and with great Irving Berlin music. Fred and Ginger’s “The Yam” is as fun a routine ever put on film. “Change Partners” is underrated for its simple, graceful elegance.
![[6] “Carefree” (1938)Often referred to as more screwball comedy than musical, yet very definitely a musical—and with great Irving Berlin music. Fred and Ginger’s “The Yam” is as fun a routine ever put on film. “Change Partners” is underrated for its simple, graceful elegance.](https://pbs.twimg.com/media/EdtRMjZXkAIf_oq.jpg "[6] “Carefree” (1938)Often referred to as more screwball comedy than musical, yet very definitely a musical—and with great Irving Berlin music. Fred and Ginger’s “The Yam” is as fun a routine ever put on film. “Change Partners” is underrated for its simple, graceful elegance.")
![[6] “Carefree” (1938)Often referred to as more screwball comedy than musical, yet very definitely a musical—and with great Irving Berlin music. Fred and Ginger’s “The Yam” is as fun a routine ever put on film. “Change Partners” is underrated for its simple, graceful elegance.](https://pbs.twimg.com/media/EdtRMjTXYAcu0Cl.jpg "[6] “Carefree” (1938)Often referred to as more screwball comedy than musical, yet very definitely a musical—and with great Irving Berlin music. Fred and Ginger’s “The Yam” is as fun a routine ever put on film. “Change Partners” is underrated for its simple, graceful elegance.")
![[6] “Carefree” (1938)Often referred to as more screwball comedy than musical, yet very definitely a musical—and with great Irving Berlin music. Fred and Ginger’s “The Yam” is as fun a routine ever put on film. “Change Partners” is underrated for its simple, graceful elegance.](https://pbs.twimg.com/media/EdtRMjZWsAIVsi-.jpg "[6] “Carefree” (1938)Often referred to as more screwball comedy than musical, yet very definitely a musical—and with great Irving Berlin music. Fred and Ginger’s “The Yam” is as fun a routine ever put on film. “Change Partners” is underrated for its simple, graceful elegance.")
Often referred to as more screwball comedy than musical, yet very definitely a musical—and with great Irving Berlin music. Fred and Ginger’s “The Yam” is as fun a routine ever put on film. “Change Partners” is underrated for its simple, graceful elegance.
[5] “Top Hat” (1935)
The most well-known of the Astaire-Rogers films has legendary music and dances. “Isn’t This a Lovely Day” and “Cheek to Cheek” in the same film! “The Piccolino” production number is quite fun as well. And the opening ‘meet cute’ is one of the best ever.
![[5] “Top Hat” (1935)The most well-known of the Astaire-Rogers films has legendary music and dances. “Isn’t This a Lovely Day” and “Cheek to Cheek” in the same film! “The Piccolino” production number is quite fun as well. And the opening ‘meet cute’ is one of the best ever.](https://pbs.twimg.com/media/Ed0veF8XgAApq4h.jpg "[5] “Top Hat” (1935)The most well-known of the Astaire-Rogers films has legendary music and dances. “Isn’t This a Lovely Day” and “Cheek to Cheek” in the same film! “The Piccolino” production number is quite fun as well. And the opening ‘meet cute’ is one of the best ever.")
![[5] “Top Hat” (1935)The most well-known of the Astaire-Rogers films has legendary music and dances. “Isn’t This a Lovely Day” and “Cheek to Cheek” in the same film! “The Piccolino” production number is quite fun as well. And the opening ‘meet cute’ is one of the best ever.](https://pbs.twimg.com/media/Ed0veF7XYAALuiE.jpg "[5] “Top Hat” (1935)The most well-known of the Astaire-Rogers films has legendary music and dances. “Isn’t This a Lovely Day” and “Cheek to Cheek” in the same film! “The Piccolino” production number is quite fun as well. And the opening ‘meet cute’ is one of the best ever.")
![[5] “Top Hat” (1935)The most well-known of the Astaire-Rogers films has legendary music and dances. “Isn’t This a Lovely Day” and “Cheek to Cheek” in the same film! “The Piccolino” production number is quite fun as well. And the opening ‘meet cute’ is one of the best ever.](https://pbs.twimg.com/media/Ed0veF-WAAE5UeF.jpg "[5] “Top Hat” (1935)The most well-known of the Astaire-Rogers films has legendary music and dances. “Isn’t This a Lovely Day” and “Cheek to Cheek” in the same film! “The Piccolino” production number is quite fun as well. And the opening ‘meet cute’ is one of the best ever.")
The most well-known of the Astaire-Rogers films has legendary music and dances. “Isn’t This a Lovely Day” and “Cheek to Cheek” in the same film! “The Piccolino” production number is quite fun as well. And the opening ‘meet cute’ is one of the best ever.
[4] “Follow the Fleet” (1936)
Another brilliant Fred Astaire-Ginger Rogers-Irving Berlin collaboration. “Let Yourself Go”, “I’m Putting All My Eggs in One Basket”, “Let’s Face the Music and Dance”, and more.
![[4] “Follow the Fleet” (1936)Another brilliant Fred Astaire-Ginger Rogers-Irving Berlin collaboration. “Let Yourself Go”, “I’m Putting All My Eggs in One Basket”, “Let’s Face the Music and Dance”, and more.](https://pbs.twimg.com/media/Ed8wHb8WkAAMzYa.jpg "[4] “Follow the Fleet” (1936)Another brilliant Fred Astaire-Ginger Rogers-Irving Berlin collaboration. “Let Yourself Go”, “I’m Putting All My Eggs in One Basket”, “Let’s Face the Music and Dance”, and more.")
![[4] “Follow the Fleet” (1936)Another brilliant Fred Astaire-Ginger Rogers-Irving Berlin collaboration. “Let Yourself Go”, “I’m Putting All My Eggs in One Basket”, “Let’s Face the Music and Dance”, and more.](https://pbs.twimg.com/media/Ed8wHb9WkAYNUEz.jpg "[4] “Follow the Fleet” (1936)Another brilliant Fred Astaire-Ginger Rogers-Irving Berlin collaboration. “Let Yourself Go”, “I’m Putting All My Eggs in One Basket”, “Let’s Face the Music and Dance”, and more.")
![[4] “Follow the Fleet” (1936)Another brilliant Fred Astaire-Ginger Rogers-Irving Berlin collaboration. “Let Yourself Go”, “I’m Putting All My Eggs in One Basket”, “Let’s Face the Music and Dance”, and more.](https://pbs.twimg.com/media/Ed8wHcBXYAABJou.jpg "[4] “Follow the Fleet” (1936)Another brilliant Fred Astaire-Ginger Rogers-Irving Berlin collaboration. “Let Yourself Go”, “I’m Putting All My Eggs in One Basket”, “Let’s Face the Music and Dance”, and more.")
Another brilliant Fred Astaire-Ginger Rogers-Irving Berlin collaboration. “Let Yourself Go”, “I’m Putting All My Eggs in One Basket”, “Let’s Face the Music and Dance”, and more.
[3] “Swing Time” (1936)
Another Astaire-Rogers (Jerome Kern-Dorothy Fields) RKO masterpiece overall. Without the unconscionable blackface used in the Bojangles of Harlem number it would perhaps be the all-time best musical. The dance class scene is sublime.
![[3] “Swing Time” (1936)Another Astaire-Rogers (Jerome Kern-Dorothy Fields) RKO masterpiece overall. Without the unconscionable blackface used in the Bojangles of Harlem number it would perhaps be the all-time best musical. The dance class scene is sublime.](https://pbs.twimg.com/media/EeCGk0iXgAMlYq0.jpg "[3] “Swing Time” (1936)Another Astaire-Rogers (Jerome Kern-Dorothy Fields) RKO masterpiece overall. Without the unconscionable blackface used in the Bojangles of Harlem number it would perhaps be the all-time best musical. The dance class scene is sublime.")
![[3] “Swing Time” (1936)Another Astaire-Rogers (Jerome Kern-Dorothy Fields) RKO masterpiece overall. Without the unconscionable blackface used in the Bojangles of Harlem number it would perhaps be the all-time best musical. The dance class scene is sublime.](https://pbs.twimg.com/media/EeCGk0kWkAIWo-F.jpg "[3] “Swing Time” (1936)Another Astaire-Rogers (Jerome Kern-Dorothy Fields) RKO masterpiece overall. Without the unconscionable blackface used in the Bojangles of Harlem number it would perhaps be the all-time best musical. The dance class scene is sublime.")
![[3] “Swing Time” (1936)Another Astaire-Rogers (Jerome Kern-Dorothy Fields) RKO masterpiece overall. Without the unconscionable blackface used in the Bojangles of Harlem number it would perhaps be the all-time best musical. The dance class scene is sublime.](https://pbs.twimg.com/media/EeCGk0mXgAAZ8DS.jpg "[3] “Swing Time” (1936)Another Astaire-Rogers (Jerome Kern-Dorothy Fields) RKO masterpiece overall. Without the unconscionable blackface used in the Bojangles of Harlem number it would perhaps be the all-time best musical. The dance class scene is sublime.")
Another Astaire-Rogers (Jerome Kern-Dorothy Fields) RKO masterpiece overall. Without the unconscionable blackface used in the Bojangles of Harlem number it would perhaps be the all-time best musical. The dance class scene is sublime.
[2] “Roberta” (1935)
An Astaire-Rogers musical I don’t often see in lists of their best, but it’s in mine. More great Jerome Kern music, plus a wonderful supporting cast. “I Won’t Dance” is my favorite routine of all time. “I’ll Be Hard to Handle” is right there with it.
![[2] “Roberta” (1935)An Astaire-Rogers musical I don’t often see in lists of their best, but it’s in mine. More great Jerome Kern music, plus a wonderful supporting cast. “I Won’t Dance” is my favorite routine of all time. “I’ll Be Hard to Handle” is right there with it.](https://pbs.twimg.com/media/EeHUIAAWAAAPHZa.jpg "[2] “Roberta” (1935)An Astaire-Rogers musical I don’t often see in lists of their best, but it’s in mine. More great Jerome Kern music, plus a wonderful supporting cast. “I Won’t Dance” is my favorite routine of all time. “I’ll Be Hard to Handle” is right there with it.")
![[2] “Roberta” (1935)An Astaire-Rogers musical I don’t often see in lists of their best, but it’s in mine. More great Jerome Kern music, plus a wonderful supporting cast. “I Won’t Dance” is my favorite routine of all time. “I’ll Be Hard to Handle” is right there with it.](https://pbs.twimg.com/media/EeHUIACWkAAxdWG.jpg "[2] “Roberta” (1935)An Astaire-Rogers musical I don’t often see in lists of their best, but it’s in mine. More great Jerome Kern music, plus a wonderful supporting cast. “I Won’t Dance” is my favorite routine of all time. “I’ll Be Hard to Handle” is right there with it.")
![[2] “Roberta” (1935)An Astaire-Rogers musical I don’t often see in lists of their best, but it’s in mine. More great Jerome Kern music, plus a wonderful supporting cast. “I Won’t Dance” is my favorite routine of all time. “I’ll Be Hard to Handle” is right there with it.](https://pbs.twimg.com/media/EeHUIADX0AM2gQ7.jpg "[2] “Roberta” (1935)An Astaire-Rogers musical I don’t often see in lists of their best, but it’s in mine. More great Jerome Kern music, plus a wonderful supporting cast. “I Won’t Dance” is my favorite routine of all time. “I’ll Be Hard to Handle” is right there with it.")
An Astaire-Rogers musical I don’t often see in lists of their best, but it’s in mine. More great Jerome Kern music, plus a wonderful supporting cast. “I Won’t Dance” is my favorite routine of all time. “I’ll Be Hard to Handle” is right there with it.
[1] “The Gay Divorcée” (1934)
Why isn’t this included in more “best of” lists: best comedy, best musical, etc. Perhaps the Astaire-Rogers musicals get (understandably) put in a category of their own? This launched the A-R phenomenon, so 1934 moviegoers knew their stuff.
![[1] “The Gay Divorcée” (1934)Why isn’t this included in more “best of” lists: best comedy, best musical, etc. Perhaps the Astaire-Rogers musicals get (understandably) put in a category of their own? This launched the A-R phenomenon, so 1934 moviegoers knew their stuff.](https://pbs.twimg.com/media/EeMJ4YAX0AUj09I.jpg "[1] “The Gay Divorcée” (1934)Why isn’t this included in more “best of” lists: best comedy, best musical, etc. Perhaps the Astaire-Rogers musicals get (understandably) put in a category of their own? This launched the A-R phenomenon, so 1934 moviegoers knew their stuff.")
![[1] “The Gay Divorcée” (1934)Why isn’t this included in more “best of” lists: best comedy, best musical, etc. Perhaps the Astaire-Rogers musicals get (understandably) put in a category of their own? This launched the A-R phenomenon, so 1934 moviegoers knew their stuff.](https://pbs.twimg.com/media/EeMJ4X-WoAEWnjz.jpg "[1] “The Gay Divorcée” (1934)Why isn’t this included in more “best of” lists: best comedy, best musical, etc. Perhaps the Astaire-Rogers musicals get (understandably) put in a category of their own? This launched the A-R phenomenon, so 1934 moviegoers knew their stuff.")
![[1] “The Gay Divorcée” (1934)Why isn’t this included in more “best of” lists: best comedy, best musical, etc. Perhaps the Astaire-Rogers musicals get (understandably) put in a category of their own? This launched the A-R phenomenon, so 1934 moviegoers knew their stuff.](https://pbs.twimg.com/media/EeMJ4YBWkAAFRWF.jpg "[1] “The Gay Divorcée” (1934)Why isn’t this included in more “best of” lists: best comedy, best musical, etc. Perhaps the Astaire-Rogers musicals get (understandably) put in a category of their own? This launched the A-R phenomenon, so 1934 moviegoers knew their stuff.")
Why isn’t this included in more “best of” lists: best comedy, best musical, etc. Perhaps the Astaire-Rogers musicals get (understandably) put in a category of their own? This launched the A-R phenomenon, so 1934 moviegoers knew their stuff.
