Talking, Singing, Dancing Pictures 1929 - 1934 • "32 Days of Movies" Day 3

The third chapter in "32 Days of Movies", an audiovisual tour through 366 films.

View "Chapter 3: Talking, Singing, Dancing Pictures"
(2015 update: included Vimeo embed after the jump)

Talking, Singing, Dancing Pictures

Creaky. Tinny. Stagebound. All of these adjectives have been used to describe the early talkies and, sure enough, many directors had no clue what to do with the new technology. Perhaps most did not understand sound at first (and one in this chapter, making his first appearance, didn't want to - at least for the time being). However, those who did understand used sound extremely well, perhaps even better than later filmmakers, who took it for granted. Sound can be a girlfriend screaming over the phone, a radio playing across an alleyway, a glutton burping, or the gutteral growls of a gorilla (two gorillas, actually). Or it could be the sublimely casual way someone asks, "Cigarette?"

Musical Countdown - The Gay Divorcee

This is an entry in the Wonders in the Dark musical countdown - an epic enterprise; make sure you check out the whole thing!

If writing about movies is like dancing about architecture, then writing about musicals is like trying to draw a blueprint for a tap dance. Here I try to make both ends meet.

The words below the fold are from Arlene Croce’s seminal “Fred Astaire & Ginger Rogers Book.”

The images (some fragments, some fully framed) are from a single number, “Night and Day,” the only sequence in the film where Fred & Ginger dance by themselves, three minutes out of nearly two hours but the very essence of the picture and their partnership.

Finally, there is a video clip of the number in its entirety. Music and lyrics by Cole Porter, choreography by Fred Astaire, dancing by you-know-who.

The hope is that, senses sharpened by the indirect evocations of Croce’s prose, and the lingering snapshots of motion, you will view the piece with renewed appreciation, much as one might press one’s nose up against a pointillist painting, viewing all those little dots as isolated phenomena before stepping back to take in the big picture, all without losing sight of the magical details which give it its essence.

As Arlene Croce writes, opening her study of the sequence, “This incomparable dance of seduction is a movie in itself.” Enjoy.

Astaire and Rogers

Many months in the making, this post is actually relatively simple: it chronicles every Astaire-Rogers dance in every Astaire-Rogers movie. If you had asked me as recently as this summer, "Whom do you prefer - Gene Kelly or Fred Astaire?" I would have positively responded, "Kelly." Though I still admire him, my new reaction to Astaire, whose appeal I didn't really "get" (connecting more with Kelly's athletic hoofing than Astaire's more genteel, seemingly effortless tapping), has shifted completely. Actually, it was Ginger Rogers who gave me my entry into the world of Astaire-Rogers, or Fred and Ginger, as we think of their characters. Taken with her in Stage Door, and then in Carefree, I was soon making my way through all ten of the duo's musicals, many of which were aired on TCM this fall, the others of which I caught up with on Netflix. So much has been written about them, and I have so little to offer in the technical department, that my own thoughts are kept to a minimum, a few observations followed by the videos. None of Fred's solos are included; often they are wonderful, even highlights of the films in question, but I decided just to focus on the pairings (with a few exceptions, all of which feature both of them acting if not dancing). The clips (a few of which contain multiple dances) appear after the jump. [update 5/1: originally this post featured You Tube clips, but they were deleted so quickly that, frustrated repeatedly, I gave up trying to be comprehensive...for the time being. Now I have replaced the original clips with selections ripped, cut, and posted by me. Enjoy.]