Editing Fred Astaire (section)

===1933–1939: Astaire and Ginger Rogers at RKO===
[[File:Top-Hat-Rogers-Astaire.jpg|thumb|[[Ginger Rogers]] and Fred Astaire in ''[[Top Hat]]'' (1935)]]
According to Hollywood folklore, a screen test report on Astaire for [[RKO Pictures|RKO Radio Pictures]], now lost along with the test, is reported to have read: "Can't sing. Can't act. Balding. Can dance a little." The producer of the Astaire–Rogers pictures, [[Pandro S. Berman]], claimed he had never heard the story in the 1930s and that it only emerged years afterward.<ref name="Mueller"/>{{rp|7}} Astaire later clarified, insisting that the report had read: "Can't act. Slightly bald. ''Also dances''."<ref>Astaire made the comment in a 1980 interview on [[American Broadcasting Company|ABC]]'s ''[[20/20 (American TV program)|20/20]]'' with [[Barbara Walters]]. Astaire was balding at the time he began his movie career and thus wore a toupee in all of his films.</ref> In any case, the test was clearly disappointing, and [[David O. Selznick]], who had signed Astaire to RKO and commissioned the test, stated in a memo, "I am uncertain about the man, but I feel, in spite of his enormous ears and bad chin line, that his charm is so tremendous that it comes through even on this wretched test."<ref name="Mueller"/>{{rp|7}}

However, this did not affect RKO's plans for Astaire. They lent him for a few days to MGM in 1933 for his significant Hollywood debut in the successful musical film ''[[Dancing Lady]]''. In the movie, he appeared as himself dancing with [[Joan Crawford]]. On his return to RKO, he got fifth billing after fourth-billed Ginger Rogers in the 1933 [[Dolores del Río]] vehicle ''[[Flying Down to Rio]]''. In a review, ''[[Variety (magazine)|Variety]]'' magazine attributed its massive success to Astaire's presence:

<blockquote>The main point of ''Flying Down to Rio'' is the screen promise of Fred Astaire&nbsp;... He's assuredly a bet after this one, for he's distinctly likable on the screen, the mike is kind to his voice and as a dancer, he remains in a class by himself. The latter observation will be no news to the profession, which has long admitted that Astaire starts dancing where the others stop hoofing.<ref>{{Cite web|url=https://variety.com/1933/film/reviews/flying-down-to-rio-1200410897/|title=Flying Down to Rio|work=Variety|date=January 1, 1934}}</ref><ref name="Mueller"/>{{rp|7}}</blockquote>

Having already been linked to his sister Adele on stage, Astaire was initially very reluctant to become part of another dance team. He wrote his agent, "I don't mind making another picture with her, but as for this 'team' idea, it's 'out!' I've just managed to live down one partnership and I don't want to be bothered with any more."<ref name="Mueller"/>{{rp|8}} However, he was persuaded by the apparent public appeal of the Astaire–Rogers pairing. The partnership, and the choreography of Astaire and [[Hermes Pan]], helped make dancing an important element of the Hollywood [[musical film|film musical]].{{Citation needed|date=December 2022}}

Astaire and Rogers made nine films together at RKO: ''[[Flying Down to Rio]]'' (1933), ''[[The Gay Divorcee]]'' (1934), ''[[Roberta (1935 film)|Roberta]]'' (1935, in which Astaire also demonstrates his oft-overlooked piano skills with a spirited solo on "I Won't Dance"), ''[[Top Hat]]'' (1935), ''[[Follow the Fleet]]'' (1936), ''[[Swing Time (film)|Swing Time]]'' (1936), ''[[Shall We Dance (1937 film)|Shall We Dance]]'' (1937),  ''[[Carefree (film)|Carefree]]'' (1938), and ''[[The Story of Vernon and Irene Castle]]'' (1939). Six out of the nine Astaire–Rogers musicals became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time. Their partnership elevated them both to stardom; as [[Katharine Hepburn]] reportedly said, "He gives her class and she gives him sex appeal."<ref name="Croce">{{cite book
  | last = Croce
  | first = Arlene
  | title = The Fred Astaire and Ginger Rogers Book
  | publisher = W.H. Allen
  | year = 1972
  | location = London
  | isbn=978-0-8109-4374-2}}</ref>{{rp|134}} 
Astaire received a percentage of the films' profits, something scarce in actors' contracts at that time.{{Citation needed|date=December 2022}}

====Innovations====
Astaire revolutionized dance on film by having complete autonomy over its presentation.<ref>The only other entertainer to receive this treatment at the time was [[Greta Garbo]].</ref> He is credited with two important innovations in early film musicals.<ref name="Mueller"/>{{rp|23, 26}} First, he insisted that a closely tracking dolly camera film a dance routine in as few shots as possible, typically with just four to eight cuts, while holding the dancers in full view at all times. This gave the illusion of an almost stationary camera filming an entire dance in a single shot. Astaire famously quipped: "Either the camera will dance, or I will."<ref name="Mueller"/>{{rp|420}} Astaire maintained this policy from ''The Gay Divorcee'' in 1934 until his last film musical, ''[[Finian's Rainbow (1968 film)|Finian's Rainbow]]'' in 1968, when director [[Francis Ford Coppola]] overruled him.<ref>Coppola also fired Hermes Pan from the film. cf. Mueller p. 403</ref>

Astaire's style of dance sequences allowed the viewer to follow the dancers and choreography in their entirety. This style differed strikingly from those in the [[Busby Berkeley]] musicals. Those musicals' sequences were filled with extravagant aerial shots, dozens of cuts for quick takes, and zooms on areas of the body such as a chorus row of arms or legs.<ref name="Guardian">{{cite news |last1=Mackrell |first1=Judith |title=A kaleidoscope of legs: Busby Berkeley's flamboyant dance fantasies |url=https://www.theguardian.com/stage/2017/mar/23/busby-berkeley-dance-42nd-street-choreography-film-musicals|newspaper=[[The Guardian]] |date=March 23, 2017}}</ref>

Astaire's second innovation involved the context of the dance; he was adamant that all song and dance routines be integral to the plotlines of the film. Instead of using dance as a spectacle as Busby Berkeley did, Astaire used it to move the plot along. Typically, an Astaire picture would include at least three standard dances. One would be a solo performance by Astaire, which he termed his "sock solo". Another would be a partnered comedy dance routine. Finally, he would include a partnered romantic dance routine.<ref name="Eiss">{{cite book |last1=Eiss |first1=Harry |title=The Mythology of Dance |date=September 18, 2013 |publisher=Cambridge Scholars Publishing |isbn=9781443852883 |page=213}}. While it would appear the passage in Wikipedia is a plagiarism of the book, the book's publication came AFTER the Wikipedia entry. It would appear the book plagiarized Wikipedia. The author is a full professor at U Michigan and the publisher is Cambridge, so it still is a reliable source.</ref>

====Assessment of the Rogers partnership====
[[File:fredginger.jpg|thumb|An RKO publicity still of Astaire and Rogers dancing to "[[Smoke Gets in Your Eyes]]" in ''[[Roberta (1935 film)|Roberta]]'' (1935)]]
Dance commentators [[Arlene Croce]],<ref name="Croce"/>{{rp|6}} Hannah Hyam<ref name="Hyam">{{cite book
  | last = Hyam
  | first = Hannah
  | title = Fred and Ginger: The Astaire–Rogers Partnership 1934–1938
  | publisher = Pen Press Publications
  | year = 2007
  | location = Brighton
  | isbn=978-1-905621-96-5}}</ref>{{rp|146–147}} and [[John Mueller]]<ref name="Mueller"/>{{rp|8,9}} consider Rogers to have been Astaire's greatest dance partner, a view shared<ref name=GilesP33>Giles, p. 33 Pan: "I do not think [[Eleanor Powell]] was Fred's greatest dancing partner. I think Ginger Rogers was. Not that she was the greatest of dancers. Cyd Charisse was a much finer technical dancer"</ref> by Hermes Pan and [[Stanley Donen]].<ref name=GilesP33/> Film critic [[Pauline Kael]] adopts a more neutral stance,<ref>Kael: "That's a bit much", in an otherwise laudatory review of Croce's ''The Fred Astaire and Ginger Rogers Book'', writing in ''[[The New Yorker]]'', November 25, 1972</ref> while ''[[Time (magazine)|Time]]'' magazine film critic [[Richard Schickel]] writes "The nostalgia surrounding Rogers–Astaire tends to bleach out other partners."<ref>{{cite magazine |author-link=Richard Schickel |last=Schickel |first=Richard |date=July 6, 1987 |url=http://www.time.com/time/magazine/article/0,9171,964929,00.html |title=The Great American Flyer |magazine=[[Time (magazine)|Time]] |archive-url=https://web.archive.org/web/20070223091706/http://www.time.com/time/magazine/article/0,9171,964929,00.html |archive-date=February 23, 2007}}</ref>

Mueller sums up Rogers's abilities as follows:

<blockquote>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&nbsp;... 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.<ref name="Mueller"/></blockquote>

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&nbsp;... 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."<ref name="Satchell1">{{cite book |last=Satchell |first=Tim |date=1987 |title=Astaire: The Definitive Biography |publisher=Hutchinson |page=127 |isbn=978-0-09-173736-8}}</ref> On p.&nbsp;162 of 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. Actually, she made things very fine for both of us and she deserves most of the credit for our success."{{Citation needed|date=December 2022}}

In 1976, British talk-show host [[Michael Parkinson]] asked Astaire who his favorite dancing partner was, on ''[[Parkinson (TV series)|Parkinson]]''. At first, Astaire refused to answer but ultimately he said "Excuse me, I must say Ginger was certainly, [uh, uh,] the one. You know, the most effective partner I ever had. Everyone knows."<ref>{{YouTube|id=xEaach8NrPUt=4m11s|title=Fred Astaire interview : Parkinson 1976}} The timestamp starts when he is asked who is his favorite dancing partner. The referenced quote is at 5:20.</ref>

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&nbsp;... they never know what time of night he'll call up and start ranting enthusiastically about a fresh idea&nbsp;... No loafing on the job on an Astaire picture, and no cutting corners."<ref name="Mueller"/>{{rp|16}}

Despite their success, Astaire was unwilling to have his career tied exclusively to any partnership. He negotiated with RKO to strike out on his own with ''[[A Damsel in Distress (1937 film)|A Damsel in Distress]]'' in 1937 with an inexperienced, non-dancing [[Joan Fontaine]], unsuccessfully as it turned out. He returned to make two more films with Rogers, ''[[Carefree (film)|Carefree]]'' (1938) and ''[[The Story of Vernon and Irene Castle]]'' (1939). While both films earned respectable gross incomes, they both lost money because of increased production costs,<ref name="Mueller"/>{{rp|410}} and Astaire left RKO after being labeled "[[Box Office Poison (magazine article)|box office poison]]" by the ''Independent Theatre Owners of America''. Astaire was reunited with Rogers in 1949 at MGM for their final outing, ''[[The Barkleys of Broadway]]'', the only one of their films together to be shot in [[Technicolor]].