Archive for Ginger Rogers

Versus

Posted in FILM with tags , , , on December 11, 2017 by dcairns

 

                                  

Whew! That was a struggle.

Advertisements

Gingergangers

Posted in Dance, FILM, MUSIC with tags , , , , , , , , , , , , , , on May 30, 2017 by dcairns

SHALL WE DANCE is perhaps not quite as good as THE GAY DIVORCEE or TOP HAT but then nothing is. It has Fred and Ginger and Gershwin tunes and Mark Sandrich directing a script by a whole gang including series regulars Adrian Scott and Ernest Pagano.

Edward Everett Horton and Eric Blore (as Cecil Flintidge: clearly a role he was born for) are back as support for Fred and Ginger, but there’s no Erik Rhodes this time — Fred has taken the funny foreigner part for himself. He plays Peter P. Peters, whose stage name, Petrov, causes Ginger to expect him to be a sombre, pompous Russian ballet star before she’s met him. Overhearing her remarks, Fred resolves to BE a stage Russian (for some reason, Fred always sets out to annoy Ginger when they first meet).

His goofy Russian is hilarious, though, part Erik Rhodes, part Lugosi. He prances about the room, striking Slavic attitudes, he says “Ochi Chernye” as if it were a greeting, and ends with “I mos’ go. I mos’ go to Mos-go!” Very silly indeed.

Fred also dances with the art deco engine room of the Queen Anne, a film first. RKO’s idea of an ocean liner is probably somewhat credible — I bet 1930s liners really were built in the streamlined style. But I doubt their engine rooms were white, moderne palaces of engineering with mirrored floors and a spare double bass to slap.

The movie is so entertaining it can delay the appearance of Blore for almost half its length, and wait even longer for Fred and Ginger to dance together. We get They All Laughed and Let’s Call the Whole Thing Off (on rollerskates!), and lots of crazy farce plotting, including an uncanny development where Jerome Cowan tries to substantiate the fake news that Astaire & Rogers are married by smuggling a sort of fembot duplicate of Miss R. into Fred’s bedchamber.

Later, Fred finds the automaton stashed in a cupboard. His reaction reminded me of someone ~

Pierre Batcheff in UN CHIEN ANDALOU.

Also, Ginger has a very cute little dog.

This little nameless trouper is a natural! He burns up the screen! Fiona thought he was the cutest dog ever — he draws the eye throughout Fred’s rendition of They Can’t Take That Away from Me by being adorably sleepy. But I had to remind her of the puppy in THE YOUNG IN HEART with the one big dark eyebrow. It’s a close run thing. You can vote on it if you like.

Did he grow up to be the dog from YOJIMBO?

“Jane of Aylesbury” in THE YOUNG IN HEART. Pretty stiff competition.

Film climaxes with the eeriest number of all Fred & Ginger extravaganzas, featuring as it does a chorus of girls in detachable Ginger masks (reminding Fiona of Sheryl Lee removing her face in Twin Peaks: The Return) and also the alarming Harriet Hoctor, a diabolical creature from an alternate dimension, or else a freak born, by a cruel caprice of Mother Nature, with half her body upside down. The feather gown adds to her unreality by making her seem weightless. It’s all a bit much. She never caught on.

GOD PLEASE NO TAKE IT AWAY TAKE IT AWAY KILL IT

The Continental Hop

Posted in Dance, Fashion, FILM, MUSIC with tags , , , , , on February 24, 2017 by dcairns

vlcsnap-2017-02-24-10h25m17s901

We had Marvelous Mary round for dinner, and we were all set to watch GOLD DIGGERS OF 1933, which is one of Fiona’s top ten films but which Mary had never seen. But then the butternut squash took a long time to cook, and I put the Busby Berkeley extracts disc on to pass the time, and by the time dinner was ready we were all Busbied out. His version of b&w is particularly intense — obsidian dance floors that wait like inky pools to swallow the milky flesh of luminous chorines, the whole studio-enclosed universe a fractal yin-yang. (Of course, when Busby got his hands on Technicolor ooh boy!)

So we jumped sideways from Warners to RKO and watched THE GAY DIVORCEE instead.

Of course, the film is structured entirely as a vehicle for Fred & Ginger as they disport themselves before the same rear-projection screen that held King Kong (Night and Day!), but it has a good farce plot — Ginger’s marriage to a geologist is on the rocks; she engages a professional co-respondent to produce grounds for divorce; but Fred has already fallen in love with her and an unlikely coincidence (“Chance is the fool’s name for fate”) causes him to be mistaken for the paid philanderer…

vlcsnap-2017-02-24-10h26m29s636

vlcsnap-2017-02-24-10h34m35s168

On top of this, the supporting cast, starting with Edward Everett Horton and Alice Brady, and then escalating to Eric Blore and Erik Rhodes, bring a huge amount of subsidiary entertainment. The Erics are fascinating. Blore varied his schtick very little over his career, but he didn’t need to. He was perfection. And Rhodes’ performance as Tonetti the professional co-respondent raises the fatuous to the sublime. (Always note at this point that his performance got the film banned in Mussolini’s Italy.)

“I wonder if he’s wearing co-respondent shoes,” said Mary. It turns out that these are brogues in two colours. But we didn’t get a clear shot of his feet. After all, he’s not Fred.

vlcsnap-2017-02-24-10h21m22s966

And then the Continental started, and never seemed to end. I’m sure this number isn’t the actual longest musical interlude in screen history, but it seems to set out to create the impression that it is. Mary and Fiona kept asking me if it was nearly over. “Not until they get to the Russian montage part,” I said.

“Are they going to chuck a baby down those steps?” asked Mary.

The Continental continued. It may be that it is continuing still, that, like Philip K Dick’s Roman Empire, it never ended.

“It was a different age, I suppose,” mused Mary.

“It was by the time they’d finished doing the Continental,” I said.

But somehow the story resumed, and was wrapped up in a clever way, and then Fred and Ginger danced off to a reprise of — the Continental.

“SHE’S wearing co-respondent shoes!” declared Mary. And she was.

vlcsnap-2017-02-24-10h33m17s634