A product of vaudeville and Broadway, Fred Astaire had been in the entertainment business since childhood, dancing on stage with his sister Adele. For many years they worked together through the nineteen teens and twenties but emerging into the new decade of the 1930's would bring Astaire into turmoil as his sister left their huge Broadway act to birth and raise her children and with her going away, it seemed as if Fred's career had gone with her. However, opportunity knocked on Fred's door when he landed the lead role of Guy Holden in Cole Porter's new Broadway musical production of "The Gay Divorce". Preparation for the musical was tough as Astaire had to find in himself confidence to go on-stage solo without depending on Adele, who was a moving force during his time on stage.
He had troubles with some of the Porter songs and struggled with one tune in particular, "Night and Day", yet upon opening night, Astaire was singled out of the exemplary production and was hailed as a new sensation and with this came the offers from the movie studios.

Taking up a contract with Radio Pictures (Soon to be known as RKO Radio Pictures), Astaire was signed on the supporting cast of a Dolores Del Rio picture, "Flying Down to Rio", in which again Astaire was singles out for his amazing dancing abilities and his on-screen charm, along with his partner in the film, Ginger Rodgers. Seeing a money making opportunity, the rights to "The Gay Divorce" were bought and Rodgers along with Astaire were set to star in it. Thus began their run together, which would change filmdom forever.

Immediately, these musicals tore down the conceptions of what a film musical was supposed to be at the time: A story was integrated with the music which would actually progress the story and expose characters feelings. Instead of just a collection of tap numbers loosely tied together, they took a step to enhance the art of dance on film. Not only would this be done, but the techniques of filming a number would e different. With Astaire plotting with counterpart Hermes Pan who would be Choreographer, it was decided to film a dance un-interrupted with no cuts to the faces of the people in the number or to their moving feet. It was a natural, smooth shot of the dancers entire body so that you could witness them as it would look in real life. Really, they brought Broadway to Hollywood and the result would be an Academy Award nomination for "Best Picture" and great public and critical praise.

After filming "Roberta" in 1935, the team was assigned to an original film, "Top Hat" with lyrics and music by the incomparable Irving Berlin who saw one of his finest hour here musically, creating a score that has hardly ever been matched with songs like "Top Hat, White Tie and Tails" and "Cheek to Cheek" which in the hands of Astaire and Pan would become the definitive number for the Astaire and Rodgers musicals. Their follow up film, "Swing Time", directed by George Stevens would become hailed later as their greatest film with a score by Dorothy Fields and Jerome Kern that saw songs like, "A Fine Romance" and "The Way You Look Tonight".

The collaboration would last until 1939 when Rodgers would run off to pursue a serious dramatic career, leaving Astaire to stay solo for the remainder of his career. The early 1940's didn't see many outstanding musicals by Fred. He did work with Rita Hayworth who proved to be another worthy dancer and he also saw work on several M-G-M musicals, none of which exceptional but one worth note: Yolanda and the Thief, which would pair Vincent Minneli with Astaire and serve as an omen of things to come.

But at this point, Astaire saw his way out of film following the "Ziegfeld Follies", a tribute to M-G-M which had been in business for 25 years. However, fate stepped in when fellow dancer gene Kelly broke his ankle just before production began on "Easter Parade" in 1948. Astaire was called to work again and his self-imposed retirement was over.

Several years later, Astaire would see himself working again with Minneli on "The Band Wagon", one of the high points of the Arthur Freed Musicals which are in-turn some of the greatest musicals that Hollywood had to offer during the golden era. The Schwartz/Dietz score along with his dancing with partner Cyd Charisse and the sheer camaraderie of every one involved made this a shining hour for all those involved and is perhaps the last great musical to star in, although he kept himself in work until the end of the decade. However, with the end of the 1950's came the end of the studio system and the demise of the musical.

He continued to do work, saw himself in one last musical, "Finian's Rainbow" in 1969 (Have you ever seen such a graceful 69 year old man?!) and did small movies here and there with a shining hour coming in Irwin Allen's"The Towering Inferno". For his role, the Academy gave him the honor of a nomination for best supporting actor, somewhat a consolitory prize for his efforts on film and redemption for those who never thought he had any acting abilities. The truth was that AStaire did his acting with his body, able to potray any mood through his movements and his grace. His death in 1986 was a loss to the American public. he revolutionized the film musical and could rightfully lay claim to the title of greatest musical star in history

Frank Sinatra once said that Fred Astaire was the classiest performer he ever knew. Sinatra went on to claim that Astaire had the best timing of any performer he's ever seen. Thats a good enough endorsement for me.

Astaire has often been compared to Gene Kelly, the other great male dancer of that era. Kelly's style was more physical; Astaire got his points from style. Nobody, I mean NOBODY could come close to Astaire for style and elegance.

By today's standards Astaire's performances are dated and somewhat corny. But, if you take the time to watch him..... I mean REALLY watch him perform you have to agree that Astaire was simply the best.

He was also the narrator(sp) for Santa Claus is Coming to Town. My fav Christmas show.