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14 Toe-Tapping Facts About Fred Astaire

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Fox Photos/Getty Images

Born on May 10, 1899, Fred Astaire was an actor, dancer, vaudevillian, and movie star whose career spanned nearly eight decades. Here are 14 toe-tapping facts you might not know about the legendary dancer.

1. HE STARTED DANCING AT AGE 4 AND PERFORMING PROFESSIONALLY AT AGE 6.

As a toddler, Astaire’s mother would bring him to pick up his sister Adele from ballet class. In his autobiography, Astaire recalled:

“The story goes that one time when I had gone with my mother to fetch Adele, I put on a pair of ballet slippers. I found them in a corner while I was dawdling around the place, killing time, waiting for Adele to finish her lesson. I had seen other children walk on their toes, so I put on the slippers and walked on my toes. It was as simple as that.”

By the time Fred was six and Adele was eight, the family had moved to New York City, where the siblings were enrolled in a performing arts school and began performing professionally.

2. HE WAS IN A VAUDEVILLE ACT WITH HIS SISTER—AND WAS INITIALLY CONSIDERED THE LESS TALENTED SIBLING.

Fred and Adele Astaire
Fox Photos/Getty Images

The brother-sister dance team made their vaudeville debut with an act called “Juvenile Artists Presenting An Electric Musical Toe-Dancing Novelty.” They continued to perform together into their thirties, only separating when Adele quit dancing to marry a British nobleman. Throughout this time, according to The New York Times, Fred consistently played second fiddle to his glamorous and talented sister. While audiences loved the siblings, critics tended to focus more on Adele than Fred. One critic even went as far as to profess his love for Adele in a headline for The Chicago Herald-Examiner which read, “Falling in Love With Adele Astaire. In Which It Is Told How the Well-Known Heart of Ashton Stevens Is Stricken by the Deftest of the Dancing Girls.” When Fred began performing without his sister, critics were initially dubious (“two Astaires are better than one” wrote one critic of Fred’s first musical performance without Adele).

3. HE WAS CHILDHOOD FRIENDS WITH GEORGE GERSHWIN.

Astaire became friends with George Gershwin when he was 14 and Gershwin was 15. At the time, Gershwin was working for a music publisher and dreaming of composing his own music. According to The New York Times, “Gershwin was working for $15 a week, plugging other people’s songs, and the boys dreamed of George’s writing a musical for Fred one day.” That dream came true, multiple times, with Broadway shows like 1927’s Funny Face, and movies like Shall We Dance (1937), which was the first film George and Ira Gershwin scored.

4. PRODUCERS WERE UNIMPRESSED WITH HIS FIRST SCREEN TEST.

According to legend, producer David O. Selznick was out of town when Astaire shot his screen test for RKO. Whoever was filling in for Selznick was unimpressed by Astaire, jotting down a note that read, “Can’t Act. Slightly Bald. Also Dances.” But Selznick was ultimately so blown away by Astaire’s dancing that despite Astaire’s “enormous ears and bad chin line,” he gave him a contract at RKO.

5. HE MADE 10 FILMS WITH GINGER ROGERS.

Fred Astaire and Ginger Rogers
Hulton Archive/Getty Images

Between 1933 and 1949, Astaire and Rogers appeared in 10 films together, starting with Flying Down To Rio (1933) starring Dolores del Río, in which both had minor roles, and ending with The Barkleys of Broadway (1949), in which the pair reunited after a nearly 10-year hiatus. The Barkleys of Broadway was both their only film together outside of RKO—it was released by MGM—and their only film shot in Technicolor.

6. INITIALLY, ASTAIRE REFUSED TO WORK WITH ROGERS.

Though they became one of Hollywood’s most beloved on-screen couples, Astaire was initially wary of being paired with Rogers. He’d only recently ended his decades-long partnership with Adele and was reluctant to be officially linked to another dancer. He sent a telegram to his agent, Leland Hayward, which read, “What’s all this talk about me being teamed with Ginger Rogers? I will not have it Leland ... I’ve just managed to live down one partnership and I don’t want to be bothered with any more.”

7. HE CREATED A FORMULA FOR ALL HIS FILMS.

If Astaire’s movies with Rogers sometimes seem a little formulaic, that’s because they were—literally. Working with producer Pandro Berman and director Mark Sandrich, Astaire graphed out the structure he would use for all of his films, down to the minute. In the short documentary On Top: Inside The Success of 'Top Hat,' Astaire biographer Larry Billman explains that Astaire drew a chart for each of his films to follow, specifying how many minutes could elapse between the beginning of the film and its first musical number, how many minutes of comedy, romance, and drama there should be between dance numbers. “They really put all the elements down in terms of timing, and they followed that,” Billman said. “We have to meet our characters, he has to be enamored of her, and he sings and dances.”

8. HE REDEFINED THE WAY DANCE SEQUENCES WERE FILMED.

Before Astaire hit Hollywood, musical movies were shot very differently, with lots of fast cuts and close-ups during dance sequences. “Before him, particularly because of the influence of Busby Berkeley numbers in the Warner Bros. films, there was a feeling that you needed to have a lot of cuts to focus on specific aspects of the dance, like the dancer’s feet, and so forth,” film historian Rick Jewell explained in On Top. “Once Astaire becomes the creative genius behind the films, you see a movement backwards toward a much more simple, pure, classical kind of way of shooting films so that you seen the dancers in full figure.”

Astaire insisted that his dances be filmed in long takes and wide shots, with as few cuts as possible, allowing audiences to feel as though they were watching a dancer on stage. He famously told his cameraman, “Either I’m gonna dance, or the camera’s gonna dance—and I’m gonna dance.” In most of his films, Astaire’s dance sequences seem as though they’re filmed in one long take, giving the sense that the audience is watching a live performance. “What that did is it forced directors and cameramen and choreographers to think differently,” film critic Leonard Maltin said in On Top. “It was not about fragmentation, it was about performance.”

9. HE INFLUENCED THE WAY JACKIE CHAN CHOREOGRAPHS HIS KUNG FU SCENES.

Novelist Donald Westlake once wrote, “Jackie Chan is Fred Astaire, and the world is Ginger Rogers.” Jackie Chan, himself, cites Fred Astaire and Gene Kelly as two of the primary influences on his fight choreography. “Right now you can see a lot of dancers on MTV. When they move, bup ... bup ... bup. You have 20 cuts. Camera tricks, camera movements, with special effects,” Chan once told Kung Fu Magazine. “When you look back in the old days with Gene Kelly and Fred Astaire: five minutes without editing. Just singing, dancing, moving to the piano or the light pole … That's what I want.”

10. HE WAS A BIG FAN OF MICHAEL JACKSON.

Michael Jackson—who dedicated his autobiography to Astaire—wrote in Moonwalk about the time Astaire called to congratulate him after a particularly impressive television performance. Jackson wrote, “He said—these are his exact words—‘You’re a hell of a mover. Man, you really put them on their asses last night.’ That’s what Fred Astaire said to me. I thanked him. Then he said, ‘You’re an angry dancer. I’m the same way. I used to do the same thing with my cane.’” Astaire may even have seen Jackson as a successor. He’s quoted in Michael Jackson: The Golden Book of Condolence as saying, “Oh God! That boy moves in a very exceptional way. That’s the greatest dancer of the century. I didn’t want to leave this world without knowing who my descendant was. Thank you Michael!”

11. HIS LAST ON-SCREEN DANCE WAS IN AN EPISODE OF BATTLESTAR GALACTICA.

At age 80, in 1979, Astaire performed a brief disco-inspired dance alongside actress Anne Jeffreys on an episode of Battlestar Galactica. Astaire, who agreed to appear on the show because his grandkids watched it, guest starred as an alien prince, and wore an “an ascot (probably his suggestion), a vest, and a space costume,” according to biographer Peter Levinson.

12. HE WAS ADDICTED TO SOAP OPERAS.

According to The New York Times, Astaire was “addicted to television serials such as The Guiding Light and As the World Turns," and would “telephone his housekeeper if he could not watch the soap operas to find out what had happened.”

13. HE WORKED WITH THE SAME CHOREOGRAPHER ON 17 FILMS.

Throughout his career, Astaire collaborated with choreographer Hermes Pan on 17 movies. Before shooting began on his collaborations with Ginger Rogers, Astaire and Pan would spend six weeks choreographing and rehearsing dance sequences, with Pan filling in for Rogers (who was often busy shooting another film). According to biographer Larry Billman, Astaire and Pan weren’t just artistic collaborators and best friends—they also looked almost exactly alike. “Talk about an alter ego,” Billman said in On Top. “If you saw Fred and Hermes together, you’d swear they were brothers, identical twins.” In On Top, Astaire’s daughter Ava even admits to occasionally confusing the two, explaining, “I, myself, even made a mistake one day in the rehearsal. Somebody came in and said, ‘Where is Fred,’ and I pointed and said, ‘Over there.’ But it was Pan I was pointing to.”

14. OVER THE COURSE OF HIS NEARLY EIGHT-DECADE CAREER, HE WORKED WITH EVERYONE FROM AUDREY HEPBURN TO FRANCIS FORD COPPOLA. 

Though Astaire is best remembered for his films with Rogers, he worked with a wide range of film and theater legends throughout his eight-decade career. Just a few of those collaborators include Francis Ford Coppola, who directed Astaire in the musical Finian’s Rainbow (1968); Audrey Hepburn, who appeared with Astaire in the 1957 film adaptation of Funny Face (a musical originally written specifically for Fred and his sister by George Gershwin in 1927); Irving Berlin, who composed the music for many of Astaire’s films; and Bing Crosby, with whom he co-starred in three films. Though he was best known for his dance films, Astaire also appeared in a handful of non-musical films, including The Notorious Landlady (1962) which also starred Kim Novak and Jack Lemmon, and The Towering Inferno (1974). His final film, the 1981 horror movie Ghost Story, was also the final film of Douglas Fairbanks, Jr.

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The Star Trek Theme Song Has Lyrics
Hulton Archive/Getty Images
Hulton Archive/Getty Images

The Star Trek theme song is familiar to pretty much anyone who lived in the free world (and probably elsewhere, too) in the late 20th century. The tune is played during the show's opening credits; a slightly longer version is played, accompanied by stills from various episodes, during the closing credits. The opening song is preceded by William Shatner (as Captain Kirk) doing his now-legendary monologue recitation, which begins: "Space, the final frontier ..."

The show's familiar melody was written by respected film and TV composer Alexander Courage, who said the Star Trek theme's main inspiration was the Richard Whiting song "Beyond the Blue Horizon." In Courage's contract it was stipulated that, as the composer, he would receive royalties every time the show was aired and the theme song played. If, somehow, Star Trek made it into syndication—which, of course, it ultimately did—Courage stood to make a lot of money. And so did the person who wrote the lyrics.

WAIT... THERE WERE LYRICS?

Gene Roddenberry, the show's creator, wrote lyrics to the theme song.

"Beyond the rim of the star-light,
my love is wand'ring in star-flight!"

Why would Roddenberry even bother?

The lyrics were never even meant to be heard on the show, but not because the network (NBC) nixed them. Roddenberry nixed them himself. Roddenberry wanted a piece of the composing profits, so he wrote the hokey lyrics solely to receive a "co-writer" credit.

"I know he'll find in star-clustered reaches
Love, strange love a star woman teaches."

As one of the composers, Roddenberry received 50 percent of the royalties ... cutting Alexander Courage's share in half. Not surprisingly, Courage was furious about the deal. Though it was legal, he admitted, it was unethical because Roddenberry had contributed nothing to why the music was successful.

Roddenberry was unapologetic. According to Snopes, he once declared, "I have to get some money somewhere. I'm sure not gonna get it out of the profits of Star Trek."

In 1969, after Star Trek officially got the ax, no one (Courage and Roddenberry included) could possibly have imagined the show's great popularity and staying power.

Courage, who only worked on two shows in Star Trek's opening season because he was busy working on the 1967 Dr. Doolittle movie, vowed he would never return to Star Trek.

He never did.

THE WORDS

If you're looking for an offbeat karaoke number, here are Roddenberry's lyrics, as provided by Snopes:

Beyond
The rim of the star-light
My love
Is wand'ring in star-flight
I know
He'll find in star-clustered reaches
Love,
Strange love a star woman teaches.
I know
His journey ends never
His star trek
Will go on forever.
But tell him
While he wanders his starry sea
Remember, remember me.

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Universal Pictures Home Entertainment
The 10 Wildest Movie Plot Twists
Laura Harring in Mulholland Drive (2001)
Laura Harring in Mulholland Drive (2001)
Universal Pictures Home Entertainment

An ending often makes or breaks a movie. There’s nothing quite as satisfying as having the rug pulled out from under you, particularly in a thriller. But too many flicks that try to shock can’t stick the landing—they’re outlandish and illogical, or signal where the plot is headed. Not all of these films are entirely successful, but they have one important attribute in common: From the classic to the cultishly beloved, they involve hard-to-predict twists that really do blow viewers’ minds, then linger there for days, if not life. (Warning: Massive spoilers below.)

1. PSYCHO (1960)

Alfred Hitchcock often constructed his movies like neat games that manipulated the audience. The Master of Suspense delved headfirst into horror with Psycho, which follows a secretary (Janet Leigh) who sneaks off with $40,000 and hides in a motel. The ensuing jolt depends on Leigh’s fame at the time: No one expected the ostensible star and protagonist to die in a gory (for the time) shower butchering only a third of the way into the running time. Hitchcock outdid that feat with the last-act revelation that Anthony Perkins’s supremely creepy Norman Bates is embodying his dead mother.

2. PLANET OF THE APES (1968)

No, not the botched Tim Burton remake that tweaked the original movie’s famous reveal in a way that left everyone scratching their heads. The Charlton Heston-starring sci-fi gem continues to stupefy anyone who comes into its orbit. Heston, of course, plays an astronaut who travels to a strange land where advanced apes lord over human slaves. It becomes clear once he finds the decrepit remains of the Statue of Liberty that he’s in fact on a future Earth. The anti-violence message, especially during the political tumult of 1968, shook people up as much as the time warp.

3. DEEP RED (1975)

It’s not rare for a horror movie to flip the script when it comes to unmasking its killer, but it’s much rarer that such a film causes a viewer to question their own perception of the world around them. Such is the case for Deep Red, Italian director Dario Argento’s (Suspiria) slasher masterpiece. A pianist living in Rome (David Hemmings) comes upon the murder of a woman in her apartment and teams up with a female reporter to find the person responsible. Argento’s whodunit is filled to the brim with gorgeous photography, ghastly sights, and delirious twists. But best of all is the final sequence, in which the pianist retraces his steps to discover that the killer had been hiding in plain sight all along. Rewind to the beginning and you’ll discover that you caught an unknowing glimpse, too.

4. SLEEPAWAY CAMP (1983)

Sleepaway Camp is notorious among horror fans for a number of reasons: the bizarre, stilted acting and dialogue; hilariously amateurish special effects; and ‘80s-to-their-core fashions. But it’s best known for the mind-bending ending, which—full disclosure—reads as possibly transphobic today, though it’s really hard to say what writer-director Robert Hiltzik had in mind. Years after a boating accident that leaves one of two siblings dead, Angela is raised by her aunt and sent to a summer camp with her cousin, where a killer wreaks havoc. In the lurid climax, we see that moody Angela is not only the murderer—she’s actually a boy. Her aunt, who always wanted a daughter, raised her as if she were her late brother. The final animalistic shot prompts as many gasps as cackles.

5. THE USUAL SUSPECTS (1995)

The Usual Suspects has left everyone who watches it breathless by the time they get to the fakeout conclusion. Roger "Verbal" Kint (Kevin Spacey), a criminal with cerebral palsy, regales an interrogator in the stories of his exploits with a band of fellow crooks, seen in flashback. Hovering over this is the mysterious villainous figure Keyser Söze. It’s not until Verbal leaves and jumps into a car that customs agent David Kujan realizes that the man fabricated details, tricking the law and the viewer into his fake reality, and is in fact the fabled Söze.

6. PRIMAL FEAR (1996)

No courtroom movie can surpass Primal Fear’s discombobulating effect. Richard Gere’s defense attorney becomes strongly convinced that his altar boy client Aaron (Edward Norton) didn’t commit the murder of an archbishop with which he’s charged. The meek, stuttering Aaron has sudden violent outbursts in which he becomes "Roy" and is diagnosed with dissociative identity disorder, leading to a not guilty ruling. Gere’s lawyer visits Aaron about the news, and as he’s leaving, a wonderfully maniacal Norton reveals that he faked the multiple personalities.

7. FIGHT CLUB (1999)

Edward Norton is no stranger to taking on extremely disparate personalities in his roles, from Primal Fear to American History X. The unassuming actor can quickly turn vicious, which led to ideal casting for Fight Club, director David Fincher’s adaptation of the Chuck Palahniuk novel. Fincher cleverly keeps the audience in the dark about the connections between Norton’s timid, unnamed narrator and Brad Pitt’s hunky, aggressive Tyler Durden. After the two start the titular bruising group, the plot significantly increases the stakes, with the club turning into a sort of anarchist terrorist organization. The narrator eventually comes to grips with the fact that he is Tyler and has caused all the destruction around him.

8. THE SIXTH SENSE (1999)

Early in his career, M. Night Shyamalan was frequently (perhaps a little too frequently) compared to Hitchcock for his ability to ratchet up tension while misdirecting his audience. He hasn’t always earned stellar reviews since, but The Sixth Sense remains deservedly legendary for its final twist. At the end of the ghost story, in which little Haley Joel Osment can see dead people, it turns out that the psychologist (Bruce Willis) who’s been working with the boy is no longer living himself, the result of a gunshot wound witnessed in the opening sequence.

9. THE OTHERS (2001)

The Sixth Sense’s climax was spooky, but not nearly as unnerving as Nicole Kidman’s similarly themed ghost movie The Others, released just a couple years later. Kidman gives a superb performance in the elegantly styled film from the Spanish writer-director Alejandro Amenábar, playing a mother in a country house after World War II protecting her photosensitive children from light and, eventually, dead spirits occupying the place. Only by the end does it become clear that she’s in denial about the fact that she’s a ghost, having killed her children in a psychotic break before committing suicide. It’s a bleak capper to a genuinely haunting yarn.

10. MULHOLLAND DRIVE (2001)

David Lynch’s surrealist movies may follow dream logic, but that doesn’t mean their plots can’t be readily discerned. Mulholland Drive is his most striking work precisely because, in spite of its more wacko moments, it adds up to a coherent, tragic story. The mystery starts innocently enough with the dark-haired Rita (Laura Elena Harring) waking up with amnesia from a car accident in Los Angeles and piecing together her identity alongside the plucky aspiring actress Betty (Naomi Watts). It takes a blue box to unlock the secret that Betty is in fact Diane, who is in love with and envious of Camilla (also played by Harring) and has concocted a fantasy version of their lives. The real Diane arranges for Camilla to be killed, leading to her intense guilt and suicide. Only Lynch can go from Nancy Drew to nihilism so swiftly and deftly.

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