Two of Hollywood's top dancers were intimidated by one another when they shared the screen together for the only time in February 1940 "Broadway Melody of 1940." Fred Astaire, acknowledged as one of the greatest dancers on film, had enjoyed partnering with several actresses, most notably Ginger Rogers. Meanwhile, Eleanor Powell had proven herself in six previous films as one of the best female tap dancers, which somewhat intimidated Fred, who wasn't used to teaming up with someone as talented as her.
Astaire and Powell were scheduled to dance together in four Cole Porter songs for "Broadway Melody of 1940." Both were initially extremely respectful, addressing each other as "Mr. Astaire" and "Miss Powell." The two bordered on stiff formality until Eleanor bucked up and said, "Look, we can't go on like this. I'm Ellie; you're Fred. We're just two hoofers." This simple exclamation melted the ice between the two. After giggling at one another they thoroughly loosened up, so much so that during their lengthy rehearsals they exhausted the piano player accompanying them.
"Broadway Melody of 1940" was the final in a long line of 'Broadway Melodies' beginning in 1929, which was the winner of the second annual Academy Awards Best Picture. The 1936 and 1938 versions had little to do with the original, but the 1940 edition contained the original song 'Broadway Melody' playing in the background.
Norman Taurog directed what film reviewer Jessica Pickens describes as "a must-see and one of the best movie musicals ever released. The dancing will blow you away." Both Eleanor and Fred danced separately in the movie's first half. Powell plays a Broadway star while Astaire's Johnny Brett and his friend King Shaw (George Murphy) labor in dance halls for peanuts. When talent agent Bob Casey (Frank Morgan) spots Johnny lighting up the dance floor, he yearns to team him up with Clare Bennett (Powell) for her upcoming stage extravaganza. Trouble is, Johnny thinks Casey is a debt collector, and switches names with his pal King. Casey mistakenly hires King as Clare's new stage partner. The two continue throughout the duration of the musical until the real Johnny emerges.
"Broadway Melody of 1940's" is famous for its finale, 'Begin the Beguine,' a collaborative dance between Powell and Astaire. The two-part routine opens with a masked Johnny pretending to be King performing flamenco-style. After an intermission, the mask comes off, revealing what film critic Glenn Erickson describes as "their fantastic exhibition of hoofing and tapping comes with an extra helping of grace and beauty. Musical fans of early 1940 must have thought they had died and gone to heaven." Reviewer Jessica Pickens adds the pair's last routine "isn't just one of the best numbers in the film, it's one of my favorite musical numbers of all time." Powell and Astaire seemingly dance on a mirror; in reality MGM spent $120,000 to construct the set by pouring liquid glass on the floor, hardened to perfection while edged with mirrored walls with acres of curtain fabric four stories high.
Despite the breathtaking finale routine, Powell said her all-time favorite number in "Broadway Melody of 1940," as well as in her entire film career was Walter Ruick's 'Jukebox Dance' with her and Astaire. Unfortunately for Powell, the movie proved to be the pinnacle of her Hollywood career. After the filming wrapped, she underwent a gall stone operation. When she returned, Eleanor was handed roles in minor pictures, not coming close to the big-budgeted Astaire films. Fred remembered the fantastic experience in their only movie together. He later paid her the ultimate compliment: "She 'put 'em down' like a man, no ricky-ticky-sissy stuff with Ellie," Astaire said. "She really knocked out a tap dance in a class by herself."
The American Film Institute nominated the tune 'Begin the Beguine' for the Best Songs in Movies as well the film as the Greatest Movie Musical.
Astaire and Powell were scheduled to dance together in four Cole Porter songs for "Broadway Melody of 1940." Both were initially extremely respectful, addressing each other as "Mr. Astaire" and "Miss Powell." The two bordered on stiff formality until Eleanor bucked up and said, "Look, we can't go on like this. I'm Ellie; you're Fred. We're just two hoofers." This simple exclamation melted the ice between the two. After giggling at one another they thoroughly loosened up, so much so that during their lengthy rehearsals they exhausted the piano player accompanying them.
"Broadway Melody of 1940" was the final in a long line of 'Broadway Melodies' beginning in 1929, which was the winner of the second annual Academy Awards Best Picture. The 1936 and 1938 versions had little to do with the original, but the 1940 edition contained the original song 'Broadway Melody' playing in the background.
Norman Taurog directed what film reviewer Jessica Pickens describes as "a must-see and one of the best movie musicals ever released. The dancing will blow you away." Both Eleanor and Fred danced separately in the movie's first half. Powell plays a Broadway star while Astaire's Johnny Brett and his friend King Shaw (George Murphy) labor in dance halls for peanuts. When talent agent Bob Casey (Frank Morgan) spots Johnny lighting up the dance floor, he yearns to team him up with Clare Bennett (Powell) for her upcoming stage extravaganza. Trouble is, Johnny thinks Casey is a debt collector, and switches names with his pal King. Casey mistakenly hires King as Clare's new stage partner. The two continue throughout the duration of the musical until the real Johnny emerges.
"Broadway Melody of 1940's" is famous for its finale, 'Begin the Beguine,' a collaborative dance between Powell and Astaire. The two-part routine opens with a masked Johnny pretending to be King performing flamenco-style. After an intermission, the mask comes off, revealing what film critic Glenn Erickson describes as "their fantastic exhibition of hoofing and tapping comes with an extra helping of grace and beauty. Musical fans of early 1940 must have thought they had died and gone to heaven." Reviewer Jessica Pickens adds the pair's last routine "isn't just one of the best numbers in the film, it's one of my favorite musical numbers of all time." Powell and Astaire seemingly dance on a mirror; in reality MGM spent $120,000 to construct the set by pouring liquid glass on the floor, hardened to perfection while edged with mirrored walls with acres of curtain fabric four stories high.
Despite the breathtaking finale routine, Powell said her all-time favorite number in "Broadway Melody of 1940," as well as in her entire film career was Walter Ruick's 'Jukebox Dance' with her and Astaire. Unfortunately for Powell, the movie proved to be the pinnacle of her Hollywood career. After the filming wrapped, she underwent a gall stone operation. When she returned, Eleanor was handed roles in minor pictures, not coming close to the big-budgeted Astaire films. Fred remembered the fantastic experience in their only movie together. He later paid her the ultimate compliment: "She 'put 'em down' like a man, no ricky-ticky-sissy stuff with Ellie," Astaire said. "She really knocked out a tap dance in a class by herself."
The American Film Institute nominated the tune 'Begin the Beguine' for the Best Songs in Movies as well the film as the Greatest Movie Musical.