6:23: THE LYRICS OF THE TUNE TO WHICH THEY DANCE encapsulates the human dilemma in its first four lines, gives it the best resolution for which we can hope in the second four lines (if you don't know the lyrics look them up, it's worth it); and, in addition, you get to see the most graphic representation of "dance" as a metaphor for "lovemaking" ever committed to film. Note the early, tentative, terpsichorean foreplay... note how... spent... they are... when they get back into the carriage.
Thank you SO much for sharing this with us!!!!! Fred Astaire is always outstanding, and so is Cyd Charisse, but this combination of the two and Arthur Schwartz's song is so RIGHT. This is one of Fred Astaire's best dancing (and acting) partnerships in a movie in the "post-Ginger Rogers era," ranking right up there with his dancing with Rita Hayworth (YOU'LL NEVER GET RICH and YOU WERE NEVER LOVELIER) and with Judy Garland (EASTER PARADE).
I can only say that , this one of my fab movies of all times and the dancing is so romantic and the music is the best! I wished they made movies like this! Fred Astaire is one of a kind!
I'm the only one to comment? I think this is one of those magic musical moments. The lack of conversation in the park, in the dark, was a masterstroke. I'm one of the 60s oldies and can't dance, damn it. The dance and the music here are equally brilliant.
@cirvine1234 No, you're not the only one. I noticed that a long time ago. Most dance numbers in musicals are preceded by at least a vocal. In this case, the wordless dance does two things at once: It answers the question of the film's plot: can these oil-and-water hoofers dance together (the drama of the entire first half of the film), and it shows them start to fall in love- which, after all, were the best Astaire duets, weren't they? A positively gorgeous exhibition of perfect Terpsichore.
6:23: THE LYRICS OF THE TUNE TO WHICH THEY DANCE encapsulates the human dilemma in its first four lines, gives it the best resolution for which we can hope in the second four lines (if you don't know the lyrics look them up, it's worth it); and, in addition, you get to see the most graphic representation of "dance" as a metaphor for "lovemaking" ever committed to film. Note the early, tentative, terpsichorean foreplay... note how... spent... they are... when they get back into the carriage.
tuxguys 8 months ago
Thank you SO much for sharing this with us!!!!! Fred Astaire is always outstanding, and so is Cyd Charisse, but this combination of the two and Arthur Schwartz's song is so RIGHT. This is one of Fred Astaire's best dancing (and acting) partnerships in a movie in the "post-Ginger Rogers era," ranking right up there with his dancing with Rita Hayworth (YOU'LL NEVER GET RICH and YOU WERE NEVER LOVELIER) and with Judy Garland (EASTER PARADE).
jmccracken1963 9 months ago
I can only say that , this one of my fab movies of all times and the dancing is so romantic and the music is the best! I wished they made movies like this! Fred Astaire is one of a kind!
myohmyoh66 1 year ago
One of the truly beautiful dance sequencesof all time in movie. And the music is gorgeous.
Jgk446 1 year ago
I'm the only one to comment? I think this is one of those magic musical moments. The lack of conversation in the park, in the dark, was a masterstroke. I'm one of the 60s oldies and can't dance, damn it. The dance and the music here are equally brilliant.
cirvine1234 1 year ago 2
@cirvine1234 No, you're not the only one. I noticed that a long time ago. Most dance numbers in musicals are preceded by at least a vocal. In this case, the wordless dance does two things at once: It answers the question of the film's plot: can these oil-and-water hoofers dance together (the drama of the entire first half of the film), and it shows them start to fall in love- which, after all, were the best Astaire duets, weren't they? A positively gorgeous exhibition of perfect Terpsichore.
mca1218 1 year ago