A very distinguished colleague began his criticism of this show by asking what is Mr Astaire's secret. May I suggest that the solution hangs on a little word of three letters? Mr Astaire's secret is that of the late Rudolph Valentino and of Mr Maurice Chevalier — sex, but sex so bejewelled and be-pixied that the weaker vessels who fall for it can pretend that it isn't sex at all but a sublimated projection of the Little Fellow with the Knuckles in His Eyes. You'd have thought by the look of the first night foyer that it was Mothering Thursday, since every woman in the place was urgent to take to her bosom this waif with the sad eyes and the twinkling feet.
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Theatre critic James Agate in a review of a 1933 London performance of Gay Divorce as quoted in Cooke, Alistair. "Fred Astaire Obituary", Letter From America, BBC World Service, June 28, 1987Fred Astaire
Fred Astaire is the best singer of songs the movie world ever knew. His phrasing has individual sophistication that is utterly charming. Presumably the runner-up would be Bing Crosby, a wonderful fellow, though he doesn't have the unstressed elegance of Astaire.
Fred Astaire
What do dancers think of Fred Astaire? It's no secret. We hate him. He gives us a complex because he's too perfect. His perfection is an absurdity. It's too hard to face.
Fred Astaire
He is the most interesting, the most inventive, the most elegant dancer of our times... you see a little bit of Astaire in everybody's dancing--a pause here, a move there. It was all Astaire's originally.
Fred Astaire
I am never forget the day I first meet the great Lobachevsky.
In one word he told me secret of success in mathematics: Plagiarize!
Plagiarize,
Let no one else's work evade your eyes,
Remember why the good Lord made your eyes,
So don't shade your eyes,
But plagiarize, plagiarize, plagiarize...
Only be sure always to call it please "research".Tom Lehrer
The major difference between Astaire and Kelly is a difference, not of talent or technique, but of levels of sophistication. On the face of it, Kelly looks the more sophisticated. Where Kelly has ideas, Astaire has dance steps. Where Kelly has smartly tailored, dramatically apt Comden and Green scripts, Astaire in the Thirties made do with formulas derived from nineteenth-century French Farce. But the Kelly film is no longer a dance film. It's a story film with dances, as distinguished from a dance film with a story. When Fred and Ginger go into their dance, you see it as a distinct formal entity, even if it's been elaborately built up to in the script. In a Kelly film, the plot action and the musical set pieces preserve a smooth community of high spirits, so that the pressure in a dance number will often seem too low, the dance itself plebeian or folksy in order to "match up" with the rest of the picture.
Fred Astaire
Astaire, Fred
Astley, Jacob
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