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Princess of Tap

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Everything posted by Princess of Tap

  1. She's a Latin from Manhattan A 42nd Streeter She can take a tambourine and whack it But to her it's just a racket She's a hoofer from Tenth Avenue Known as Susie Donahue Go into your dance - Al Jolson -- Warren and Dubin - - it's in the Jolson story too with Evelyn Keyes-- of course, Ruby Keeler was the dancer in the original movie with her husband. Used to teach this in my tap class - - I'm a little rusty with the lyrics LOL
  2. Miles, I asked for a lot because I know you always enjoy a challenge. But this didn't look too hard for you. A lot would have been asking you to name all of Balanchine's wives! FYI-- they were four of them and they were all ballet dancers.LOL Anyway Miles, thank you for the dance videos. I always thought that Slaughter was the best jazz dance Gene Kelly ever did in the movies. Miles, you earned the next turn - -
  3. James Earl Jones is married to TV actress Cecilia Hart.
  4. Edmund Gwenn kept on burying and digging up a body with the help of John Forsythe in The Trouble with Harry.
  5. Sticking with the Goldwyn Follies, you're reminded that its choreographer, George Balanchine was one of the European emigres who brought authentic classical ballet to the United States between the two world wars. What made Balanchine truly different was that he had a real love and appreciation for American culture-- he loved the dancing of Astaire & Rogers, as well as all jazz dancing. Before Hollywood, his choreography on Broadway was revolutionary; he choreographed the elements of classical ballet, in a jazz style,to popular jazz music. Balanchine's Broadway show became a Hollywood movie. Moreover, his jazz-ballet was also recreated in another Hollywood musical, danced by a great movie tap dancer. What we're looking for here is: the name of the Broadway show (same name as the Hollywood movie adaptation), the name of the jazz-ballet and its composer, the tap dancers who danced the jazz-ballet on Broadway and in the movies and, of course, the identities of the ballerinas who danced in the three presentations.
  6. Allen Jenkins had a yearn for Thelma Ritter in Pillow Talk.
  7. The Goldwyn Follies was the last musical that the Gershwin brothers collaborated on Before George's untimely death. George's 2 famous posthumous hits are: Our Love Is Here to Stay and Love Walked In. I've never had the pleasure of seeing The Goldwyn Follies, but as a tap dance instructor, I had to study the career of The Gershwin brothers. And as best as I can recall-- Vera Zorina, was the ballet dancer and wife of Balanchine, the choreographer for the movie, while Kenny Baker was the singer in the movie. So I imagine Kenny Baker sang both of those songs.
  8. Ronald Colman loses his memory in Random Harvest after be marries Greer Garson.
  9. This one is very easy to find - - it's Joan Crawford's Academy Award- winning movie. It is called Mildred Pierce.
  10. Risë Stevens was a Metropolitan Opera star, a mezzo soprano, who co-starred with Nelson Eddy in The Chocolate Soldier and sang with Bing Crosby in Going My Way.
  11. DW Griffith's leading movie star was actress Lillian Gish.
  12. 4) Martha Vickers was so good in this movie that Lauren Bacall complained to her agent. The result being, many of Martha's scenes were cut.
  13. 2) Dorothy's first husband was tap dancer Harold Nicholas of the Nicholas Brothers.
  14. Hitch's first break-through movie in England was The Lodger starring the matinee idol Ivor Novello.
  15. Tommy Kirk's penultimate Disney movie was The Monkey's Uncle, featuring The Beach Boys singing the title tune.
  16. 10) Nancy was a spokesperson for my favorite cough drops, Smith Brothers. Next: Actress/ Singer Dorothy Dandridge
  17. Marsha, I have only one thing to say to you-- Goldfinger! That's the one and only Shirley Bassey! Every time I went to London I would buy her records. If you haven't heard it, she did a great Carnegie Hall live. And it's great that I've got this category here that's British because she's from Wales. Marsha, you're up--
  18. I agree with what you said about Jean Negulesco. He's a director who may have slipped through the cracks, but he's done such outstanding work in Hollywood. I discovered him the way most people would, I simply noticed that there were three important films in my life, from three different genres, and by the same director. However, I had never seen much commentary or discussion about this director. The films were: Humoresque, starring Joan Crawford and John Garfield; Daddy Long Legs starring Fred Astaire and Leslie Caron and Road House with Ida Lupino and Richard Widmark-- a woman's picture, a musical and film noir. I knew that the director who put all three of these movies together had to have some unique quality of cinematic artistry, so I decided to study his life and his other films. It's fascinating that the Negulesco films that you love were equally outstanding, but equally diverse. Artistically the high point of his career was Johnny Belinda. Jane Wyman won the Oscar for that title role, but there were a number of Academy nominations for the picture. Ironically this movie didn't impress Jack Warner, who didn't like the movie, and he was fired from Warner Brothers. Then Negulesco went on to 20th Century Fox to make a number of movies that defined the 1950s for a generation, most notably-- Three Coins in the Fountain, Titanic, Daddy Long Legs and Fox's first CinemaScope movie, How to Marry a Millionaire. What truly surprised me was that Negulesco started his career as a sketch artist at Paramount. He's from Romania and he was a trained professional artist. His first job was sketching the rape scene in The Story of Temple Drake, a 1933 pre-code movie starring Miriam Hopkins. Sketching progressed to being an assistant director to making shorts. Like many directors, he started at the bottom. I think that by studying the people who actually make cinema and their artistry-- the directors, the writers, the cinematographers,set designers, costume designers, film composers and conductors etc, after all it's a collaborative art--you start to understand better why this or that movie star or this or that actress is so great in one movie, while they completely flop in another one. Marsha, let me tell you that you have great taste-- I'm sure you'll come up with another director who makes our movie stars shine--
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