Astaire & Rogers Fade to Black
in The Story of Vernon and Irene Castle
Fred dies, Ginger cries
of Vernon and Irene Castle
is the not very graceful swan song
of the Fred Astaire and Ginger Rogers musicals of the thirties.1
, their previous film, was an ambitious failure.
, on the other hand, just doesn't have much
Vernon and Irene Castle, a husband and wife dance team, were a true
sensation of the American vaudeville circuit in the years immediately
prior to World War I, but their career was cut short by Vernon's
death in the war. By 1938, when production on the film started, most
people didn't know who the hell they were, suggesting that the
suits at RKO were beginning to run awfully short on ideas for Fred &
To save money (both
Fred and Ginger were getting very expensive), the studio decided to
use period music instead of paying for new tunes.3
Unfortunately, despite the use of dozens of pre-war classics, none of
the performances really stand out. Musically, this is the least interesting
of the Fred & Ginger musicals.
The film is further hurt by the fact that, in the thirties, the pre-war
era was considered hopelessly innocent and quaint, rather like the way
we think of the fifties today.4
Men wore straw hats and women wore
ankle skirts, and no girl ever got kissed before she was engaged. The
end result is a well-scrubbed, wholesome film with approximately zero
pizzazz. As critic Cecelia Ager remarked at the time:
In The Castles everyone knows who everyone else
is. Everybody's identity is clearly defined and completely understood
from beginning to end and nobody is mistaken for somebody else, even
on the telephone. . . . Miss Rogers does not get mad at Mr. Astaire
ever. She likes him from the first moment she sees him and never pretends
that she doesn't . . . They're married right off, and
nobody has to wish to God they would.
In fact, the film gives us the straightest possible story. Vernon and
Irene meet, fall in love, become a dance team, and take the world, or
at least the civilized part of it, by storm. When World War I breaks
out, Vernon, a British subject, enlists in the English army and becomes
a pilot. Shortly before the war ends, he's killed in a crash.
End of story.
There isn't much to the dancing either. Fred takes a short soft
shoe cum tap solo early on (showing up a tubby amateur in a rather tasteless
bit), and the two stars have both a rehearsal dance ("Waiting
for the Robert E. Lee") and a "big break" dance ("Too
Much Mustard"), but the picture never really comes alive until
late in the film. Ginger's in Paris, waiting for Fred to meet
her on leave from the front. He's late, of course, and she fears
the worst (and so do we, because we know that Fred's going to
die). But he does make it, for "the last dance," a waltz
medley. Ginger's wearing a very unfortunate gown, with long, drooping
fur sleeves, but if you can get past that, we do get more than a glimpse
of the old magic, and of the almost desperate longing and release of
two reunited lovers.5
Except for her 1949 reunion with Fred in The Barkleys of Broadway
Ginger Rogers never appeared in a "real" musical again.
She achieved her goal of establishing herself as a dramatic actress,
winning an Oscar in 1940 for her role in Kitty Foyle
Her income in 1945 of about $300,000 made her the highest-paid performer
in Hollywood. But her career faded in the fifties, and none of the films
she made post-Fred are terribly well known today. She was interviewed
endlessly once the Hollywood nostalgia boom began in the seventies,
and always expressed polite (usually) frustration over the fact that
people only wanted to talk about the musicals.
Astaire, of course, continued in musicals until 1957. Like Ginger,
he was clearly determined not to have an established partner, and he
worked successfully with a variety of actresses and dancers. These films
will be reviewed in forthcoming issues of Bright Lights.
Check the "Afterwords" section of the review of Roberta
for links to web pages for Fred and Ginger. For plenty of information
on the Castles and their era, go to the excellent site maintained by
the Paragon Ragtime
The two reunited (for the last time) more or less by accident in the
1949 film The Barkleys of Broadway. Fred's previous
film, Easter Parade with Judy Garland, had been one
of the most successful musicals ever, and the two were scheduled for
The Barkleys as well. But Judy, who was going through
some hard times, dropped out of sight and Ginger was hired.
2. As a teenager, Astaire had been
on the same bill with the Castles and certainly was influenced by their
work, though they weren't his favorites.
3. "Old time music," dating
from about 1890 to 1920, was "good time music" from the
thirties through the fifties, much as fifties and sixties rock and roll
is today. Several of Judy Garland's most successful films, like
For Me and My Gal (1942, with Gene Kelly) and Meet
Me in St. Louis (1946), relied heavily on this ambience. The
Story of Vernon and Irene Castle, perhaps because it was so
closely tied to a real story, could not find similar energy. Irene Castle,
who served as story consultant, had many clashes with Ginger (unsurprisingly)
over clothes, hair length, etc. Her presence also probably helped keep
the story wholesome and dignified, although apparently the Castles were
more rambunctious than either Fred or Ginger.
4. Actually, we seem to have two competing
fifties myths these days: the sexless, suburban "Ozzie and Harriet"
fifties and the swinging Rat Pack fifties, when a guy could pinch a
broad on the butt without everyone and his sister making a federal case
out of it.
5. Maybe I'm projecting. So sue
6. The film was based on a huge bestseller
of the same name by Christopher Morley. I've never seen the film
or read the book, so I can't comment on the quality, but both
versions are available.