list http://www.spout.com/ Recent community activity around It's Always Fair Weather on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/It_s_Always_Fair_Weather/17528/default.aspx Title: It's Always Fair Weather
Year: 1955
Director: Gene Kelly, Stanley Donen
Plot: Cooked up by Betty Comden and Adolph Green, It's Always Fair Weather could well have been titled On the Town Ten Years Later. Like 1949's On the Town (also a Comden/Green collaboration), this MGM musical follows the exploits of three servicemen buddies, played by Gene Kelly, Dan Dailey and Michael Kidd. The difference here is that the threesome has just been discharged from service. The boys agree to get together again exactly ten years after their parting. Flash-forward to 1955: Kelly, who'd dreamed of being a show biz entrepreneur, is a small-time boxing promoter, heavily in debt to the Mob; Dailey has abandoned his plans of becoming an artist in favor of a stuffy, grey-flannel existence as an ad executive; and Kidd, who'd aspired to being a master chef, is running a modest diner. On behalf of TV-personality Dolores Gray, network-staffer Cyd Charisse contrives to reunite the three men on a This is Your Life style TV special, but all three are hostile to the notion. ~ Hal Erickson, All Movie Guide
Times Tagged: 13
Number of Lists: 8
Number of blog posts: 2
SpoutRating: 2
]]>Fri, 03 Oct 2008 10:38:57 GMTIt's Always Fair Weather1955Gene Kelly, Stanley DonenCooked up by <a href="/players/P____85609/default.aspx" style='text-decoration:underline'>Betty Comden</a> and <a href="/players/P____92415/default.aspx" style='text-decoration:underline'>Adolph Green</a>, It's Always Fair Weather could well have been titled <I><a href=/films/25416/default.aspx style='text-decoration:underline'>On the Town</a> Ten Years Later</I>. Like 1949's <a href=/films/25416/default.aspx style='text-decoration:underline'>On the Town</a> (also a Comden/Green collaboration), this MGM musical follows the exploits of three servicemen buddies, played by <a href="/players/P____97107/default.aspx" style='text-decoration:underline'>Gene Kelly</a>, <a href="/players/P____16585/default.aspx" style='text-decoration:underline'>Dan Dailey</a> and <a href="/players/P____97345/default.aspx" style='text-decoration:underline'>Michael Kidd</a>. The difference here is that the threesome has just been discharged from service. The boys agree to get together again exactly ten years after their parting. Flash-forward to 1955: Kelly, who'd dreamed of being a show biz entrepreneur, is a small-time boxing promoter, heavily in debt to the Mob; Dailey has abandoned his plans of becoming an artist in favor of a stuffy, grey-flannel existence as an ad executive; and Kidd, who'd aspired to being a master chef, is running a modest diner. On behalf of TV-personality <a href="/players/P____28349/default.aspx" style='text-decoration:underline'>Dolores Gray</a>, network-staffer <a href="/players/P____12398/default.aspx" style='text-decoration:underline'>Cyd Charisse</a> contrives to reunite the three men on a <a href=/films/137894/default.aspx style='text-decoration:underline'>This is Your Life</a> style TV special, but all three are hostile to the notion. ~ Hal Erickson, All Movie Guide13Tag Target (>10)822http://www.spout.com/ProductImages/t76357ij4e8.jpghttp://www.spout.com/films/It_s_Always_Fair_Weather/17528/default.aspxFilm http://www.spout.com/blogs/karina/archive/2008/6/17/31360.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 6/17/2008 11:01:01 PM
Body: Why didn’t Cyd Charisse––who died in Los Angeles on Tuesday at the age of 86––ever fully become the Ginger Rogers to Gene Kelly’s Fred Astaire? To compare Charisse directly to Rogers would be unfair; the former was an athletic show-stopper who regularly held down solos seemingly designed to draw attention to their own difficulty, while the latter’s dance career revolved around the uneviable task of making Fred Astaire’s choreography seem spontaneous and easy. And Charisse also made movies with Astaire––The Band Wagon and Silk Stockings offered two of her biggest roles––but her chemistry with the big baller of ballroom and tap dance was virtually nonexistant. The impossibly leggy, mildly exotic, confident almost to the point of camp Charisse added counterpoint nuance to Kelly’s weird barrel-chested blue-collar ballet. It never felt like it was a perfect pairing, and that was maybe what was exciting about it: as a partner and as a choreographer, Kelly knew how to use and play off their incongruities. They first danced together in the meta “Broadway Melody Ballet” number from Singin’ in the Rain. It’s a refractory narrative within the narrative, completely inconsequential to the film’s primary story except as an ironic commentary on the impossibility of “pure” romance in the Hollywood workplace. Charisse and Kelly’s two dances here are not only improbably directly sexual, but their relationship––a self-conscious fiction through which Kelly moves from sexual obsession to romantic fantasy to shrugging disavowal and amelioration of disappointment in work––is far more convincing that the Kelly/Debbie Reynolds relationship that plays on the film’s top layer. As the above clip of “Love Is Nothing But A Racket,” the bizarre mock-violent comic competition number deleted from Kelly and Stanley Donen’s 1955 flop It’s Always Fair Weather shows, they had a chemistry that was much rougher than that of Astaire and Rogers. Watching Kelly and Charisse dance, you never get the sense that you’re looking at two people who are destined for life-long love. They look more like two people who are going to really, really hurt one another. That this formula failed to draw much of a following in its day is maybe not so much of a surprise after all. There is plenty of evidence of Charisse in motion on YouTube. Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 18 Jun 2008 03:01:01 GMTKarinaKarina on SpoutBlog6/17/2008 11:01:01 PM Why didn’t Cyd Charisse––who died in Los Angeles on Tuesday at the age of 86––ever fully become the Ginger Rogers to Gene Kelly’s Fred Astaire? To compare Charisse directly to Rogers would be unfair; the former was an athletic show-stopper who regularly held down solos seemingly designed to draw attention to their own difficulty, while the latter’s dance career revolved around the uneviable task of making Fred Astaire’s choreography seem spontaneous and easy. And Charisse also made movies with Astaire––The Band Wagon and Silk Stockings offered two of her biggest roles––but her chemistry with the big baller of ballroom and tap dance was virtually nonexistant. The impossibly leggy, mildly exotic, confident almost to the point of camp Charisse added counterpoint nuance to Kelly’s weird barrel-chested blue-collar ballet. It never felt like it was a perfect pairing, and that was maybe what was exciting about it: as a partner and as a choreographer, Kelly knew how to use and play off their incongruities. They first danced together in the meta “Broadway Melody Ballet” number from Singin’ in the Rain. It’s a refractory narrative within the narrative, completely inconsequential to the film’s primary story except as an ironic commentary on the impossibility of “pure” romance in the Hollywood workplace. Charisse and Kelly’s two dances here are not only improbably directly sexual, but their relationship––a self-conscious fiction through which Kelly moves from sexual obsession to romantic fantasy to shrugging disavowal and amelioration of disappointment in work––is far more convincing that the Kelly/Debbie Reynolds relationship that plays on the film’s top layer. As the above clip of “Love Is Nothing But A Racket,” the bizarre mock-violent comic competition number deleted from Kelly and Stanley Donen’s 1955 flop It’s Always Fair Weather shows, they had a chemistry that was much rougher than that of Astaire and Rogers. Watching Kelly and Charisse dance, you never get the sense that you’re looking at two people who are destined for life-long love. They look more like two people who are going to really, really hurt one another. That this formula failed to draw much of a following in its day is maybe not so much of a surprise after all. There is plenty of evidence of Charisse in motion on YouTube. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/6/17/31359.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/17/2008 11:00:53 PM
Body: Why didn’t Cyd Charisse––who died in Los Angeles on Tuesday at the age of 86––ever fully become the Ginger Rogers to Gene Kelly’s Fred Astaire? To compare Charisse directly to Rogers would be unfair; the former was an athletic show-stopper who regularly held down solos seemingly designed to draw attention to their own difficulty, while the latter’s dance career revolved around the uneviable task of making Fred Astaire’s choreography seem spontaneous and easy. And Charisse also made movies with Astaire––The Band Wagon and Silk Stockings offered two of her biggest roles––but her chemistry with the big baller of ballroom and tap dance was virtually nonexistant. The impossibly leggy, mildly exotic, confident almost to the point of camp Charisse added counterpoint nuance to Kelly’s weird barrel-chested blue-collar ballet. It never felt like it was a perfect pairing, and that was maybe what was exciting about it: as a partner and as a choreographer, Kelly knew how to use and play off their incongruities. They first danced together in the meta “Broadway Melody Ballet” number from Singin’ in the Rain. It’s a refractory narrative within the narrative, completely inconsequential to the film’s primary story except as an ironic commentary on the impossibility of “pure” romance in the Hollywood workplace. Charisse and Kelly’s two dances here are not only improbably directly sexual, but their relationship––a self-conscious fiction through which Kelly moves from sexual obsession to romantic fantasy to shrugging disavowal and amelioration of disappointment in work––is far more convincing that the Kelly/Debbie Reynolds relationship that plays on the film’s top layer. As the above clip of “Love Is Nothing But A Racket,” the bizarre mock-violent comic competition number deleted from Kelly and Stanley Donen’s 1955 flop It’s Always Fair Weather shows, they had a chemistry that was much rougher than that of Astaire and Rogers. Watching Kelly and Charisse dance, you never get the sense that you’re looking at two people who are destined for life-long love. They look more like two people who are going to really, really hurt one another. That this formula failed to draw much of a following in its day is maybe not so much of a surprise after all. There is plenty of evidence of Charisse in motion on YouTube. Originally posted on:SpoutBlog
]]>Wed, 18 Jun 2008 03:00:53 GMTSpoutBlogSpoutBlog on spout.com6/17/2008 11:00:53 PM Why didn’t Cyd Charisse––who died in Los Angeles on Tuesday at the age of 86––ever fully become the Ginger Rogers to Gene Kelly’s Fred Astaire? To compare Charisse directly to Rogers would be unfair; the former was an athletic show-stopper who regularly held down solos seemingly designed to draw attention to their own difficulty, while the latter’s dance career revolved around the uneviable task of making Fred Astaire’s choreography seem spontaneous and easy. And Charisse also made movies with Astaire––The Band Wagon and Silk Stockings offered two of her biggest roles––but her chemistry with the big baller of ballroom and tap dance was virtually nonexistant. The impossibly leggy, mildly exotic, confident almost to the point of camp Charisse added counterpoint nuance to Kelly’s weird barrel-chested blue-collar ballet. It never felt like it was a perfect pairing, and that was maybe what was exciting about it: as a partner and as a choreographer, Kelly knew how to use and play off their incongruities. They first danced together in the meta “Broadway Melody Ballet” number from Singin’ in the Rain. It’s a refractory narrative within the narrative, completely inconsequential to the film’s primary story except as an ironic commentary on the impossibility of “pure” romance in the Hollywood workplace. Charisse and Kelly’s two dances here are not only improbably directly sexual, but their relationship––a self-conscious fiction through which Kelly moves from sexual obsession to romantic fantasy to shrugging disavowal and amelioration of disappointment in work––is far more convincing that the Kelly/Debbie Reynolds relationship that plays on the film’s top layer. As the above clip of “Love Is Nothing But A Racket,” the bizarre mock-violent comic competition number deleted from Kelly and Stanley Donen’s 1955 flop It’s Always Fair Weather shows, they had a chemistry that was much rougher than that of Astaire and Rogers. Watching Kelly and Charisse dance, you never get the sense that you’re looking at two people who are destined for life-long love. They look more like two people who are going to really, really hurt one another. That this formula failed to draw much of a following in its day is maybe not so much of a surprise after all. There is plenty of evidence of Charisse in motion on YouTube. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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