I’m very sorry to lose her because she is great

Following their successful collaboration on The Pirate (1948), Gene Kelly and Judy Garland were to star together again in Charles Walters' Easter Parade (1948). Before filming began, however, Kelly broke his ankle and Fred Astaire —in retirement after Blue Skies (1946)— was asked to replace him (at Kelly's suggestion). Anxious to come out of retirement and to work with Judy, Astaire didn't hesitate for a moment to accept the role. While filming Easter Parade,  he and Judy got along famously and proved to be a wonderful match. Astaire later recalled: "Of course, Judy was the star of the picture. And it's a joy to work with somebody like Judy, because she's a super talent, with a great sense of humor. She could do anything. She wasn't primarily a dancer, but she could do what you asked her to do .... [Our numbers together] remain with me as high spots of enjoyment in my career. Judy's uncanny knowledge of showmanship impressed me more than ever as I worked with her."

Easter Parade was a big success, both critically and commercially. While the film was still in production, producer Arthur Freed was already working on a new project, The Barkleys of Broadway (1949) —also to be directed by Charles Walters— and again he wanted Astaire and Garland to play the leads. Astaire was elated to be working with Judy again and vice versa ("Fred put me completely at ease. He's a gentleman— and lots of fun to work with."). But while Judy was in great spirits during Easter Parade, after two weeks of rehearsals on The Barkleys her health —both physical and emotional— deteriorated and she kept calling in sick. Finally, on 18 July 1948, Judy was removed from The Barkleys and put on suspension.

Judy and Fred chatting on the set of Easter Parade

MGM needed a last-minute replacement for Judy Garland and contacted Ginger Rogers to see if she was available and interested in working with Astaire again. The two had worked together for six years and done nine films together (all for RKO) but with the 1939 The Story of Vernon and Irene Castle their partnership had ended. There had been rumours that the couple didn't part amicably, that they had been fighting and didn't even get along. These rumours, however, have always been denied by both Fred and Ginger. About their relationship Ginger said in her 1991 memoir Ginger: My Story: "Fred and I were colleagues, and despite occasional snits... we worked together beautifully ... we had fun, and it shows. True, we were never bosom buddies off the screen; we were different people with different interests." Delighted to be working with Fred again, Ginger accepted the role and, not having danced in years, worked very hard to get back into shape. Ginger's hard work eventually paid off, her dancing in The Barkleys being as good as ever (especially during the wonderful Bouncin' the Blues, one of my favourite Astaire-Rogers dance numbers; watch here). 

The Barkleys of Broadway, the only film Fred Astaire and Ginger Rogers did in colour, became a commercial success and also received positive reviews. In the end, Ginger was probably better suited for the role of Dinah Barkley than Judy Garland, considering the Barkleys are a long-lasting showbiz couple and the part called for an older actress (Ginger was eleven years older than Judy). Below: On the set of The Barkleys with (l to r) Fred Astaire, director Chuck Walters, Oscar Levant and Ginger Rogers.

In his autobiography Steps in Time (1959) Fred Astaire looked back on his re-pairing with Ginger Rogers with great fondness. However, others working on The Barkleys (including choreographer Hermes Pan) recalled a lack of enthusiasm in Astaire, who felt they were trying to get back something that couldn't be recaptured. In Brent Philips' biography Charles Walters: The Director Who Made Hollywood Dance (2014), Walters is quoted as saying: "It came as quite a shock to find out that Mr. Astaire was not too keen about Miss Rogers ... They got along well, [but] Fred complained about her incessantly ... He would say, for example, that he couldn't stand a woman who was taller than he was ... [Fred could be] a real nag." 

What seems certain is that Astaire had been terribly disappointed when Judy Garland dropped out of The Barkleys. Ginger Rogers also mentioned it in her memoir and even claimed Fred had a crush on Judy: "On the first day of work, I went down to the rehearsal hall to see Fred. He was sweet and friendly, but I could see he was slightly disappointed. I had learned that Judy Garland had originally been signed as his co-star. They'd just worked together on Easter Parade and I knew Fred had a slight crush on her." And Astaire's stand-in Joe Niemeyer commented: "I've never seen him as happy as he was during the making of Easter Parade. It's a wonderful story and a wonderful picture. But to him, the joy came from working with Judy, a girl whose own sense of timing and comedy and perfection is as intense as his. With Judy, the film was nothing but play [for him]." 

After their collaboration on The Barkleys fell through, Fred Astaire and Judy Garland got another chance to work together, this time on Royal Wedding (1951) when June Allyson dropped out due to pregnancy. But again, it was not to be. Once production on the film had started, Judy again kept calling in sick and was eventually fired from the film and replaced with Jane Powell. Easter Parade would remain Fred and Judy's only collaboration.

_____

Below is a small fragment of a letter, dated 1 August 1948, which Fred Astaire wrote to his good friend Jack Leach, jockey and trainer of horses. (Astaire had a passion for horseracing and Leach trained horses owned by Astaire). The segment deals with Judy Garland dropping out of The Barkleys and Ginger Rogers replacing her, with Fred clearly disappointed over the loss of Judy. 

If you're interested in reading the entire letter, which mostly deals with the subject of horses, click on the source link below the image. 

Source: National Horse Racing Museum

Transcript: 

August 1st [1948]

Dear Jack:-

Have been wanting to write but you know what happens when I start on a picture.

We’ve had complications & Judy Garland had to retire from the picture on acct. of illness. I’m very sorry to lose her because she is great – but Ginger Rogers has been brought in to replace her. I haven’t worked with Ginger for 8 years & it’s a lot of work for her to get back to dancing again. I just did a hell of a good picture “Easter Parade” with Judy. It’s a big hit, I think the biggest I’ve ever had. Well – nuts with pictures I want to know about your horses. How is Delerium? Hope he has held up well this year.

Judy Garland and Fred Astaire on the set of Easter Parade, in costume for their terrific act A Couple of Swells.

I do not give permission for my life story to be made into a movie!!

In December 2021, Tom Holland announced that he would portray Fred Astaire in an upcoming Sony Pictures' biopic about the legendary actor/dancer. The announcement evoked many surprised and angry reactions since the film would go against Astaire's own wishes. Astaire, who was a shy man and very modest when it came to his past achievements, has always refused permission for a film to be made about his life. "However much they offer me —and offers come in all the time— I shall not sell", he said. Even a clause was included in Astaire's will to prevent anyone from making his biopic. "It is there because I have no particular desire to have my life misinterpreted, which it would be." 

Apart from the biopic by Sony Pictures, in 2020 it was also announced that Jamie Bell and Margaret Qualley would star as Fred Astaire and Ginger Rogers in a film for Amazon Studios called Fred & Ginger. I could find no recent information on either project, but presumably they are in pre-production now. (I'm not sure if Astaire's heirs can do anything to prevent these films from being made?)

c.1937, Astaire working on one of his dance routines with choreographer Hermes Pan.

In the following letter to fellow actor Lionel Jeffries, written on 22 August 1980, Fred Astaire confirms the existence of the clause in his will and also says how he hates talking about his past work. Astaire had struck up a friendship with Jeffries in the 1960s and this letter is only one of many he had written to his friend.

Source: Dominic Winter Auctioneers

Transcript:

Aug. 22nd 

Dear Lionel:- 

Thanks for thinking of me but I must tell you that there is no way I would ever take on a project as suggested in your letter. The idea has been brought to me by all three major networks here, a number of times.

As you know I hate talking about my past work. I even have it in my will that I do not give permission for my life story to be made into a movie!!

All is well here and my love to all the family.

As ever Fred A- 

Lionel Jeffries and Fred Astaire on the set of the 1962 comedy The Notorious Landlady, also co-starring Jack Lemmon and Kim Novak.

Audrey, call us!

Gregory Peck, Fred Astaire and Anthony Perkins starred together in Stanley Kramer's On The Beach (1959) and during production of the film they realised they had all been leading men to Audrey Hepburn. Peck was Audrey's romantic lead in Roman Holiday (1953), Astaire in Funny Face (1957) and Perkins in Green Mansions (1959). While filming on location in Australia, the men decided to send Audrey a message ("Dear Audrey. If you need any help call us!") via this fun picture, autographed by the three of them. I'm sure Audrey must have been thrilled to receive this.

Source: Christie's

Hooray! It seems like you have like fractured me again

To start the new year on a positive note, here are two lovely letters from respectively Rosalind Russell and Fred Astaire, written in late 1964 to Audrey Hepburn. As discussed in an earlier post, Audrey was devastated about not getting an Oscar nomination for her portrayal of Eliza Doolittle in My Fair Lady (1964). Several months before the nominations were announced, however, she must have been very pleased to receive these letters from Rosalind Russell and Fred Astaire, praising her for her performance. Russell wrote her letter on 13 October 1964, while Astaire's letter is undated but presumably written circa December 1964.

Source: Christie's

Transcript:

Dear, dear Audrey: 

A wee note to tell you how delicious + truly perfect you are in "Fair Lady." I was there that "night of nights" + wanted to come + hug you for the great joy you gave me but it seemed an imposition where you had so many to "look after".

Besides, I was inarticulate with admiration for all you had contributed to the film and wanted to put it -at least in part- in a letter. All love to you + Mel and eternal congratulations on a job magnificently done! 

Devotedly, 

Rosalind

October the thirteenth

*PS. Freddie saw the picture in N.Y.+ of course adored it. Said he raced over to tell you so

You looked divine!

How about that Harry Stradling? 

Kisses for Sean.

Rosalind

Notes

-Freddie was most likely Frederick Brisson, Russell's husband- the only man she was ever married to (from 1941 until her death in 1976).

-Harry Stradling was My Fair Lady's cinematographer and won an Oscar for his work. 

-Sean was Audrey's son by Mel Ferrer, whom Audrey was married to from 1954 until 1968.

Rosalind Russell and Audrey Hepburn pictured together backstage at the 39th Academy Awards in April 1967-- here they are with Fred Zinneman holding his Oscars for Best Picture and Best Director for A Man for All Seasons. 

Source: Christie's

Transcript:

Tuesday

Dear Audrey:

I cannot contain myself. You are so perfect in My Fair Lady! You bring that certain plus to it that one subconsciously hopes for when a big Broadway show comes to the screen.

That combination of comedy and pathos could only be brought forth by Audrey and "That Face".

Little tears welled up in my eyes many times. I saw the stage play four times. Twice in N.Y. once in California & once in Australia.

Loved it each time with the different companies but I never "teared up" before.

It's indeed a perfectly wonderful movie and I sat entranced like all the Sat. matinee audience did. *Hermes [Pan] and I went together. I thought he did an excellent job. Rex [Harrison] was as ever - great great. I thought all the casting was just right.

Old Jack Warner deserves credit for picking the right director and technicians who could bring out the taste that was so needed for this movie.

Hooray! Hooray! It seems like you have like fractured me again.

Best love you and Mel-

Yours -

Fred

Note

-Hermes Pan was responsible for the choreography on My Fair Lady. Pan and Astaire were good friends and had worked together on a great many films including Astaire's films with Ginger Rogers.

Above: Audrey Hepburn and Fred Astaire photographed in Paris in June 1956; below: Audrey and then-husband Mel Ferrer on the set of My Fair Lady.

It seems to knock everybody cold

One of the great things about living in Barcelona, apart from the gorgeous weather and relaxed lifestyle, is having the Filmoteca de Catalunya right on your doorstep. Located in the old Raval neighbourhood, the Filmoteca is a film archive and film house where both old and new films (although not the latest) from all over the world are shown. Luckily, films are shown in the original version with either Catalan or Spanish subtitles. An added bonus is that film tickets are quite inexpensive (4 euros per film) and an annual pass costs only 90 euros (which is about $110) giving you unlimited access to films for a whole year! (Needless to say, I have one of those.)

With regards to the film screenings, I am of course mostly interested in classic Hollywood films and they are being shown here on a regular basis. In February, the Filmoteca started an Ida Lupino retrospective (in celebration of her 100th birthday) to be continued this month, and later this year Rita Hayworth's centenary will also be spotlighted. From the Lupino programme I'm looking forward to rewatching the 1940 They Drive By Night (a film I've seen ages ago) and to see a few films unknown to me like While The City Sleeps (1956) and Hard, Fast and Beautiful (1951). Other films shown this month are classics such as Shane (1953), The Asphalt Jungle (1950), Midnight (1939), Cat People (1942), Sunset Boulevard (1950), Imitation of Life (1959), Spartacus (1960) and Steamboat Bill Jr (1928)-- most of them will be rewatches although never seen by me on the big screen before.

Another film programmed at the Filmoteca this month is Funny Face (1957), starring Fred Astaire and Audrey Hepburn. This film will also be a rewatch for me, and while it's not a favourite musical of mine I look forward to seeing it on the big screen. The letter accompanying this post --of course there's also a letter!-- concerns Funny Face (among others) and was written by Fred Astaire to Audrey Hepburn shortly before the film was released. In this charming letter, Astaire talks about the reviews that rave about Audrey and her dancing, and the positive reactions from people who saw the film already. In the end, despite the overall good reviews, Funny Face did not become the box-office hit everyone had hoped for; in fact, it did not even earn back its $3 million cost.

Audrey wanted to do Funny Face with her big idol Fred Astaire, and Fred apparently wanted to work with Audrey too:" I just told my agents to forget all other projects for me. I was waiting for Audrey Hepburn. She asked for me, and I was ready. This could be the last and only opportunity I'd have to work with the great and lovely Audrey and I was not missing it. Period." Funny Face would be the only time Fred and Audrey worked together.

Source: Christie's

Transcript:

Sunday

Dear Audrey:-

I tried for several days to find out from Kurt Frings office [Audrey's agent] where I could write to you but they knew nothing. There were rumors that you were off to Jamaica.

I did not see all of "Mayerling" because as always happens with T.V.- a phone call came in that I had to take. 

I loved what I saw however and you of course were divine. You looked so wonderful. I don't know how you + Mel [Ferrer] did it- such a big show-live!

You were both great.

Getting back to that other little item, "Funny Face", I'm quite sure now about that one. It seems to knock everybody cold. They just simply say "It's The Best Musical Ever Made!" That from all the wise ones too. They rave over you and your dancing. I've heard you were pleased when you saw it. I sure do hope so. In all my experience with musical pictures I have never experienced such a reaction from people. Now, I see no reason why the public should not fall for it too. 

Have a good rest and all best to Mel.

As ever-

Fred

Clifton, our deepest sympathy

Clifton Webb lived with his mother Mabelle almost his entire life. She was the centre of his universe, and the two were inseparable (Webb would take his mother everywhere: to dinner parties, movie premieres, on vacation etc.). When Mabelle died in 1960 at age 91, Webb's world collapsed and he became inconsolable. His uncontrolled and incessant grieving made playwright and close friend Noel Coward write in his diary a few months after Mabelle's death: "Poor Clifton [..] is still, after two months, wailing and sobbing over Maybelle's death. As she was well over ninety, gaga, and had driven him mad for years, this seems excessive and over indulgent. He arrives here on Monday and I'm dreaming of a wet Christmas. Poor, poor Clifton. I am, of course, deeply sorry for him but he must snap out of it" [via]. Well, 'snap out of it' Webb never did. He would never get over his mother's death and make only one more movie, Satan never sleeps (1962). The remainder of his life --he died six years later at age 76-- Webb would spend in relative seclusion while struggling with his health.

Photos above: (left) Clifton Webb and his mother Mabelle; (right) a photograph taken at one of the Webbs' many Hollywood dinner parties with standing from left to right: Basil Rathbone, David Niven, director Gregory Ratoff, and seated: Heather Angel, Merle Oberon, Ouida Rathbone and Mabelle Webb. Photos below: Mary Pickford (with husband actor Buddy Rogers), Fred Astaire and Jack Warner-- the letter writers for this post. 

Once the news of Mabelle's death became known, Clifton Webb's friends and colleagues started sending their letters of sympathy. Below you'll find three such letters-- written by Mary Pickford (who also talks about the death of her mother-in-law), Fred Astaire and Warner Bros. studio head Jack Warner.

source

Transcript:

November 2, 1960

Dear Clifton,

Buddy and I felt very sad to learn of beloved Mabel's passing. We both know only too well the pain of parting and the void that is left when someone we love has left us, as Buddy lost his darling mother the same week as you lost yours.

I will always remember Mabel, that charming and gay laugh of hers.

Mrs. Rogers, fortunately for her, did not suffer a long illness, with the result that it was a shock to her family, her going so quickly.

Buddy, like you, always was a wonderful son and this knowledge should be a source of comfort to you both. Both Buddy's mother and yours were singularly fortunate in sharing the interesting and full lives of their sons.

We both send you our love and sympathy.

Yours affectionately,

Mary (signed)

Mr. Clifton Webb
1005 N. Rexford Dr.
Beverly Hills, Calif.

source

Transcript:

Tues.

Dear Clifton:-

Just a line to express my deepest heartfelt sympathy.

As ever sincerely-
Fred

source

Transcript:

October 18, 1960

Dear Clifton:

Words are futile to describe our feelings at this time. We loved your mother very much and appreciated the warm spot she had in her heart for us.

The only condolence you can have is that she was a wonderful woman.

Ann joins me in sending our love.

Jack (signed)

Mr. Clifton Webb

1005 N. Rexford Dr.

Beverly Hills, Calif.

Images of all three letters courtesy of Heritage Auctions

Fred Astaire really did not like champagne

In December 1961, Fred Astaire received an advance copy of the newest issue of Playboy Magazine which showed a photograph of him holding a glass of champagne. The photo was from one of his movies (The Pleasure of his Company (1961)) and would appear in the Playboy article despite Astaire's repeated refusal to be shown with a drink in his hand. Seeing his wishes so blatantly ignored, Astaire wrote a letter to Playboy's editorial director A.C. Spectorsky. Both Astaire's letter (in which he remained surprisingly civil instead of getting angry) and Spectorsky's apology (sent shortly thereafter) are shown below.

1956, Fred Astaire photographed by Richard Avedon

Source: heritage auctions/ image reproduced with permission

Transcript:

December 22, 1961

A.C. Spectorsky, Editorial Director

PLAYBOY

232 East Ohio Street

Chicago 11, Illinois

Dear Mr. Spectorsky:

Thank you for sending me the advance copy of January Playboy Magazine in which there is a photo of me in the "Toasting the New Year" article.

However, since you have asked me for my comments, I feel it only fair I should tell you the circumstances under which this photograph appeared. First I was asked from the Eastern Office of the magazine to pose for a picture with a drink in my hand. I stated that I respectfully declined the invitation since I have no favorite drink and did not wish to appear in the article. A few weeks later I was called on the telephone by someone at the local Playboy office and was again approached about posing with a drink in my hand, which I again declined. I was then asked if I objected to the use of a photograph from one of my pictures, namely "The Pleasure Of His Company", in which I am holding a glass of champagne, to which I again specified that I did not wish it used and that I did not wish to participate in this article with a drink in my hand since I had no favorite drink. This was thoroughly understood.

Perhaps you can understand now why I am amazed at the use of this photograph of me with a glass of champagne in my hand "Toasting the New Year". Obviously there is no harm done but I just want to point out to you that I really do not happen to like champagne.

With kindest regards, I remain,

Sincerely yours, 

(signed)

FRED ASTAIRE

And here is Spectorsky's answer, dated 2 January 1962.

Source: heritage auctions/ image reproduced with permission

Transcript:

January 2, 1962

Mr. Fred Astaire
1129 Summit Drive
Beverly Hills, California

Dear Mr. Astaire:

Thank you for your letter of December 22. Had I been aware of the facts you put forth, your picture most certainly would not have been used. I apologize for the entire organization-- and simultaneously thank you for the reasonable tone and lack of heat in your letter. We could not be more pleased.

I would like to take this occasion to extend you season's greetings as best I can, being in process of still recovering from convivial imbibing of that drink whose dislike you and I share completely.

May I repeat that we are sorry for the treatment we accorded you, and may I also assure you that this is totally atypical of our behavior and contrary to our policies. I would also like to cop a plea for those of my colleagues who were involved: I assure you they are innocent of piratical intent and can only be charged with that dread disease known as lack of communication which afflicts us all in this rapidly growing and proliferating enterprise known as PLAYBOY. Apparently, your ultimate refusal for the use of a picture from one of your films either failed to register with those responsible or filtered through too late to make a change.

We hope this unfortunate incident won't prejudice you against this magazine and this organization, and we (and I, personally) want to express gratitude for your writing.

Cordially,

A.C. Spectorsky
Associate Publisher and Editorial Director

**LET'S TOAST TO A FABULOUS AND INSPIRING 2015 (WITH OR WITHOUT CHAMPAGNE). HAPPY NEW YEAR EVERYONE!!!**