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Fred Astaire
Fred Astaire
(born Frederick Austerlitz;[1] May 10, 1899 – June 22, 1987) was an American dancer, singer, actor, choreographer and television presenter. He is widely regarded as one of the most influential dancers in the history of film and television musicals.[2] His stage and subsequent film and television careers spanned a total of 76 years, during which he starred in more than 10 Broadway and London
London
musicals, made 31 musical films, 4 television specials, and issued numerous recordings. As a dancer, he is best remembered for his sense of rhythm, his perfectionism, and as the dancing partner and on-screen romantic interest of Ginger Rogers, with whom he co-starred in a series of ten Hollywood
Hollywood
musicals. Astaire was named by the American Film Institute
American Film Institute
as the fifth greatest male star of Classic Hollywood
Hollywood
cinema in 100 Years... 100 Stars.[3][4] Gene Kelly, another star in filmed dance, said that "the history of dance on film begins with Astaire." Later, he asserted that Astaire was "the only one of today's dancers who will be remembered."[5] Beyond film and television, many dancers and choreographers, including Rudolf Nureyev, Sammy Davis Jr., Michael Jackson, Gregory Hines, Mikhail Baryshnikov, George Balanchine, Jerome Robbins, and Madhuri Dixit, also acknowledged his influence.

Contents

1 Life and career

1.1 1899–1917: Early life and career 1.2 1917–1933: Stage career on Broadway and in London 1.3 1933–1939: Astaire and Rogers at RKO 1.4 1940–1947: Drifting to an early retirement 1.5 1948–1957: Productive years with MGM and second retirement 1.6 1957–1981: Branching out into televised dance and straight acting

2 Working methods and influence on filmed dance 3 Influence on popular song 4 Awards, honors and tributes 5 Personal life 6 Death 7 Stage, film and television work

7.1 Films, musical 7.2 Films, non-musical 7.3 Television

8 References

8.1 Bibliography

9 External links

Life and career[edit] 1899–1917: Early life and career[edit]

Fred and his sister Adele in 1906

Astaire was born in Omaha, Nebraska, the son of Johanna "Ann" (née Geilus) and Frederic "Fritz" Austerlitz (born September 8, 1868 as Friedrich Emanuel Austerlitz).[1][6][7] Astaire's mother was born in the United States, to Lutheran German emigrants from East Prussia
East Prussia
and Alsace. Astaire's father was born in Linz, Austria, to Jewish parents who had converted to Roman Catholicism.[1][8][9][10] After arriving in New York City at age 25 on October 26, 1893, and being inspected at Ellis Island,[11] Astaire's father, hoping to find work in his brewing trade, moved to Omaha, Nebraska, and landed a job with the Storz Brewing Company. Astaire's mother dreamed of escaping Omaha by virtue of her children's talents, after Astaire's sister, Adele Astaire, early on revealed herself to be an instinctive dancer and singer. She planned a "brother and sister act," which was common in vaudeville at the time. Although Astaire refused dance lessons at first, he easily mimicked his older sister's steps and took up piano, accordion, and clarinet. When their father suddenly lost his job, the family moved to New York City in 1905 to launch the show business career of the children, who began training at the Alviene Master School of the Theatre and Academy of Cultural Arts.[12] Despite Adele and Fred's teasing rivalry, they quickly acknowledged their individual strengths, his durability and her greater talent. Fred and Adele's mother suggested they change their name to "Astaire," as she felt "Austerlitz" sounded reminiscent of the name of a battle. Family legend attributes the name to an uncle surnamed "L'Astaire."[13] They were taught dance, speaking, and singing in preparation for developing an act. Their first act was called Juvenile Artists Presenting an Electric Musical Toe-Dancing Novelty. Fred wore a top hat and tails in the first half and a lobster outfit in the second. In an interview, Astaire's daughter, Ava Astaire McKenzie, observed that they often put Fred in a top hat to make him look taller.[14] The goofy act debuted in Keyport, New Jersey, in a "tryout theater." The local paper wrote, "the Astaires are the greatest child act in vaudeville."[15] As a result of their father's salesmanship, Fred and Adele rapidly landed a major contract and played the famed Orpheum Circuit
Orpheum Circuit
in the Midwest, Western and some Southern cities in the United States. Soon Adele grew to at least three inches taller than Fred and the pair began to look incongruous. The family decided to take a two-year break from show business to let time take its course and to avoid trouble from the Gerry Society and the child labor laws of the time. In 1912, Fred became an Episcopalian.[16] The career of the Astaire siblings resumed with mixed fortunes, though with increasing skill and polish, as they began to incorporate tap dancing into their routines. Astaire's dancing was inspired by Bill "Bojangles" Robinson and John "Bubbles" Sublett.[17] From vaudeville dancer Aurelio Coccia, they learned the tango, waltz, and other ballroom dances popularized by Vernon and Irene Castle. Some sources[18] state that the Astaire siblings appeared in a 1915 film titled Fanchon, the Cricket, starring Mary Pickford, but the Astaires have consistently denied this.[19][20][21] By age 14, Fred had taken on the musical responsibilities for their act.[12] He first met George Gershwin, who was working as a song plugger for Jerome H. Remick's music publishing company, in 1916.[22] Fred had already been hunting for new music and dance ideas. Their chance meeting was to deeply affect the careers of both artists. Astaire was always on the lookout for new steps on the circuit and was starting to demonstrate his ceaseless quest for novelty and perfection. The Astaires broke into Broadway in 1917 with Over the Top, a patriotic revue, and performed for U.S. and Allied troops at this time as well. 1917–1933: Stage career on Broadway and in London[edit]

Fred and Adele Astaire
Adele Astaire
in 1921

The Astaires followed up with several more shows, and of their work in "The Passing Show of 1918," Heywood Broun wrote: "In an evening in which there was an abundance of good dancing, Fred Astaire
Fred Astaire
stood out ... He and his partner, Adele Astaire, made the show pause early in the evening with a beautiful loose-limbed dance."[23] By this time, Astaire's dancing skill was beginning to outshine his sister's, though she still set the tone of their act and her sparkle and humor drew much of the attention, owing in part to Fred's careful preparation and strong supporting choreography. During the 1920s, Fred and Adele appeared on Broadway and on the London
London
stage in shows such as Jerome Kern's The Bunch and Judy
The Bunch and Judy
(1922), George and Ira Gershwin's Lady, Be Good (1924), and Funny Face
Funny Face
(1927) and later in The Band Wagon
The Band Wagon
(1931), winning popular acclaim with the theater crowd on both sides of the Atlantic. By then, Astaire's tap dancing was recognized as among the best, as Robert Benchley
Robert Benchley
wrote in 1930, "I don't think that I will plunge the nation into war by stating that Fred is the greatest tap-dancer in the world."[24]:5 After the close of Funny Face, the Astaires went to Hollywood
Hollywood
for a screen test (now lost) at Paramount Pictures, but Paramount deemed them unsuitable for films. They split in 1932 when Adele married her first husband, Lord Charles Cavendish, second son of the 9th Duke of Devonshire. Fred went on to achieve success on his own on Broadway and in London
London
with Gay Divorce (later made into the film The Gay Divorcee), while considering offers from Hollywood. The end of the partnership was traumatic for Astaire but stimulated him to expand his range. Free of the brother-sister constraints of the former pairing and working with new partner Claire Luce, Fred created a romantic partnered dance to Cole Porter's "Night and Day," which had been written for Gay Divorce. Luce stated that she had to encourage him to take a more romantic approach: "Come on, Fred, I'm not your sister, you know."[24]:6 The success of the stage play was credited to this number and, when recreated in The Gay Divorcee
The Gay Divorcee
(1934), the film version of the play, it ushered in a new era in filmed dance.[24]:23,26,61 Recently, film footage taken by Fred Stone
Fred Stone
of Astaire performing in Gay Divorce
Gay Divorce
with Luce's successor, Dorothy Stone, in New York in 1933 was uncovered by dancer and historian Betsy Baytos and now represents the earliest known performance footage of Astaire.[25] 1933–1939: Astaire and Rogers at RKO[edit]

Ginger Rogers
Ginger Rogers
and Fred Astaire
Fred Astaire
in Top Hat
Top Hat
(1935)

According to Hollywood
Hollywood
folklore, a screen test report on Astaire for RKO Radio Pictures, now lost along with the test, is reported to have read: "Can't sing. Can't act. Balding. Can dance a little." The producer of the Astaire-Rogers pictures, Pandro S. Berman, claimed he had never heard the story in the 1930s and that it only emerged years afterwards.[24]:7 Astaire later clarified, insisting that the report had actually read: "Can't act. Slightly bald. Also dances."[26] In any case, the test was clearly disappointing, and David O. Selznick, who had signed Astaire to RKO and commissioned the test, stated in a memo, "I am uncertain about the man, but I feel, in spite of his enormous ears and bad chin line, that his charm is so tremendous that it comes through even on this wretched test."[24]:7 However, this did not affect RKO's plans for Astaire, first lending him for a few days to MGM in 1933 for his significant Hollywood
Hollywood
debut, where he appeared as himself dancing with Joan Crawford
Joan Crawford
in the successful musical film Dancing Lady. On his return to RKO, he got fifth billing after fourth billed Ginger Rogers
Ginger Rogers
in the 1933 Dolores del Río vehicle Flying Down to Rio. In a review, Variety magazine attributed its massive success to Astaire's presence:

The main point of Flying Down to Rio
Flying Down to Rio
is the screen promise of Fred Astaire ... He's assuredly a bet after this one, for he's distinctly likable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself. The latter observation will be no news to the profession, which has long admitted that Astaire starts dancing where the others stop hoofing.[24]:7

Having already been linked to his sister Adele on stage, Astaire was initially very reluctant to become part of another dance team. He wrote his agent, "I don't mind making another picture with her, but as for this 'team' idea, it's 'out!' I've just managed to live down one partnership and I don't want to be bothered with any more."[24]:8 However, he was persuaded by the obvious public appeal of the Astaire-Rogers pairing. The partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood
Hollywood
film musical. Astaire and Rogers made nine films together at RKO, including The Gay Divorcee (1934), Roberta (1935, in which Astaire also demonstrates his oft-overlooked piano skills with a spirited solo on "I Won't Dance"), Top Hat
Top Hat
(1935), Follow the Fleet
Follow the Fleet
(1936), Swing Time (1936), Shall We Dance
Dance
(1937), and Carefree (1938). Six out of the nine Astaire-Rogers musicals became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time. Their partnership elevated them both to stardom; as Katharine Hepburn
Katharine Hepburn
reportedly said, "He gives her class and she gives him sex appeal."[27]:134 Astaire received a percentage of the films' profits, something extremely rare in actors' contracts at that time. Astaire was also given complete autonomy over how the dances would be presented, allowing him to revolutionize dance on film.[28] He is credited with two important innovations in early film musicals.[24]:23,26 First, he insisted that a closely tracking dolly camera film a dance routine in as few shots as possible, typically with just four to eight cuts, while holding the dancers in full view at all times. This gave the illusion of an almost stationary camera filming an entire dance in a single shot. Astaire famously quipped: "Either the camera will dance, or I will."[24]:420 Astaire maintained this policy from The Gay Divorcee
The Gay Divorcee
in 1934 onwards until his last film musical, Finian's Rainbow, made in 1968, when he was overruled by director Francis Ford Coppola.[29] Astaire's style of dance sequences, which allowed the viewer to follow the dancers and choreography in their entirety, clearly contrasted with the Busby Berkeley
Busby Berkeley
musicals, which were known for dance sequences filled with extravagant aerial shots and dozens of cuts for quick takes and zooms on certain areas of the body, such as a chorus row of arms or legs. Astaire's second innovation involved the context of the dance; he was adamant that all song and dance routines be seamlessly integrated into the plotlines of the film. Instead of using dance as spectacle as Busby Berkeley
Busby Berkeley
did, Astaire used it to move the plot along. Typically, an Astaire picture would include at least three standard dances: a solo performance by Astaire—which he termed his "sock solo," a partnered comedy dance routine, and a partnered romantic dance routine.

An RKO publicity still of Astaire and Rogers dancing to "Smoke Gets in Your Eyes" in Roberta (1935)

Dance
Dance
commentators Arlene Croce,[27]:6 Hannah Hyam[30]:146,147 and John Mueller[24]:8,9 consider Rogers to have been Astaire's greatest dance partner, a view shared[31] by Hermes Pan
Hermes Pan
and Stanley Donen.[31] Film
Film
critic Pauline Kael
Pauline Kael
adopts a more neutral stance,[32] while Time magazine film critic Richard Schickel writes "The nostalgia surrounding Rogers-Astaire tends to bleach out other partners."[33] Mueller sums up Rogers's abilities as follows:

Rogers was outstanding among Astaire's partners not because she was superior to others as a dancer, but because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began ... the reason so many women have fantasized about dancing with Fred Astaire
Fred Astaire
is that Ginger Rogers
Ginger Rogers
conveyed the impression that dancing with him is the most thrilling experience imaginable.[24]

According to Astaire, "Ginger had never danced with a partner before Flying Down to Rio. She faked it an awful lot. She couldn't tap and she couldn't do this and that ... but Ginger had style and talent and improved as she went along. She got so that after a while everyone else who danced with me looked wrong."[34] In his book Ginger: Salute to a Star author Dick Richards quotes Astaire saying to Raymond Rohauer, curator of the New York Gallery of Modern Art, "Ginger was brilliantly effective. She made everything work for her. Actually she made things very fine for both of us and she deserves most of the credit for our success." When asked who his favorite dancing partner was by British TV interviewer Michael Parkinson on Parkinson in 1976, Astaire said "Excuse me, I must say Ginger was certainly the one. You know, the most effective partner I had. Everyone knows. That was a whole other thing what we did...I just want to pay a tribute to Ginger because we did so many pictures together and believe me it was a value to have that girl...she had it! She was just great!" For her part, Rogers described Astaire's uncompromising standards extending to the whole production: "Sometimes he'll think of a new line of dialogue or a new angle for the story ... they never know what time of night he'll call up and start ranting enthusiastically about a fresh idea ... No loafing on the job on an Astaire picture, and no cutting corners."[24]:16 Astaire was still unwilling to have his career tied exclusively to any partnership, however. He negotiated with RKO to strike out on his own with A Damsel in Distress
A Damsel in Distress
in 1937 with an inexperienced, non-dancing Joan Fontaine, unsuccessfully as it turned out. He returned to make two more films with Rogers, Carefree (1938) and The Story of Vernon and Irene Castle (1939). While both films earned respectable gross incomes, they both lost money because of increased production costs,[24]:410 and Astaire left RKO, after being labeled "box office poison" by the Independent Film
Film
Journal. Astaire was reunited with Rogers in 1949 at MGM for their final outing, The Barkleys of Broadway, the only one of their films together to be shot in Technicolor. 1940–1947: Drifting to an early retirement[edit]

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With Eleanor Powell
Eleanor Powell
in Broadway Melody of 1940

In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell—considered the finest female tap-dancer of her generation—in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine." In his autobiography Steps in Time, Astaire remarked, "She 'put 'em down like a man,' no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself." He played alongside Bing Crosby
Bing Crosby
in Holiday Inn (1942) and later Blue Skies (1946) but, in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' On the Ritz." Other partners during this period included Paulette Goddard
Paulette Goddard
in Second Chorus
Second Chorus
(1940), in which he dance-conducted the Artie Shaw
Artie Shaw
orchestra.

With Rita Hayworth
Rita Hayworth
in You Were Never Lovelier
You Were Never Lovelier
(1942)

He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos. The first, You'll Never Get Rich (1941), catapulted Hayworth to stardom and provided Astaire his third on-screen opportunity to integrate Latin American dance idioms into his style (the first being with Ginger Rogers
Ginger Rogers
in "The Carioca" number from Flying Down to Rio
Flying Down to Rio
(1933) and the second, again with Rogers, was the "Dengozo" dance from The Story of Vernon and Irene Castle
Vernon and Irene Castle
(1939)), taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, You Were Never Lovelier
You Were Never Lovelier
(1942), was equally successful and featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie
Joan Leslie
in the wartime drama The Sky's the Limit (1943), in which he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film, which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona, and confused contemporary critics. His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy Yolanda and the Thief, which featured an avant-garde surrealistic ballet, and the musical revue Ziegfeld Follies (1946), which featured a memorable teaming of Astaire with Gene Kelly
Gene Kelly
to "The Babbit and the Bromide," a Gershwin song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office, and Astaire, ever insecure and believing his career was beginning to falter, surprised his audiences by announcing his retirement during the production of Blue Skies (1946), nominating "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and in 1947 founded the Fred Astaire
Fred Astaire
Dance Studios, which he subsequently sold in 1966. 1948–1957: Productive years with MGM and second retirement[edit]

In Daddy Long Legs (1955)

Retirement didn't last long. Astaire returned to the big screen to replace the injured Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford
Peter Lawford
and for a final reunion with Rogers (replacing Judy Garland) in The Barkleys of Broadway
The Barkleys of Broadway
(1949). Both of these films revived Astaire's popularity and in 1950 he starred in two musicals - one for M-G-M - Three Little Words with Vera-Ellen
Vera-Ellen
and Red Skelton
Red Skelton
and one on loan-out to Paramount - Let's Dance
Dance
with Betty Hutton. While Three Little Words did quite well at the box office, Let's Dance
Dance
was a financial disappointment. Royal Wedding (1951) with Jane Powell
Jane Powell
and Peter Lawford
Peter Lawford
proved to be very successful, but The Belle of New York (1952) with Vera-Ellen
Vera-Ellen
was a critical and box-office disaster. The Band Wagon
The Band Wagon
(1953), which is considered to be one of the finest musicals ever made, received rave reviews from critics and drew huge crowds. But because of its excessive cost, it failed to make a profit on its first release. Soon after, Astaire, along with all the other remaining stars at M-G-M, was let go from his contract because of the advent of television and the downsizing of film production. In 1954, Astaire was about to start work on a new musical, Daddy Long Legs (1955) with Leslie Caron
Leslie Caron
at 20th Century Fox, when his wife Phyllis became ill and suddenly died of lung cancer. Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his own pocket. However, Johnny Mercer
Johnny Mercer
(the film's composer) and Fox studio executives convinced him that work would be the best thing for him at that time. When Daddy Long Legs was released in 1955, it did only moderately well at the box office. His next film for Paramount, Funny Face (1957), teamed him with Audrey Hepburn
Audrey Hepburn
and Kay Thompson
Kay Thompson
and despite the sumptuousness of the production and the strong reviews from critics, it failed to make back its cost. Similarly, Astaire's next project - his final musical at M-G-M, Silk Stockings (1957), in which he co-starred with Cyd Charisse, also lost money at the box office. As a result, Astaire withdrew from motion pictures for two years. During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album, produced by Norman Granz, provided a musical overview of Astaire's career. The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old and that have "qualitative or historical significance."[35] His legacy at this point was 30 musical films in 25 years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959). 1957–1981: Branching out into televised dance and straight acting[edit] Astaire did not retire from dancing completely. He made a series of four highly rated Emmy Award-winning musical specials for television in 1958, 1959, 1960, and 1968, each featuring Barrie Chase, with whom Astaire enjoyed a renewed period of dance creativity. The first of these programs, 1958's An Evening with Fred Astaire, won nine Emmy Awards, including "Best Single Performance by an Actor" and "Most Outstanding Single Program of the Year." It was also noteworthy for being the first major broadcast to be prerecorded on color videotape and has recently been restored. The restoration won a technical Emmy in 1988 for Ed Reitan, Don Kent, and Dan Einstein, who restored the original videotape, transferring its contents to a modern format and filling in gaps where the tape had deteriorated with kinescope footage. Astaire won the Emmy for Best Single Performance by an Actor, but the choice had a controversial backlash because many believed that his dancing in the special was not the type of "acting" for which the award was designed. At one point Astaire offered to return the award, but the Television Academy refused to consider it.[36] Astaire played Julian Osborne, a non-dancing character, in the 1959 movie On the Beach and was nominated for a Golden Globe Best Supporting Actor
Actor
award for his performance, losing to Stephen Boyd
Stephen Boyd
in Ben-Hur. Astaire appeared in non-dancing roles in three other films and several television series from 1957 to 1969. Astaire's last major musical film was Finian's Rainbow (1968), directed by Francis Ford Coppola. Astaire shed his white tie and tails to play an Irish rogue who believes that if he buries a crock of gold in the shadows of Fort Knox
Fort Knox
the gold will multiply. Astaire's dance partner was Petula Clark, who played his character's skeptical daughter. He described himself as nervous about singing with her, while she said she was worried about dancing with him. The film was a modest success both at the box office and among critics. Astaire continued to act in the 1970s, appearing on television as the father of Robert Wagner's character, Alexander Mundy, in It Takes a Thief and in such films as The Towering Inferno (1974), in which he danced with Jennifer Jones
Jennifer Jones
and for which he received his only Academy Award nomination, in the category of Best Supporting Actor. He voiced the mailman narrator in the 1970s animated television specials Santa Claus Is Comin' to Town and The Easter Bunny Is Comin' to Town. Astaire also appeared in the first two That's Entertainment! documentaries, in the mid 1970s. In the second compilation, aged seventy-six, he performed brief dance linking sequences with Kelly, his last dance performances in a musical film. In the summer of 1975, he made three albums in London, Attitude Dancing, They Can't Take These Away from Me, and A Couple of Song and Dance
Dance
Men, the last an album of duets with Bing Crosby. In 1976, Astaire played a supporting role, as a dog owner, in the cult movie The Amazing Dobermans, co-starring Barbara Eden
Barbara Eden
and James Franciscus. Fred Astaire
Fred Astaire
played Dr. Seamus Scully in the French film The Purple Taxi
The Purple Taxi
(1977). In 1978, he co-starred with Helen Hayes
Helen Hayes
in a well received television film, A Family Upside Down, in which they played an elderly couple coping with failing health. Astaire won an Emmy Award
Emmy Award
for his performance. He made a well publicized guest appearance on the science-fiction television series Battlestar Galactica in 1979, as Chameleon, the possible father of Starbuck, in "The Man with Nine Lives," a role written for him by Donald P. Bellisario. Astaire asked his agent to obtain a role for him on Galactica because of his grandchildren's interest in the series. This episode marked the final time that he danced on screen. He acted nine different roles in The Man in the Santa Claus Suit in 1979. His final film role was the 1981 adaptation of Peter Straub's novel Ghost Story. This horror film was also the last for two of his most prominent castmates, Melvyn Douglas and Douglas Fairbanks
Douglas Fairbanks
Jr. Working methods and influence on filmed dance[edit] Further information: Fred Astaire's solo and partnered dances

Astaire dancing on the walls and ceiling for "You're All the World to Me"[37] from Royal Wedding
Royal Wedding
(1951)

Astaire was a virtuoso dancer, able to convey light-hearted venturesomeness or deep emotion when called for. His technical control and sense of rhythm were astonishing. Long after the photography for the solo dance number "I Want to Be a Dancin' Man" was completed for the 1952 feature The Belle of New York, it was decided that Astaire's humble costume and the threadbare stage set were inadequate and the entire sequence was reshot. The 1994 documentary That's Entertainment! III shows the two performances side-by-side in split screen. Frame for frame, the two performances are absolutely identical, down to the subtlest gesture. Astaire's execution of a dance routine was prized for its elegance, grace, originality, and precision. He drew from a variety of influences, including tap and other black rhythms, classical dance, and the elevated style of Vernon and Irene Castle
Vernon and Irene Castle
to create a uniquely recognizable dance style which greatly influenced the American Smooth style of ballroom dance and set standards against which subsequent film dance musicals would be judged. He termed his eclectic approach his "outlaw style," an unpredictable and instinctive blending of personal artistry. His dances are economical yet endlessly nuanced. As Jerome Robbins
Jerome Robbins
stated, "Astaire's dancing looks so simple, so disarming, so easy, yet the understructure, the way he sets the steps on, over or against the music, is so surprising and inventive."[24]:18 Astaire further observed:

Working out the steps is a very complicated process—something like writing music. You have to think of some step that flows into the next one, and the whole dance must have an integrated pattern. If the dance is right, there shouldn't be a single superfluous movement. It should build to a climax and stop![24]:15

With very few exceptions, Astaire created his routines in collaboration with other choreographers, primarily Hermes Pan. They would often start with a blank slate:

For maybe a couple of days we wouldn't get anywhere—just stand in front of the mirror and fool around... Then suddenly I'd get an idea or one of them would get an idea... So then we'd get started... You might get practically the whole idea of the routine done that day, but then you'd work on it, edit it, scramble it, and so forth. It might take sometimes as long as two, three weeks to get something going.[24]:15

Frequently, a dance sequence was built around two or three principal ideas, sometimes inspired by his own steps or by the music itself, suggesting a particular mood or action.[24]:20 Many of his dances were built around a "gimmick," such as dancing on the walls in "Royal Wedding" or dancing with his shadows in Swing Time, that he or his collaborator had thought up earlier and saved for the right situation. They would spend weeks creating all the dance sequences in a secluded rehearsal space before filming would begin, working with a rehearsal pianist (often the composer Hal Borne) who in turn would communicate modifications to the musical orchestrators. His perfectionism was legendary; however, his relentless insistence on rehearsals and retakes was a burden to some. When time approached for the shooting of a number, Astaire would rehearse for another two weeks and record the singing and music. With all the preparation completed, the actual shooting would go quickly, conserving costs. Astaire agonized during the entire process, frequently asking colleagues for acceptance for his work. As Vincente Minnelli
Vincente Minnelli
stated, "He lacks confidence to the most enormous degree of all the people in the world. He will not even go to see his rushes... He always thinks he is no good."[24]:16 As Astaire himself observed, "I've never yet got anything 100% right. Still it's never as bad as I think it is."[24]:16 Michael Kidd, who choreographed the 1953 film The Band Wagon, found that his own concern about the emotional motivation behind the dance was not shared by Astaire. Kidd later recounted: "Technique was important to him. He'd say, 'Let's do the steps. Let's add the looks later.' "[38] Although he viewed himself as an entertainer first and foremost, his consummate artistry won him the admiration of such twentieth century dance legends as Gene Kelly, George Balanchine, the Nicholas Brothers, Mikhail Baryshnikov, Margot Fonteyn, Bob Fosse, Gregory Hines, Rudolf Nureyev, Michael Jackson, and Bill Robinson. Balanchine compared him to Bach, describing him as "the most interesting, the most inventive, the most elegant dancer of our times," while for Baryshnikov he was "a genius... a classical dancer like I never saw in my life." Fred Astaire
Fred Astaire
performed dance in four ways. He performed romantic ballroom duets, tap duets, solos, and solos with props. He also usually danced with a partner, for example Ginger Rogers. A very well known duet with Rogers that he did was “Cheek to Cheek” which is a beautiful dance that looks almost like they are gliding across the dance floor together. He didn’t just perform romantic duets with Rogers. He also did many tap duet numbers with her, like the dance “Let Yourself Go” in Follow the Fleet. Astaire’s tap solos, however, seemed to be the most popular. People were amazed at the things he could dance with while performing. From coat trees to drum sets, Astaire could do it all.[39] Influence on popular song[edit] Further information: List of songs introduced by Fred Astaire Extremely modest about his singing abilities (he frequently claimed that he could not sing,[40] but the critics rated him as among the finest), Astaire introduced some of the most celebrated songs from the Great American Songbook, in particular, Cole Porter's: "Night and Day" in Gay Divorce
Gay Divorce
(1932) and "So Near and yet So Far" in You'll Never Get Rich (1941), Irving Berlin's "Isn't This a Lovely Day?", "Cheek to Cheek" and "Top Hat, White Tie and Tails" in Top Hat
Top Hat
(1935), "Let's Face the Music and Dance" in Follow the Fleet
Follow the Fleet
(1936) and "Change Partners" in Carefree (1938). He first presented Jerome Kern's "The Way You Look Tonight" in Swing Time (1936); the Gershwins' "They Can't Take That Away from Me" in Shall We Dance
Dance
(1937), "A Foggy Day" and "Nice Work if You Can Get it" in A Damsel in Distress
A Damsel in Distress
(1937); Johnny Mercer's "One for My Baby" from The Sky's the Limit (1943) and "Something's Gotta Give" from Daddy Long Legs (1955); and Harry Warren and Arthur Freed's "This Heart of Mine" from Ziegfeld Follies (1946).

Astaire singing in Second Chorus
Second Chorus
(1940)

Astaire also co-introduced a number of song classics via song duets with his partners. For example, with his sister Adele, he co-introduced the Gershwins' "I'll Build a Stairway to Paradise" from Stop Flirting (1923), "Fascinating Rhythm" in Lady, Be Good (1924), "Funny Face" in Funny Face
Funny Face
(1927); and, in duets with Ginger Rogers, he presented Irving Berlin's "I'm Putting All My Eggs in One Basket" in Follow the Fleet
Follow the Fleet
(1936), Jerome Kern's "Pick Yourself Up" and "A Fine Romance" in Swing Time (1936), along with The Gershwins' "Let's Call the Whole Thing Off" from Shall We Dance
Dance
(1937). With Judy Garland, he sang Irving Berlin's "A Couple of Swells" from Easter Parade (1948); and, with Jack Buchanan, Oscar Levant, and Nanette Fabray he delivered Arthur Schwartz
Arthur Schwartz
and Howard Dietz's "That's Entertainment" from The Band Wagon
The Band Wagon
(1953). Although he possessed a light voice, he was admired for his lyricism, diction, and phrasing[41]—the grace and elegance so prized in his dancing seemed to be reflected in his singing, a capacity for synthesis which led Burton Lane
Burton Lane
to describe him as "the world's greatest musical performer."[24]:21 Irving Berlin
Irving Berlin
considered Astaire the equal of any male interpreter of his songs—"as good as Jolson, Crosby or Sinatra, not necessarily because of his voice, but for his conception of projecting a song."[42] Jerome Kern
Jerome Kern
considered him the supreme male interpreter of his songs[24]:21 and Cole Porter
Cole Porter
and Johnny Mercer
Johnny Mercer
also admired his unique treatment of their work. And while George Gershwin
George Gershwin
was somewhat critical of Astaire's singing abilities, he wrote many of his most memorable songs for him.[24]:123,128 In his heyday, Astaire was referenced[42] in lyrics of songwriters Cole Porter, Lorenz Hart
Lorenz Hart
and Eric Maschwitz and continues to inspire modern songwriters.[43] Astaire was a songwriter of note himself, with "I'm Building Up to an Awful Letdown" (written with lyricist Johnny Mercer) reaching number four in the Hit Parade of 1936.[44] He recorded his own "It's Just Like Taking Candy from a Baby" with Benny Goodman
Benny Goodman
in 1940 and nurtured a lifelong ambition to be a successful popular song composer.[45] Awards, honors and tributes[edit]

Astaire's hand and foot prints at Grauman's Chinese Theater

Plaque honoring Astaire in Lismore, Waterford, Ireland

1938: Invited to place his hand and foot prints in cement at Grauman's Chinese Theatre, Hollywood[46] 1950: Ginger Rogers
Ginger Rogers
presented an honorary Academy Award to Astaire "for his unique artistry and his contributions to the technique of musical pictures" 1950: Golden Globe for "Best Motion Picture – Musical or Comedy" for Three Little Words 1958: Emmy Award
Emmy Award
for "Best Single Performance by an Actor" for An Evening with Fred Astaire 1959: Dance
Dance
Magazine award 1960: Nominated for Emmy Award
Emmy Award
for "Program Achievement" for Another Evening with Fred Astaire 1960: Golden Globe Cecil B. DeMille Award
Golden Globe Cecil B. DeMille Award
for "Lifetime Achievement in Motion Pictures" 1960: Inducted into the Hollywood
Hollywood
Walk of Fame with a motion pictures star at 6756 Hollywood
Hollywood
Boulevard for his contributions to the film industry.[47] 1961: Emmy Award
Emmy Award
for "Program Achievement" for Astaire Time 1961: Voted Champion of Champions—Best Television performer in annual television critics and columnists poll conducted by Television Today and Motion Picture Daily 1965: The George Eastman Award[48] from the George Eastman House for "outstanding contributions to motion pictures" 1968: Inducted into the Hall of Fame of the International Best Dressed List[49] 1968: Nominated for an Emmy Award
Emmy Award
for Musical Variety Program for The Fred Astaire
Fred Astaire
Show 1972: Named Musical Comedy Star of the Century by Liberty, "The Nostalgia Magazine"[50] 1972: Inducted into the American Theater Hall of Fame[51] 1973: Subject of a Gala by the Film
Film
Society of Lincoln Center 1975: Academy Award nomination for The Towering Inferno 1975: Golden Globe for "Best Supporting Actor", BAFTA and David di Donatello awards for The Towering Inferno 1978: Emmy Award
Emmy Award
for "Best Actor—Drama or Comedy Special" for A Family Upside Down 1978: Honored by the Academy of Television Arts & Sciences 1978: First recipient of the Kennedy Center Honors 1978: National Artist Award from the American National Theatre Association for "contributing immeasurably to the American Theatre" 1981: The Lifetime Achievement Award from the American Film
Film
Institute 1982: The Anglo-American Contemporary Dance
Dance
Foundation announces creation of the Astaire Awards "to honor Fred Astaire
Fred Astaire
and his sister Adele and to reward the achievement of an outstanding dancer or dancers" 1987: The Capezio Dance
Dance
Shoe Award (co-awarded with Rudolf Nureyev) 1987: Inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in Saratoga Springs, New York 1989: Posthumous award of Grammy Lifetime Achievement Award 1989: Posthumous induction into the Television Hall of Fame 1991: Posthumous induction into the Ballroom Dancer's Hall of Fame 1992: The Dancing House
Dancing House
in Prague is originally named "Fred and Ginger" 1999: Posthumous award of Grammy Hall of Fame Award for 1952 The Astaire Story album 2000: Ava Astaire McKenzie unveils a plaque in honor of her father, erected by the citizens of Lismore, County Waterford, Ireland 2000: "Fred Astaire", a song by Lucky Boys Confusion 2003: Referenced in the animated feature The Triplets of Belleville, in which Astaire is eaten by his shoes after a fast-paced dance act 2004: The "Adele and Fred Astaire
Fred Astaire
Ballroom" added on the top floor of Gottlieb Storz Mansion in Astaire's hometown of Omaha[52] 2008: Life and work honored at Oriel College, University of Oxford[53] 2011, 2013: "Fred Astaire", a song, in a Portuguese and a later English version by Clarice Falcão 2012: "Fred Astaire", a single and video by San Cisco

Personal life[edit] Astaire was a conservative and a lifelong Republican Party supporter,[54] though he never made his political views publicly known.[55] Along with Bing Crosby, George Murphy, Ginger Rogers, and others, he was a charter (founding) member of the Hollywood
Hollywood
Republican Committee.[56] He was churchgoing, supportive of American military action, and dismissive of the increasing open sexuality in movies of the 1970s.[55] Always immaculately turned out, he and Cary Grant
Cary Grant
were called "the best dressed actor[s] in American movies."[57] Astaire remained a male fashion icon even into his later years, eschewing his trademark top hat, white tie, and tails (for which he never really cared)[58] in favor of a breezy casual style of tailored sports jackets, colored shirts and slacks—the latter usually held up by the idiosyncratic use of an old tie or silk scarf in place of a belt. Astaire married 25-year-old Phyllis Potter in 1933 (formerly Phyllis Livingston Baker; born 1908, died September 13, 1954), a Boston-born New York socialite and former wife of Eliphalet Nott Potter III (1906–1981), after pursuing her ardently for about two years, and despite his mother and sister's objections.[12] Phyllis's death from lung cancer, at the age of 46, ended 21 years of a blissful marriage and left Astaire devastated.[59] Astaire attempted to drop out of the film Daddy Long Legs (1955), which he was in the process of filming, offering to pay the production costs to date, but was persuaded to stay.[60] In addition to Phyllis Potter's son, Eliphalet IV (known as Peter), the Astaires had two children. Fred, Jr. (born January 21, 1936), who appeared with his father in the movie Midas Run
Midas Run
and later became a charter pilot and rancher instead of an actor. Their daughter Ava Astaire (born March 19, 1942; married Richard McKenzie) remains actively involved in promoting her late father's legacy. Fred Astaire was a devoted father and would often dance down the stairs of the family's home every morning, simply to entertain his two children. His friend, David Niven, described him as "a pixie—timid, always warm-hearted, with a penchant for schoolboy jokes." Astaire was a lifelong golf and thoroughbred horse racing enthusiast. In 1946 his horse Triplicate won the Hollywood
Hollywood
Gold Cup and San Juan Capistrano Handicap. He remained physically active well into his eighties. At age seventy-eight, he broke his left wrist while riding his grandson's skateboard.[61]

Grave of Fred Astaire, at Oakwood Memorial Park

On June 24, 1980, at the age of 81, he married a second time. Robyn Smith (born August 14, 1944), was 45 years his junior and a jockey who rode for Alfred G. Vanderbilt II and appeared on the cover of Sports Illustrated July 31, 1972.[62][63] Death[edit] Astaire died of pneumonia on June 22, 1987, at the age of 88. Shortly before his death, Astaire said: "I didn't want to leave this world without knowing who my descendant was, thank you Michael"—referring to Michael Jackson.[64] He was interred in the Oakwood Memorial Park Cemetery in Chatsworth, California.[65] One last request of his was to thank his fans for their years of support. Astaire's life has never been portrayed on film.[66] He always refused permission for such portrayals, saying, "However much they offer me—and offers come in all the time—I shall not sell."[67] Astaire's will included a clause requesting that no such portrayal ever take place; he commented, "It is there because I have no particular desire to have my life misinterpreted, which it would be."[68] Stage, film and television work[edit] Further information: Fred Astaire chronology of performances and Fred Astaire's solo and partnered dances

Dance
Dance
portal Biography portal

Films, musical[edit] single-picture partner(s) in braces

Dancing Lady
Dancing Lady
Joan Crawford
Joan Crawford
(1933) Flying Down to Rio* (1933) The Gay Divorcee* (1934) Roberta* (1935) Top Hat* (1935) Follow the Fleet* (1936) Swing Time* (1936) Shall We Dance* (1937) A Damsel in Distress
A Damsel in Distress
Burns and Allen, Joan Fontaine
Joan Fontaine
(1 number) (1937) Carefree* (1938) The Story of Vernon and Irene Castle* (1939) Broadway Melody of 1940
Broadway Melody of 1940
Eleanor Powell
Eleanor Powell
(1940) Second Chorus
Second Chorus
Paulette Goddard
Paulette Goddard
(1 number) (1940) You'll Never Get Rich** (1941) Holiday Inn*** (1942) You Were Never Lovelier** (1942) The Sky's the Limit Joan Leslie
Joan Leslie
(1943) Yolanda and the Thief
Yolanda and the Thief
Lucille Bremer
Lucille Bremer
(1945) Ziegfeld Follies Lucille Bremer
Lucille Bremer
(2), Gene Kelly
Gene Kelly
(1) (1946) Blue Skies*** (1946) Easter Parade Judy Garland
Judy Garland
(1948) The Barkleys of Broadway* (1949) Three Little Words**** (1950) Let's Dance
Dance
Betty Hutton
Betty Hutton
(1950) Royal Wedding
Royal Wedding
Jane Powell
Jane Powell
(1951) The Belle of New York**** (1952) The Band Wagon***** (1953) Daddy Long Legs Leslie Caron
Leslie Caron
(1955) Funny Face
Funny Face
Audrey Hepburn
Audrey Hepburn
(1957) Silk Stockings***** (1957) Finian's Rainbow (1968) That's Entertainment! (1974) That's Entertainment, Part II
That's Entertainment, Part II
(1976) (narrator and performer) That's Entertainment! III (1994)

Performances with * Ginger Rogers
Ginger Rogers
(10), ** Rita Hayworth
Rita Hayworth
(2), ***Bing Crosby (2), **** Vera-Ellen
Vera-Ellen
(2), ***** Cyd Charisse
Cyd Charisse
(2) Films, non-musical[edit]

On the Beach (1959) The Pleasure of His Company
The Pleasure of His Company
(1961) The Notorious Landlady
The Notorious Landlady
(1962) Midas Run
Midas Run
(1969) The Over the Hill Gang Rides Again (1970) The Towering Inferno (1974) The Amazing Dobermans (1976) The Purple Taxi
The Purple Taxi
(1977) Ghost Story (1981)

Television[edit]

General Electric Theater
General Electric Theater
(2) (1957, 1959) An Evening with Fred Astaire* (1958) Another Evening with Fred Astaire* (1959) Astaire Time* (1960) Alcoa Premiere (60 as host, 4 as performer) (1961-1963) Bob Hope
Bob Hope
Presents the Chrysler Theatre* (1) (1964) Dr. Kildare (4) (1965) The Hollywood
Hollywood
Palace* (2) (1966) The Fred Astaire
Fred Astaire
Show* (1968) It Takes a Thief (5) (1969-1970) The Over-the-Hill Gang Rides Again
The Over-the-Hill Gang Rides Again
(1970) Santa Claus Is Comin' to Town (narrator) (1970) Imagine (cameo) (1972) The Easter Bunny Is Comin' to Town (narrator) (1977) A Family Upside Down (1978) Battlestar Galactica (1) (1979) The Man in the Santa Claus Suit (9 roles) (1979)

*Performances with dancing partner Barrie Chase
Barrie Chase
(7) References[edit]

^ a b c Billman, Larry (1997). Fred Astaire: A Bio-bibliography. Connecticut: Greenwood Press. ISBN 0-313-29010-5.  ^ Fred Astaire
Fred Astaire
at Encyclopædia Britannica ^ "1981 Fred Astaire
Fred Astaire
Tribute" afi.com ^ "AFI'S 100 YEARS...100 STARS" afi.com, retrieved October 11, 2017 ^ Hirschhorn, C. Gene Kelly: A Biography. St. Martins Press (1985), p. 145. ISBN 0312318022 ^ Flippo, Hyde. " Fred Astaire
Fred Astaire
(1899–1987) aka Frederick Austerlitz". The German– Hollywood
Hollywood
Connection. Archived from the original on 2009-01-02. Retrieved 2015-07-10.  ^ "The Religious Affiliation of Adele Astaire". Adherents. 2005-09-20. Retrieved 2008-08-24.  ^ Garofalo, Alessandra (2009). Austerlitz sounded too much like a battle: The roots of Fred Astaire
Fred Astaire
family in Europe. Italy: Editrice UNI Service. ISBN 978-88-6178-415-4. Archived from the original on 2011-07-22.  ^ Levinson, Peter (March 2009). Puttin' On the Ritz: Fred Astaire
Fred Astaire
and the Fine Art of Panache, A Biography. St. Martin's Press. pp. 1–4. ISBN 0-312-35366-9.  ^ Satchell, p. 8: "'Fritz' Austerlitz, the 23-year-old son of Stephen Austerlitz and his wife Lucy Heller" ^ "The Statue of Liberty & Ellis Island".  ^ a b c Bentley, Toni (June 3, 2012). "Two-Step: 'The Astaires,' by Kathleen Riley". The New York Times Book Review. p. BR32.  ^ Thomas p. 17 ^ A Couple of Song and Dance
Dance
Men, 1975 ^ Bill Adler, Fred Astaire: A Wonderful Life, Carroll & Graf Publishers, 1987, p. 13, ISBN 0-88184-376-8 ^ Astaire, Fred (1959). Steps in Time. London: Heinemann. OCLC 422937.  ^ Melissa Hauschild-Mork. "Fred Astaire". Archived from the original on 2008-05-27. Retrieved 2008-06-09.  See also Swing Time. ^ e.g., Croce, 1st edition, 1972, footnote p. 14, removed at Astaire's request in 2nd edition, 1974—see Giles (p. 24). Satchell pp. 41-43 claims to have detected their presence as extras "Even with the benefit of an editing machine, slow-motion, and stop-frame, the Astaires are almost lost in the mass of bodies" ^ Astaire p. 42 and Billman p. 4: "They observed the filming as visitors, but insisted they did not appear in the film." ^ "The cast may also have included Fred Astaire, then sixteen, and his sister Adele. There is no proof of this, and they do not surface in surviving reels."—Brownlow, Kevin (1999). Mary Pickford Rediscovered. New York, New York: Harry N. Abrams, Inc. ISBN 0-8109-4374-3.  ^ :103 ^ Astaire p. 65: "We struck up a friendship at once. He was amused by my piano playing and often made me play for him." ^ Bill Adler, Fred Astaire: A Wonderful Life, Carroll & Graf Publishers, 1987, p. 35, ISBN 0-88184-376-8 ^ a b c d e f g h i j k l m n o p q r s t u v Mueller, John (1986). Astaire Dancing – The Musical Films. London: Hamish Hamilton. ISBN 0-241-11749-6.  ^ Betsy Baytos. "Information on this footage in the Fred Stone Collection of the Broadway show Gay Divorcee (1933)". Fred Astaire: The Conference. The Astaire Conference. Archived from the original on June 2, 2015. Retrieved 2008-05-14.  ^ Astaire made the comment in a 1980 interview on ABC's 20/20 with Barbara Walters. Astaire was balding at the time he began his movie career and thus wore a toupee in all of his films. ^ a b Croce, Arlene (1972). The Fred Astaire
Fred Astaire
and Ginger Rogers
Ginger Rogers
Book. London: W.H. Allen. ISBN 978-0-8109-4374-2.  ^ The only other entertainer to receive this treatment at the time was Greta Garbo. ^ Coppola also fired Hermes Pan
Hermes Pan
from the film. cf. Mueller p. 403 ^ Hyam, Hannah (2007). Fred and Ginger: The Astaire-Rogers Partnership 1934–1938. Brighton: Pen Press Publications. ISBN 978-1-905621-96-5.  ^ a b Giles, p. 33 Pan: "I do not think Eleanor Powell
Eleanor Powell
was Fred's greatest dancing partner. I think Ginger Rogers
Ginger Rogers
was. Not that she was the greatest of dancers. Cyd Charisse
Cyd Charisse
was a much finer technical dancer" ^ Kael: "That's a bit much," in an otherwise laudatory review of Croce's The Fred Astaire
Fred Astaire
and Ginger Rogers
Ginger Rogers
Book, writing in The New Yorker, November 25, 1972 ^ "Fred Astaire: 1899-1987: The Great American Flyer". TIME.com. 6 July 1987.  ^ Satchell, Tim (1987). Astaire: The Definitive Biography. Hutchinson. p. 127. ISBN 978-0-09-173736-8.  ^ "GRAMMY Hall Of Fame". The GRAMMYs.  ^ "Emmys" by Thomas O'Neil; Perigee Trade; 3 edition 2000; pp. 61-62 ^ "You're All the World to Me" originated (with different lyrics) as "I Want to Be a Minstrel Man" in the Eddie Cantor
Eddie Cantor
musical Kid Millions (1934). ^ Kisselgoff, Anna (March 13, 1994). "For Michael Kidd, Real Life Is Where The Dance
Dance
Begins". New York Times. pp. H10. Retrieved 21 February 2014.  ^ "American Tap Dance
Dance
Foundation". www.atdf.org. Retrieved 2016-11-18.  ^ e.g. Satchell, p. 144 ^ Thomas p. 118 ^ a b q:Fred Astaire#Singers and songwriters on Astaire ^ e.g., the songs "I Am Fred Astaire" by Taking Back Sunday, "No Myth" by Michael Penn, "Take You on a Cruise" by Interpol, "Fred Astaire" by Lucky Boys Confusion, "Long Tall Glasses" by Leo Sayer, "Just Like Fred Astaire" by James, "After Hours" by "The Bluetones", "Fred Astaire" by Pips, Chips and Videoclips, "Decadence Dance" by Extreme, and appeared on the cover of The Beatles’ Sgt. Pepper's Lonely Hearts Club Band album. ^ Billman, p. 287. ^ Thomas, p. 135: "I'd love to have been able to do more with my music, but I never had the time. I was always working on dance numbers. Year after year I kept doing that. Somehow or other I always blame myself, because I say, 'Well, I could have found the time; why the hell didn't I do it?'" ^ Billman, pgs. 287-90 ^ " Hollywood
Hollywood
Walk of Fame - Fred Astaire". walkoffame.com. Hollywood Chamber of Commerce. Retrieved November 8, 2017.  ^ "Eastman House award recipients · George Eastman House Rochester". Archived from the original on 2012-04-15.  ^ Vanity Fair Archived 2012-06-01 at the Wayback Machine. ^ Simmons, Matty."About: Liberty's Musical Comedy Star of the Century!", Liberty, The Nostalgia Magazine, Summer 1972, pg. 10 books.google.com, retrieved April 9, 2010 ^ The Astaires.  ^ Wishart, D.J. (2004) Encyclopedia of the Great Plains. University of Nebraska Pres., pg. 259 ^ Kathleen Riley (2008). " Fred Astaire
Fred Astaire
Conference Flyer" (PDF). The Astaire Conference. Archived from the original (PDF) on 2008-04-14. Retrieved 2008-05-14.  ^ Satchell, p.156 ^ a b Fred Astaire
Fred Astaire
(Icons of America), Joseph Epstein, Yale University Press, 2008, pg. 75 ^ Billman, p.341 ^ Schwarz, Benjamin (January–February 2007). "Becoming Cary Grant". The Atlantic. Retrieved 2011-01-18.  ^ Astaire, Steps in Time, p. 8: "At the risk of disillusionment, I must admit that I don't like top hats, white ties and tails. ^ Niven, David: Bring on the Empty Horses, G. Putnam 1975, p. 248, 255: "The combination of Fred and Phyllis was a joy to behold ... Theirs was the prototype of a gloriously happy marriage." ^ Billman, p. 22: "Astaire's intense professionalism—and the memory that Phyllis had wanted him to make the film—made him report back for work. The first few weeks were difficult, with most of the time being spent on Leslie's ballets and requiring as little as possible from the grieving man. Caron remembered, "Fred used to sit down during a rehearsal and put his face in his towel and just cry." ^ (Thomas p. 301) Astaire was awarded a life membership in the National Skateboard Society (Satchell p. 221). He remarked "Gene Kelly warned me not to be a damned fool, but I'd seen the things those kids got up to on television doing all sorts of tricks. What a routine I could have worked up for a film sequence if they had existed a few years ago. Anyway I was practicing in my driveway." (Satchell p. 221) ^ CHAMPLIN, CHARLES (1988-06-09). "Astaire's Last Partner Copes With Life After Fred". Los Angeles
Los Angeles
Times. ISSN 0458-3035. Retrieved 2017-04-06.  ^ Moss, Deborah. "Robyn Smith, Trailblazing Jockey July 31, 1972". SI.com. Retrieved 2017-04-06.  ^ Eugene, Michelle (2011). Michael Jackson: The Golden Book of Condolence. Pittsburgh: Rose Dog Books. p. 41. ISBN 978-1-4349-8367-1. Retrieved May 12, 2015.  ^ Ginger Rogers, who died April 25, 1995, is interred in the same cemetery. ^ In 1986, Federico Fellini
Federico Fellini
released Ginger and Fred, which, although inspired by Astaire and Rogers, portrays an Italian ballroom dancing couple. In 1996, his widow allowed footage of him to be used in a commercial for Dirt Devil
Dirt Devil
vacuum cleaners in which he dances with a vacuum. His daughter stated that she was "saddened that after his wonderful career he was sold to the devil." cf Royal Wedding ^ Satchell p. 253 ^ Satchell p. 254. Billman (p. 26) believes Astaire couldn't countenance the portrayal of his first wife, who suffered from a speech impediment.

Bibliography[edit]

Astaire, Fred (1959). Steps in Time. ISBN 978-0061567568. OCLC 422937.  Billman, Larry (1997). Fred Astaire: A Bio-bibliography. Greenwood Press. ISBN 0-313-29010-5.  Boyer, Bruce. G. (2005). Fred Astaire
Fred Astaire
Style. Assouline. ISBN 2-84323-677-0.  Croce, Arlene (1974). The Fred Astaire
Fred Astaire
and Ginger Rogers
Ginger Rogers
Book. Galahad Books. ISBN 0-88365-099-1.  Crouse, Jeffrey (2003). "Letting His Wish Provide the Occasion: Fred Astaire in Top Hat". Film
Film
International. 1 (5). ISSN 1651-6826.  Freeland, Michael (1976). Fred Astaire: An Illustrated Biography. Grosset & Dunlap. ISBN 0-448-14080-2.  Garofalo, Alessandra (2009). Austerlitz sounded too much like a battle: The roots of Fred Astaire
Fred Astaire
family in Europe. Editrice UNI Service. ISBN 978-88-6178-415-4.  Giles, Sarah (1988). Fred Astaire: His Friends Talk. Bloomsbury, London: Doubleday. ISBN 0-7475-0322-2.  Green, Benny (1980). Fred Astaire. Bookthrift Co. ISBN 0-89673-018-2.  Green, Stanley; Goldblatt, Burt (1973). Starring Fred Astaire. Dodd. ISBN 0-396-06877-4.  Hyam, Hannah (2007). Fred and Ginger: The Astaire-Rogers Partnership 1934–1938. Brighton: Pen Press Publications. ISBN 978-1-905621-96-5.  Jarman, Colin (2010). Dancing On Astaire: The Quotable Fred Astaire. London: Blue Eyed Books. ISBN 978-1-907338-08-3.  Lamparski, Richard (2006). Manhattan Diary. BearManor Media. ISBN 1-59393-054-2.  Monioudis, Perikles (2016). Frederick (a novel, in German). dtv. ISBN 978-3-423-28079-2.  Mueller, John (1985). Astaire Dancing - The Musical Films of Fred Astaire. Knopf. ISBN 0-394-51654-0.  Mueller, John (2010). Astaire Dancing - The Musical Films of Fred Astaire (25th Anniversary Edition—Digitally Enhanced ed.). The Educational Publisher. ISBN 1-934849-31-6.  Satchell, Tim (1987). Astaire, The Biography. London: Hutchinson. ISBN 0-09-173736-2.  Thomas, Bob (1985). Astaire, the Man, The Dancer. London: Weidenfeld & Nicolson. ISBN 0-297-78402-1.  The Astaire Family Papers, The Howard Gotleib Archival Research Center, Boston
Boston
University, MA, U.S.A.

External links[edit]

Wikimedia Commons has media related to Fred Astaire.

Wikiquote has quotations related to: Fred Astaire

Fred Astaire
Fred Astaire
at AllMovie Fred Astaire
Fred Astaire
at the Internet Broadway Database
Internet Broadway Database
Fred Astaire
Fred Astaire
on IMDb Fred Astaire
Fred Astaire
at the TCM Movie Database Fred Astaire
Fred Astaire
at Find a Grave Fred Astaire
Fred Astaire
tribute site Fred Astaire
Fred Astaire
biography at AlsoDances.Net Time.com: The Great American Flyer Fred Astaire:1899-1987 Time Magazine archive: Astaire essay by Richard Corliss Astaire's religious views incl. many extracts from his biographers Astaire or Kelly: A Generation Apart at Indian Auteur Ava Astaire discusses her father's legacy (BBC Television—RealPlayer required) "He's in Heaven ... "—In Memoriam Fred Astaire Radio Interview—Fred Astaire—1968 Links to photos of Astaire[dead link] " Fred Astaire
Fred Astaire
and the art of fun": an essay on the Oxford Fred Astaire conference from TLS, July 16, 2008. Fred Astaire
Fred Astaire
in the 1900 US Census, 1910 US Census, and Social Security Death Index. Photographs and literature at Virtual History

v t e

The Astaire–Rogers film musicals

Flying Down to Rio
Flying Down to Rio
(1933) The Gay Divorcee
The Gay Divorcee
(1934) Roberta (1935) Top Hat
Top Hat
(1935) Follow the Fleet
Follow the Fleet
(1936) Swing Time (1936) Shall We Dance
Dance
(1937) Carefree (1938) The Story of Vernon and Irene Castle
Vernon and Irene Castle
(1939) The Barkleys of Broadway
The Barkleys of Broadway
(1949)

Awards for Fred Astaire

v t e

Academy Honorary Award

1928–1950

Warner Bros.
Warner Bros.
/ Charlie Chaplin
Charlie Chaplin
(1928) Walt Disney
Walt Disney
(1932) Shirley Temple
Shirley Temple
(1934) D. W. Griffith
D. W. Griffith
(1935) The March of Time
The March of Time
/ W. Howard Greene and Harold Rosson (1936) Edgar Bergen
Edgar Bergen
/ W. Howard Greene / Museum of Modern Art
Museum of Modern Art
Film
Film
Library / Mack Sennett
Mack Sennett
(1937) J. Arthur Ball / Walt Disney
Walt Disney
/ Deanna Durbin
Deanna Durbin
and Mickey Rooney
Mickey Rooney
/ Gordon Jennings, Jan Domela, Devereaux Jennings, Irmin Roberts, Art Smith, Farciot Edouart, Loyal Griggs, Loren L. Ryder, Harry D. Mills, Louis Mesenkop, Walter Oberst / Oliver T. Marsh and Allen Davey / Harry Warner
Harry Warner
(1938) Douglas Fairbanks
Douglas Fairbanks
/ Judy Garland
Judy Garland
/ William Cameron Menzies / Motion Picture Relief Fund (Jean Hersholt, Ralph Morgan, Ralph Block, Conrad Nagel)/ Technicolor
Technicolor
Company (1939) Bob Hope
Bob Hope
/ Nathan Levinson (1940) Walt Disney, William Garity, John N. A. Hawkins, and the RCA Manufacturing Company / Leopold Stokowski
Leopold Stokowski
and his associates / Rey Scott / British Ministry of Information (1941) Charles Boyer
Charles Boyer
/ Noël Coward
Noël Coward
/ Metro-Goldwyn-Mayer
Metro-Goldwyn-Mayer
(1942) George Pal
George Pal
(1943) Bob Hope
Bob Hope
/ Margaret O'Brien
Margaret O'Brien
(1944) Republic Studio, Daniel J. Bloomberg, and the Republic Studio Sound Department / Walter Wanger
Walter Wanger
/ The House I Live In / Peggy Ann Garner (1945) Harold Russell
Harold Russell
/ Laurence Olivier
Laurence Olivier
/ Ernst Lubitsch
Ernst Lubitsch
/ Claude Jarman Jr. (1946) James Baskett
James Baskett
/ Thomas Armat, William Nicholas Selig, Albert E. Smith, and George Kirke Spoor
George Kirke Spoor
/ Bill and Coo / Shoeshine (1947) Walter Wanger
Walter Wanger
/ Monsieur Vincent
Monsieur Vincent
/ Sid Grauman
Sid Grauman
/ Adolph Zukor
Adolph Zukor
(1948) Jean Hersholt
Jean Hersholt
/ Fred Astaire
Fred Astaire
/ Cecil B. DeMille
Cecil B. DeMille
/ The Bicycle Thief (1949) Louis B. Mayer
Louis B. Mayer
/ George Murphy
George Murphy
/ The Walls of Malapaga (1950)

1951–1975

Gene Kelly
Gene Kelly
/ Rashomon
Rashomon
(1951) Merian C. Cooper
Merian C. Cooper
/ Bob Hope
Bob Hope
/ Harold Lloyd
Harold Lloyd
/ George Mitchell / Joseph M. Schenck / Forbidden Games
Forbidden Games
(1952) 20th Century-Fox Film
Film
Corporation / Bell & Howell Company / Joseph Breen / Pete Smith (1953) Bausch & Lomb Optical Company / Danny Kaye
Danny Kaye
/ Kemp Niver / Greta Garbo / Jon Whiteley
Jon Whiteley
/ Vincent Winter / Gate of Hell (1954) Samurai I: Musashi Miyamoto (1955) Eddie Cantor
Eddie Cantor
(1956) Society of Motion Picture and Television Engineers
Society of Motion Picture and Television Engineers
/ Gilbert M. "Broncho Billy" Anderson / Charles Brackett / B. B. Kahane (1957) Maurice Chevalier
Maurice Chevalier
(1958) Buster Keaton
Buster Keaton
/ Lee de Forest
Lee de Forest
(1959) Gary Cooper
Gary Cooper
/ Stan Laurel
Stan Laurel
/ Hayley Mills
Hayley Mills
(1960) William L. Hendricks / Fred L. Metzler / Jerome Robbins
Jerome Robbins
(1961) William J. Tuttle
William J. Tuttle
(1964) Bob Hope
Bob Hope
(1965) Yakima Canutt
Yakima Canutt
/ Y. Frank Freeman
Y. Frank Freeman
(1966) Arthur Freed (1967) John Chambers / Onna White (1968) Cary Grant
Cary Grant
(1969) Lillian Gish
Lillian Gish
/ Orson Welles
Orson Welles
(1970) Charlie Chaplin
Charlie Chaplin
(1971) Charles S. Boren / Edward G. Robinson
Edward G. Robinson
(1972) Henri Langlois
Henri Langlois
/ Groucho Marx
Groucho Marx
(1973) Howard Hawks
Howard Hawks
/ Jean Renoir
Jean Renoir
(1974) Mary Pickford
Mary Pickford
(1975)

1976–2000

Margaret Booth (1977) Walter Lantz
Walter Lantz
/ Laurence Olivier
Laurence Olivier
/ King Vidor
King Vidor
/ Museum of Modern Art Department of Film
Film
(1978) Hal Elias / Alec Guinness
Alec Guinness
(1979) Henry Fonda
Henry Fonda
(1980) Barbara Stanwyck
Barbara Stanwyck
(1981) Mickey Rooney
Mickey Rooney
(1982) Hal Roach
Hal Roach
(1983) James Stewart
James Stewart
/ National Endowment for the Arts
National Endowment for the Arts
(1984) Paul Newman
Paul Newman
/ Alex North (1985) Ralph Bellamy
Ralph Bellamy
(1986) Eastman Kodak
Kodak
Company / National Film
Film
Board of Canada (1988) Akira Kurosawa
Akira Kurosawa
(1989) Sophia Loren
Sophia Loren
/ Myrna Loy
Myrna Loy
(1990) Satyajit Ray
Satyajit Ray
(1991) Federico Fellini
Federico Fellini
(1992) Deborah Kerr
Deborah Kerr
(1993) Michelangelo Antonioni
Michelangelo Antonioni
(1994) Kirk Douglas
Kirk Douglas
/ Chuck Jones
Chuck Jones
(1995) Michael Kidd
Michael Kidd
(1996) Stanley Donen
Stanley Donen
(1997) Elia Kazan
Elia Kazan
(1998) Andrzej Wajda
Andrzej Wajda
(1999) Jack Cardiff
Jack Cardiff
/ Ernest Lehman (2000)

2001–present

Sidney Poitier
Sidney Poitier
/ Robert Redford
Robert Redford
(2001) Peter O'Toole
Peter O'Toole
(2002) Blake Edwards
Blake Edwards
(2003) Sidney Lumet
Sidney Lumet
(2004) Robert Altman
Robert Altman
(2005) Ennio Morricone
Ennio Morricone
(2006) Robert F. Boyle (2007) Lauren Bacall
Lauren Bacall
/ Roger Corman
Roger Corman
/ Gordon Willis
Gordon Willis
(2009) Kevin Brownlow / Jean-Luc Godard
Jean-Luc Godard
/ Eli Wallach
Eli Wallach
(2010) James Earl Jones
James Earl Jones
/ Dick Smith (2011) D. A. Pennebaker
D. A. Pennebaker
/ Hal Needham
Hal Needham
/ George Stevens Jr.
George Stevens Jr.
(2012) Angela Lansbury
Angela Lansbury
/ Steve Martin
Steve Martin
/ Piero Tosi (2013) Jean-Claude Carrière
Jean-Claude Carrière
/ Hayao Miyazaki
Hayao Miyazaki
/ Maureen O'Hara
Maureen O'Hara
(2014) Spike Lee
Spike Lee
/ Gena Rowlands
Gena Rowlands
(2015) Jackie Chan
Jackie Chan
/ Lynn Stalmaster / Anne V. Coates / Frederick Wiseman (2016) Charles Burnett / Owen Roizman / Donald Sutherland
Donald Sutherland
/ Agnès Varda (2017)

v t e

BAFTA Award for Best Actor
Actor
in a Supporting Role

Ian Holm
Ian Holm
(1968) Laurence Olivier
Laurence Olivier
(1969) Colin Welland (1970) Edward Fox (1971) Ben Johnson (1972) Arthur Lowe
Arthur Lowe
(1973) John Gielgud
John Gielgud
(1974) Fred Astaire
Fred Astaire
(1975) Brad Dourif
Brad Dourif
(1976) Edward Fox (1977) John Hurt
John Hurt
(1978) Robert Duvall
Robert Duvall
(1979) Ian Holm
Ian Holm
(1981) Jack Nicholson
Jack Nicholson
(1982) Denholm Elliott
Denholm Elliott
(1983) Denholm Elliott
Denholm Elliott
(1984) Denholm Elliott
Denholm Elliott
(1985) Ray McAnally (1986) Daniel Auteuil
Daniel Auteuil
(1987) Michael Palin
Michael Palin
(1988) Ray McAnally (1989) Salvatore Cascio (1990) Alan Rickman
Alan Rickman
(1991) Gene Hackman
Gene Hackman
(1992) Ralph Fiennes
Ralph Fiennes
(1993) Samuel L. Jackson
Samuel L. Jackson
(1994) Tim Roth
Tim Roth
(1995) Paul Scofield
Paul Scofield
(1996) Tom Wilkinson
Tom Wilkinson
(1997) Geoffrey Rush
Geoffrey Rush
(1998) Jude Law
Jude Law
(1999) Benicio del Toro
Benicio del Toro
(2000) Jim Broadbent
Jim Broadbent
(2001) Christopher Walken
Christopher Walken
(2002) Bill Nighy
Bill Nighy
(2003) Clive Owen
Clive Owen
(2004) Jake Gyllenhaal
Jake Gyllenhaal
(2005) Alan Arkin
Alan Arkin
(2006) Javier Bardem
Javier Bardem
(2007) Heath Ledger
Heath Ledger
(2008) Christoph Waltz
Christoph Waltz
(2009) Geoffrey Rush
Geoffrey Rush
(2010) Christopher Plummer
Christopher Plummer
(2011) Christoph Waltz
Christoph Waltz
(2012) Barkhad Abdi
Barkhad Abdi
(2013) J. K. Simmons
J. K. Simmons
(2014) Mark Rylance
Mark Rylance
(2015) Dev Patel
Dev Patel
(2016) Sam Rockwell
Sam Rockwell
(2017)

v t e

Cecil B. DeMille
Cecil B. DeMille
Award

Cecil B. DeMille
Cecil B. DeMille
(1952) Walt Disney
Walt Disney
(1953) Darryl F. Zanuck
Darryl F. Zanuck
(1954) Jean Hersholt
Jean Hersholt
(1955) Jack L. Warner
Jack L. Warner
(1956) Mervyn LeRoy
Mervyn LeRoy
(1957) Buddy Adler (1958) Maurice Chevalier
Maurice Chevalier
(1959) Bing Crosby
Bing Crosby
(1960) Fred Astaire
Fred Astaire
(1961) Judy Garland
Judy Garland
(1962) Bob Hope
Bob Hope
(1963) Joseph E. Levine
Joseph E. Levine
(1964) James Stewart
James Stewart
(1965) John Wayne
John Wayne
(1966) Charlton Heston
Charlton Heston
(1967) Kirk Douglas
Kirk Douglas
(1968) Gregory Peck
Gregory Peck
(1969) Joan Crawford
Joan Crawford
(1970) Frank Sinatra
Frank Sinatra
(1971) Alfred Hitchcock
Alfred Hitchcock
(1972) Samuel Goldwyn
Samuel Goldwyn
(1973) Bette Davis
Bette Davis
(1974) Hal B. Wallis
Hal B. Wallis
(1975) Walter Mirisch (1977) Red Skelton
Red Skelton
(1978) Lucille Ball
Lucille Ball
(1979) Henry Fonda
Henry Fonda
(1980) Gene Kelly
Gene Kelly
(1981) Sidney Poitier
Sidney Poitier
(1982) Laurence Olivier
Laurence Olivier
(1983) Paul Newman
Paul Newman
(1984) Elizabeth Taylor
Elizabeth Taylor
(1985) Barbara Stanwyck
Barbara Stanwyck
(1986) Anthony Quinn
Anthony Quinn
(1987) Clint Eastwood
Clint Eastwood
(1988) Doris Day
Doris Day
(1989) Audrey Hepburn
Audrey Hepburn
(1990) Jack Lemmon
Jack Lemmon
(1991) Robert Mitchum
Robert Mitchum
(1992) Lauren Bacall
Lauren Bacall
(1993) Robert Redford
Robert Redford
(1994) Sophia Loren
Sophia Loren
(1995) Sean Connery
Sean Connery
(1996) Dustin Hoffman
Dustin Hoffman
(1997) Shirley MacLaine
Shirley MacLaine
(1998) Jack Nicholson
Jack Nicholson
(1999) Barbra Streisand
Barbra Streisand
(2000) Al Pacino
Al Pacino
(2001) Harrison Ford
Harrison Ford
(2002) Gene Hackman
Gene Hackman
(2003) Michael Douglas
Michael Douglas
(2004) Robin Williams
Robin Williams
(2005) Anthony Hopkins
Anthony Hopkins
(2006) Warren Beatty
Warren Beatty
(2007) Steven Spielberg
Steven Spielberg
(2009) Martin Scorsese
Martin Scorsese
(2010) Robert De Niro
Robert De Niro
(2011) Morgan Freeman
Morgan Freeman
(2012) Jodie Foster
Jodie Foster
(2013) Woody Allen
Woody Allen
(2014) George Clooney
George Clooney
(2015) Denzel Washington
Denzel Washington
(2016) Meryl Streep
Meryl Streep
(2017) Oprah Winfrey
Oprah Winfrey
(2018)

v t e

Primetime Emmy Award
Emmy Award
for Outstanding Lead Actor
Actor
in a Limited Series or Movie

Robert Cummings
Robert Cummings
(1955) Lloyd Nolan
Lloyd Nolan
(1956) Jack Palance
Jack Palance
(1957) Peter Ustinov
Peter Ustinov
(1958) Fred Astaire
Fred Astaire
(1959) Laurence Olivier
Laurence Olivier
(1960) Maurice Evans (1961) Peter Falk
Peter Falk
(1962) Trevor Howard
Trevor Howard
(1963) Jack Klugman
Jack Klugman
(1964) Alfred Lunt
Alfred Lunt
(1965) Cliff Robertson
Cliff Robertson
(1966) Peter Ustinov
Peter Ustinov
(1967) Melvyn Douglas
Melvyn Douglas
(1968) Paul Scofield
Paul Scofield
(1969) Peter Ustinov
Peter Ustinov
(1970) George C. Scott
George C. Scott
(1971) Keith Michell
Keith Michell
(1972) Laurence Olivier
Laurence Olivier
(1973) Anthony Murphy (1973) Hal Holbrook
Hal Holbrook
(1974) William Holden
William Holden
(1974) Laurence Olivier
Laurence Olivier
(1975) Peter Falk
Peter Falk
(1975) Anthony Hopkins
Anthony Hopkins
(1976) Hal Holbrook
Hal Holbrook
(1976) Ed Flanders
Ed Flanders
(1977) Christopher Plummer
Christopher Plummer
(1977) Fred Astaire
Fred Astaire
(1978) Michael Moriarty (1978) Peter Strauss (1979) Powers Boothe
Powers Boothe
(1980) Anthony Hopkins
Anthony Hopkins
(1981) Mickey Rooney
Mickey Rooney
(1982) Tommy Lee Jones
Tommy Lee Jones
(1983) Laurence Olivier
Laurence Olivier
(1984) Richard Crenna
Richard Crenna
(1985) Dustin Hoffman
Dustin Hoffman
(1986) James Woods
James Woods
(1987) Jason Robards
Jason Robards
(1988) James Woods
James Woods
(1989) Hume Cronyn
Hume Cronyn
(1990) John Gielgud
John Gielgud
(1991) Beau Bridges
Beau Bridges
(1992) Robert Morse
Robert Morse
(1993) Hume Cronyn
Hume Cronyn
(1994) Raúl Juliá
Raúl Juliá
(1995) Alan Rickman
Alan Rickman
(1996) Armand Assante
Armand Assante
(1997) Gary Sinise
Gary Sinise
(1998) Stanley Tucci
Stanley Tucci
(1999) Jack Lemmon
Jack Lemmon
(2000) Kenneth Branagh
Kenneth Branagh
(2001) Albert Finney
Albert Finney
(2002) William H. Macy
William H. Macy
(2003) Al Pacino
Al Pacino
(2004) Geoffrey Rush
Geoffrey Rush
(2005) Andre Braugher
Andre Braugher
(2006) Robert Duvall
Robert Duvall
(2007) Paul Giamatti
Paul Giamatti
(2008) Brendan Gleeson
Brendan Gleeson
(2009) Al Pacino
Al Pacino
(2010) Barry Pepper
Barry Pepper
(2011) Kevin Costner
Kevin Costner
(2012) Michael Douglas
Michael Douglas
(2013) Benedict Cumberbatch
Benedict Cumberbatch
(2014) Richard Jenkins
Richard Jenkins
(2015) Courtney B. Vance
Courtney B. Vance
(2016) Riz Ahmed
Riz Ahmed
(2017)

v t e

Primetime Emmy Award
Emmy Award
for Outstanding Individual Performance in a Variety or Music Program

Perry Como
Perry Como
/ Dinah Shore
Dinah Shore
(1959) Harry Belafonte
Harry Belafonte
(1960) Fred Astaire
Fred Astaire
(1961) Carol Burnett
Carol Burnett
(1962) Carol Burnett
Carol Burnett
(1963) Danny Kaye
Danny Kaye
(1964) Art Carney
Art Carney
(1967) Art Carney
Art Carney
/ Pat Paulsen
Pat Paulsen
(1968) Arte Johnson
Arte Johnson
/ Harvey Korman
Harvey Korman
(1969) Harvey Korman
Harvey Korman
(1971) Harvey Korman
Harvey Korman
(1972) Tim Conway
Tim Conway
(1973) Harvey Korman
Harvey Korman
/ Brenda Vaccaro
Brenda Vaccaro
(1974) Jack Albertson
Jack Albertson
/ Cloris Leachman
Cloris Leachman
(1975) Chevy Chase
Chevy Chase
/ Vicki Lawrence
Vicki Lawrence
(1976) Tim Conway
Tim Conway
/ Rita Moreno
Rita Moreno
(1977) Tim Conway
Tim Conway
/ Gilda Radner
Gilda Radner
(1978) Sarah Vaughan
Sarah Vaughan
(1981) Nell Carter
Nell Carter
/ André De Shields
André De Shields
(1982) Leontyne Price
Leontyne Price
(1983) Cloris Leachman
Cloris Leachman
(1984) George Hearn (1985) Whitney Houston
Whitney Houston
(1986) Robin Williams
Robin Williams
(1987) Robin Williams
Robin Williams
(1988) Linda Ronstadt
Linda Ronstadt
(1989) Tracey Ullman
Tracey Ullman
(1990) Billy Crystal
Billy Crystal
(1991) Bette Midler
Bette Midler
(1992) Dana Carvey (1993) Tracey Ullman
Tracey Ullman
(1994) Barbra Streisand
Barbra Streisand
(1995) Tony Bennett
Tony Bennett
(1996) Bette Midler
Bette Midler
(1997) Billy Crystal
Billy Crystal
(1998) John Leguizamo
John Leguizamo
(1999) Eddie Izzard
Eddie Izzard
(2000) Barbra Streisand
Barbra Streisand
(2001) Sting (2002) Wayne Brady
Wayne Brady
(2003) Elaine Stritch
Elaine Stritch
(2004) Hugh Jackman
Hugh Jackman
(2005) Barry Manilow
Barry Manilow
(2006) Tony Bennett
Tony Bennett
(2007) Don Rickles
Don Rickles
(2008)

v t e

Golden Globe Award
Golden Globe Award
for Best Actor
Actor
– Motion Picture Musical or Comedy

1950–1975

Fred Astaire
Fred Astaire
(1950) Danny Kaye
Danny Kaye
(1951) Donald O'Connor
Donald O'Connor
(1952) David Niven
David Niven
(1953) James Mason
James Mason
(1954) Tom Ewell
Tom Ewell
(1955) Mario Moreno (1956) Frank Sinatra
Frank Sinatra
(1957) Danny Kaye
Danny Kaye
(1958) Jack Lemmon
Jack Lemmon
(1959) Jack Lemmon
Jack Lemmon
(1960) Glenn Ford
Glenn Ford
(1961) Marcello Mastroianni
Marcello Mastroianni
(1962) Alberto Sordi
Alberto Sordi
(1963) Rex Harrison
Rex Harrison
(1964) Lee Marvin
Lee Marvin
(1965) Alan Arkin
Alan Arkin
(1966) Richard Harris
Richard Harris
(1967) Ron Moody
Ron Moody
(1968) Peter O'Toole
Peter O'Toole
(1969) Albert Finney
Albert Finney
(1970) Chaim Topol
Chaim Topol
(1971) Jack Lemmon
Jack Lemmon
(1972) George Segal
George Segal
(1973) Art Carney
Art Carney
(1974) Walter Matthau
Walter Matthau
/ George Burns
George Burns
(1975)

1976–2000

Kris Kristofferson
Kris Kristofferson
(1976) Richard Dreyfuss
Richard Dreyfuss
(1977) Warren Beatty
Warren Beatty
(1978) Peter Sellers
Peter Sellers
(1979) Ray Sharkey
Ray Sharkey
(1980) Dudley Moore
Dudley Moore
(1981) Dustin Hoffman
Dustin Hoffman
(1982) Michael Caine
Michael Caine
(1983) Dudley Moore
Dudley Moore
(1984) Jack Nicholson
Jack Nicholson
(1985) Paul Hogan
Paul Hogan
(1986) Robin Williams
Robin Williams
(1987) Tom Hanks
Tom Hanks
(1988) Morgan Freeman
Morgan Freeman
(1989) Gérard Depardieu
Gérard Depardieu
(1990) Robin Williams
Robin Williams
(1991) Tim Robbins
Tim Robbins
(1992) Robin Williams
Robin Williams
(1993) Hugh Grant
Hugh Grant
(1994) John Travolta
John Travolta
(1995) Tom Cruise
Tom Cruise
(1996) Jack Nicholson
Jack Nicholson
(1997) Michael Caine
Michael Caine
(1998) Jim Carrey
Jim Carrey
(1999) George Clooney
George Clooney
(2000)

2001–present

Gene Hackman
Gene Hackman
(2001) Richard Gere
Richard Gere
(2002) Bill Murray
Bill Murray
(2003) Jamie Foxx
Jamie Foxx
(2004) Joaquin Phoenix
Joaquin Phoenix
(2005) Sacha Baron Cohen
Sacha Baron Cohen
(2006) Johnny Depp
Johnny Depp
(2007) Colin Farrell
Colin Farrell
(2008) Robert Downey Jr.
Robert Downey Jr.
(2009) Paul Giamatti
Paul Giamatti
(2010) Jean Dujardin
Jean Dujardin
(2011) Hugh Jackman
Hugh Jackman
(2012) Leonardo DiCaprio
Leonardo DiCaprio
(2013) Michael Keaton
Michael Keaton
(2014) Matt Damon
Matt Damon
(2015) Ryan Gosling
Ryan Gosling
(2016) James Franco
James Franco
(2017)

v t e

Golden Globe Award
Golden Globe Award
for Best Supporting Actor
Actor
– Motion Picture

Akim Tamiroff
Akim Tamiroff
(1943) Barry Fitzgerald
Barry Fitzgerald
(1944) J. Carrol Naish
J. Carrol Naish
(1945) Clifton Webb
Clifton Webb
(1946) Edmund Gwenn
Edmund Gwenn
(1947) Walter Huston
Walter Huston
(1948) James Whitmore
James Whitmore
(1949) Edmund Gwenn
Edmund Gwenn
(1950) Peter Ustinov
Peter Ustinov
(1951) Millard Mitchell
Millard Mitchell
(1952) Frank Sinatra
Frank Sinatra
(1953) Edmond O'Brien
Edmond O'Brien
(1954) Arthur Kennedy
Arthur Kennedy
(1955) Earl Holliman
Earl Holliman
(1956) Red Buttons
Red Buttons
(1957) Burl Ives
Burl Ives
(1958) Stephen Boyd
Stephen Boyd
(1959) Sal Mineo
Sal Mineo
(1960) George Chakiris
George Chakiris
(1961) Omar Sharif
Omar Sharif
(1962) John Huston
John Huston
(1963) Edmond O'Brien
Edmond O'Brien
(1964) Oskar Werner
Oskar Werner
(1965) Richard Attenborough
Richard Attenborough
(1966) Richard Attenborough
Richard Attenborough
(1967) Daniel Massey (1968) Gig Young
Gig Young
(1969) John Mills
John Mills
(1970) Ben Johnson (1971) Joel Grey
Joel Grey
(1972) John Houseman
John Houseman
(1973) Fred Astaire
Fred Astaire
(1974) Richard Benjamin
Richard Benjamin
(1975) Laurence Olivier
Laurence Olivier
(1976) Peter Firth
Peter Firth
(1977) John Hurt
John Hurt
(1978) Melvyn Douglas/ Robert Duvall
Robert Duvall
(1979) Timothy Hutton
Timothy Hutton
(1980) John Gielgud
John Gielgud
(1981) Louis Gossett Jr.
Louis Gossett Jr.
(1982) Jack Nicholson
Jack Nicholson
(1983) Haing S. Ngor
Haing S. Ngor
(1984) Klaus Maria Brandauer
Klaus Maria Brandauer
(1985) Tom Berenger
Tom Berenger
(1986) Sean Connery
Sean Connery
(1987) Martin Landau
Martin Landau
(1988) Denzel Washington
Denzel Washington
(1989) Bruce Davison
Bruce Davison
(1990) Jack Palance
Jack Palance
(1991) Gene Hackman
Gene Hackman
(1992) Tommy Lee Jones
Tommy Lee Jones
(1993) Martin Landau
Martin Landau
(1994) Brad Pitt
Brad Pitt
(1995) Edward Norton
Edward Norton
(1996) Burt Reynolds
Burt Reynolds
(1997) Ed Harris
Ed Harris
(1998) Tom Cruise
Tom Cruise
(1999) Benicio del Toro
Benicio del Toro
(2000) Jim Broadbent
Jim Broadbent
(2001) Chris Cooper
Chris Cooper
(2002) Tim Robbins
Tim Robbins
(2003) Clive Owen
Clive Owen
(2004) George Clooney
George Clooney
(2005) Eddie Murphy
Eddie Murphy
(2006) Javier Bardem
Javier Bardem
(2007) Heath Ledger
Heath Ledger
(2008) Christoph Waltz
Christoph Waltz
(2009) Christian Bale
Christian Bale
(2010) Christopher Plummer
Christopher Plummer
(2011) Christoph Waltz
Christoph Waltz
(2012) Jared Leto
Jared Leto
(2013) J. K. Simmons
J. K. Simmons
(2014) Sylvester Stallone
Sylvester Stallone
(2015) Aaron Taylor-Johnson
Aaron Taylor-Johnson
(2016) Sam Rockwell
Sam Rockwell
(2017)

v t e

Kennedy Center Honorees (1970s)

1978

Marian Anderson Fred Astaire George Balanchine Richard Rodgers Arthur Rubinstein

1979

Aaron Copland Ella Fitzgerald Henry Fonda Martha Graham Tennessee Williams

Complete list 1970s 1980s 1990s 2000s 2010s

v t e

AFI Life Achievement Award

John Ford
John Ford
(1973) James Cagney
James Cagney
(1974) Orson Welles
Orson Welles
(1975) William Wyler
William Wyler
(1976) Bette Davis
Bette Davis
(1977) Henry Fonda
Henry Fonda
(1978) Alfred Hitchcock
Alfred Hitchcock
(1979) James Stewart
James Stewart
(1980) Fred Astaire
Fred Astaire
(1981) Frank Capra
Frank Capra
(1982) John Huston
John Huston
(1983) Lillian Gish
Lillian Gish
(1984) Gene Kelly
Gene Kelly
(1985) Billy Wilder
Billy Wilder
(1986) Barbara Stanwyck
Barbara Stanwyck
(1987) Jack Lemmon
Jack Lemmon
(1988) Gregory Peck
Gregory Peck
(1989) David Lean
David Lean
(1990) Kirk Douglas
Kirk Douglas
(1991) Sidney Poitier
Sidney Poitier
(1992) Elizabeth Taylor
Elizabeth Taylor
(1993) Jack Nicholson
Jack Nicholson
(1994) Steven Spielberg
Steven Spielberg
(1995) Clint Eastwood
Clint Eastwood
(1996) Martin Scorsese
Martin Scorsese
(1997) Robert Wise
Robert Wise
(1998) Dustin Hoffman
Dustin Hoffman
(1999) Harrison Ford
Harrison Ford
(2000) Barbra Streisand
Barbra Streisand
(2001) Tom Hanks
Tom Hanks
(2002) Robert De Niro
Robert De Niro
(2003) Meryl Streep
Meryl Streep
(2004) George Lucas
George Lucas
(2005) Sean Connery
Sean Connery
(2006) Al Pacino
Al Pacino
(2007) Warren Beatty
Warren Beatty
(2008) Michael Douglas
Michael Douglas
(2009) Mike Nichols
Mike Nichols
(2010) Morgan Freeman
Morgan Freeman
(2011) Shirley MacLaine
Shirley MacLaine
(2012) Mel Brooks
Mel Brooks
(2013) Jane Fonda
Jane Fonda
(2014) Steve Martin
Steve Martin
(2015) John Williams
John Williams
(2016) Diane Keaton
Diane Keaton
(2017) George Clooney
George Clooney
(2018)

v t e

Film
Film
Society of Lincoln Center Gala Tribute Honorees

Charlie Chaplin
Charlie Chaplin
(1972) Fred Astaire
Fred Astaire
(1973) Alfred Hitchcock
Alfred Hitchcock
(1974) Joanne Woodward
Joanne Woodward
and Paul Newman
Paul Newman
(1975) George Cukor
George Cukor
(1978) Bob Hope
Bob Hope
(1979) John Huston
John Huston
(1980) Barbara Stanwyck
Barbara Stanwyck
(1981) Billy Wilder
Billy Wilder
(1982) Laurence Olivier
Laurence Olivier
(1983) Claudette Colbert
Claudette Colbert
(1984) Federico Fellini
Federico Fellini
(1985) Elizabeth Taylor
Elizabeth Taylor
(1986) Alec Guinness
Alec Guinness
(1987) Yves Montand
Yves Montand
(1988) Bette Davis
Bette Davis
(1989) James Stewart
James Stewart
(1990) Audrey Hepburn
Audrey Hepburn
(1991) Gregory Peck
Gregory Peck
(1992) Jack Lemmon
Jack Lemmon
(1993) Robert Altman
Robert Altman
(1994) Shirley MacLaine
Shirley MacLaine
(1995) Clint Eastwood
Clint Eastwood
(1996) Sean Connery
Sean Connery
(1997) Martin Scorsese
Martin Scorsese
(1998) Mike Nichols
Mike Nichols
(1999) Al Pacino
Al Pacino
(2000) Jane Fonda
Jane Fonda
(2001) Francis Ford Coppola
Francis Ford Coppola
(2002) Susan Sarandon
Susan Sarandon
(2003) Michael Caine
Michael Caine
(2004) Dustin Hoffman
Dustin Hoffman
(2005) Jessica Lange
Jessica Lange
(2006) Diane Keaton
Diane Keaton
(2007) Meryl Streep
Meryl Streep
(2008) Tom Hanks
Tom Hanks
(2009) Michael Douglas
Michael Douglas
(2010) Sidney Poitier
Sidney Poitier
(2011) Catherine Deneuve
Catherine Deneuve
(2012) Barbra Streisand
Barbra Streisand
(2013) Rob Reiner
Rob Reiner
(2014) Robert Redford
Robert Redford
(2015) Morgan Freeman
Morgan Freeman
(2016) Robert De Niro
Robert De Niro
(2017) Helen Mirren
Helen Mirren
(2018)

v t e

Television Hall of Fame Class of 1989

Roone Arledge Fred Astaire Perry Como Joan Ganz Cooney Don Hewitt Carroll O'Connor Barbara Walters

Authority control

WorldCat Identities VIAF: 9888263 LCCN: n50030703 ISNI: 0000 0003 6849 1443 GND: 118504762 SUDOC: 027394638 BNF: cb121681242 (data) BIBSYS: 90156119 MusicBrainz: 3ae3fa20-d295-467c-b59f-969376a28470 NLA: 36193931 NDL: 00620290 NKC: jn20000700087 BNE: XX1061793 SN

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