#that’s rhetorical darling of course she’s fabulous

[horizon-of-his-homing]

The beautiful Hedy Lamarr in a glamorous gown by Adrian.

Hedy Lamarr in Ziegfeld Girl (1941)

[marvella15]

Astaire & Rogers Rewatch Part 3: Roberta

• The Gay Divorcee was a smash hit, raking in almost $600k in profit for RKO during the Depression. It was also nominated for Best Picture. So then why are Astaire and Rogers not the headliners for Roberta? No clue. 

• As dumb as that decision was and is, in some ways, it makes their parts even more enjoyable. As the secondary pair, they don’t have to deal with misunderstandings and contrived plot devices keeping them apart or interfering with the development of their relationship. From the moment they’re on screen together, they’re a pair. 

• Their romance in Roberta is of two teenage sweethearts reuniting as adults and instantly falling back in step and in love with one another. The warmth and friendliness of their relationship, which I believe mirrors the true relationship between Astaire and Rogers in many ways, is one of the main reasons I adore this film. There are several scenes/moments where they seem to be themselves and it works perfectly.

• Our characters/actors: Huck (Fred Astaire), Lizzie (Ginger Rogers), John (Randolph Scott), Stephanie (Irene Dunne).

• Love their names in this film: Huck (short for Huckleberry) and Liz. A vast improvement, especially for Rogers who has so far been Honey and Mimi. 

• Of course for plot reasons Huck’s teenage sweetheart will be in the exact same place he ends up. But it’s worth noting that he requests for John to ask his aunt about Lizzie. He intends to look her up himself. 

• Could John be a himbo?? He’s handsome, kinda dumb, but very kind. 

• I like how Liz, in her alter ego as a Polish countess, continues throwing a tantrum even though John pushes her to the couch twice. Rogers doesn’t get enough credit for her slapstick abilities. She also somehow makes the word “orchestra” seem very suggestive.

• Love how Huck slides in towards the elevator in his hast to meet Lizzie again. She’s not mad to see him either, only worried he’ll blow her cover. Which he immediately almost does. 

• A snarky reunion: 

Liz, as the Countess: “Huck is for Huckleberry, n’est-ce pas?”

Huck: “Uhh yes, a couple of n’est-ce pas.”

• His face at being called a piccolo player is only bested by Liz’s barely concealed glee at Huck being demoted this way. In their first interaction, he calls her babe, toots, and playfully bites her hand and she puffs smoke right in his face. I love it. 

Not for nothing, later in the film he will also call John babe and toots. Huck is an equal opportunity complimenter. 

• Their relationship is established immediately as he celebrates her success and beauty. There’s no rivalry or obstacles between them, not even her stage name. While she is careful to remove her hand from between his when their private moment is interrupted, she doesn’t mind it being known she’s going off somewhere with him. 

• Irene Dunne has a fine singing voice but it’s just not what I came to this movie to hear. 

• Huck’s face as he watches Liz sing is adorable. Maybe a tad overdone but incredibly sweet. 

(gif credit @themaladjustedjester​)

• It’s a bit irritating that Rogers is forced to sing and speak in her fake Polish accent for most of the film but dang she does an amazing job with this song. It’s a full-body performance and she does it with gusto. 

• I adore the way Astaire tosses the baton over his shoulder as soon as she comes to sit with him. He’s just like, don’t need that anymore. 

• So cute as they reminisce about their younger years: 

Liz: “You know I think I was in love with you then, Huck.” 

Huck: “I know you were.”

Liz, mildly offended: “Youuuu.”

Huck: “Meeee. And what’s more, I was madly in love with you.”

• Their entire exchange is funny and wonderful. The teasing, the flirting, the declaration of past love for one another that is obviously still true. How he punctuates certain moments with a bit of tap for emphasis. They smile naturally and it feels like two friends talking. This could be AU Fred and Ginger’s real-life story and I would believe it. 

• Talking about how she won a beauty contest:

Liz: “Well, you won it for me. How did you get all the men from the overall factory to vote for me?”

Huck, very pleased with himself: “That was easy. I showed them a picture of Lillian Russell.”

Liz, incensed: “Lillian Russell? Well what was the matter with my picture?”

Huck: “Well if you must know, we got a lot of votes from the farmers with a picture of a prize heifer.”

Liz, about to playfully sock him: “Oh youuuu.”

• “I’ll Be Hard to Handle” is a special dance for many reasons including that the taps were not dubbed over later. Since they used the original sound, we can hear both Astaire and Rogers giggling and whooping throughout the dance. 

Usually, Astaire recorded the taps in post-production since the sound could not pick them up very well during filming. Hermes Pan, Astaire’s choreography partner, often recorded Rogers’ taps since she was typically off filming a different movie by then.

• Astaire often gets a lot of the credit for their dancing because he worked tirelessly on the choreography. Rogers was often away filming non-musical roles while he did this. She was in three other films in 1935 alone, in addition to both Roberta and Top Hat with Astaire. But she put in a lot of hard work too. While filming those other roles, she learned the choreography from Pan so when she showed up for the six weeks of rehearsal, she was prepared. 

• And somehow this number feels perfectly spontaneous. At the start, as he pulls her in, she looks at him flirtatiously and it’s not acting. She waits for him to come spin them around and of course it’s part of the choreography but it’s a lovely feeling of anticipation all the same. Several times they appear lost in their own world, dancing for one another. They also seem to be talking to one another quietly throughout most of the dance. Like before in their films, you can see the acting start and stop pretty clearly. 

• When one of them does a little extra dance, the other watches in true appreciation and delight. Again, not acting. Most instances where they make eye contact they look very pleased with themselves. This is the closest we’ll ever get to seeing what Astaire and Rogers were like in rehearsals, complete with the in-joke bugle call. 

• To understand better the moments of reality vs. acting, just look at the sequence where they challenge each other and argue using different dance steps. All acting. Then look at their faces immediately after this sequence ends and they enter the final moments of the dance. All them. 

Side note: don’t miss how Astaire claps his hands together to make the smacking noise when she slaps him.

• While watching a private fashion show, John and Huck dislike a gorgeous black satin gown that’s low cut and with an almost completely open back because they think it’s too revealing. But later Rogers is going to wear almost this same gown and will look marvelous in it during the “Smoke Gets in Your Eyes” dance. 

• After selecting a new gown, Liz teases Huck that “tall, handsome gentleman with large bank accounts will be asking for my telephone number. And getting it.” He replies, “And won’t they be surprised when I answer?”

• Upon hearing that John’s terrible ex, who has just arrived to undump him now that he’s rich and famous, will be leaving on Saturday, Huck departs with this line: “Goodbye, John. I’ll see you Sunday.”

• Irene Dunne definitely enjoys her few seconds of being spun around with Astaire. But who wouldn’t?

• Huck’s line to Sophie, “Gee, darling, you look terrible,” is such a burn and I love it.

• Another thing I have a soft spot for is Astaire’s piano playing. It’s energetic and fun and he doesn’t do it nearly enough imo. 

• Astaire sings 3 songs (I’m not counting the fashion show “song”) in Roberta but they all have that very conversational style that suits him. And in fact both “I Won’t Dance” and “Lovely to Look At” are duets framed as a conversation with Rogers. My favorite part of “I Won’t Dance” is this exchange:

Astaire: “You know what? You’re lovely.”

Rogers: “And so what? I’m lovely.”

Astaire: “But oh what you do to me.”

• I also have to mention the little callback to “The Continental” as well as the strange rhyme of “for heaven rest us, I’m not asbestos”??

• Notice how this solo routine for Astaire is not interrupted by any cuts to his face or feet like previously solos? He got his way with the camera work.

• “Smoke Gets in Your Eyes” is a lovely song that I don’t necessarily want Irene Dunne to sing, not when Ginger Rogers is in the same film. 

• Rogers’ acting when Huck talks rhetorically about wanting to marry Liz is fabulous. First, she has to be incensed at the mention of a “Liz” when publicly she’s still known as the Countess. Then she’s flustered that he’s just admitted he wants to marry her. And then she glares at him when he takes up the joke and describes his fiance-to-be as “simple” with “big feet.” And all of that happens in about three seconds. The way she sharply looks him up and down always makes me snicker.  

• This lengthy fashion show is something else I usually skip. Was there a line of gowns that were sold as movie tie-in merchandise? I highly doubt it. But why else is this so long??

• When Astaire sings the lyrics “and heaven to kiss,” his voice drops and Rogers glances at him. Huck and Liz have most certainly been kissing off screen. 

• Absolutely love how the lyrics of “Lovely to Look At” change for Astaire and Rogers. Instead of a “most impossible scheme come true, imagine finding a dream like you,” Rogers sings that he is her “most impossible dream come true, imagine finding a boy like you.” She takes his arm and on the lyrics “it’s thrilling to hold you terribly tight,” he squeezes her hand. 

• Their dance, set to “Smoke Gets in Your Eyes,” is slow and stunning, one of the most beautiful they created. It’s full of soft looks between them. Rogers spends most of the beginning gazing at him lovingly. Not to be outdone, Astaire does the same when she’s turned away or not looking at him. He also has a small, private smile soon after they begin. It’s lovely. 

• The duet is romantic and yet they don’t embrace fully until about a minute in. Instead, they hover near one another, faces angling together, small touches here and there. Holding fingertips for a particular move. His fingers briefly touch her ribs when she places his hand there for a beat. It’s a dance of deep partnership and love, not courtship. Neither needs to woo the other. 

• And when they do embrace, he holds her close for a prolonged moment before moving into the next step. As he does, that private smile sneaks out again. 

• The sudden dip is another example of Rogers trusting Astaire. She looks magnificent in the pose too. They both do.

• She lays her head on his shoulder, his hand resting gently on her hair, and her arm is around him. It’s a very intimate pose, made even more so by how he tilts his head towards her and his lips are very close to her brow. And there again, that smile. 

• When the music becomes playful, Rogers glances over her shoulder at him and finds his eyes are already on her. Both of their faces soften. 

• And ending a sumptuous dance with a backwards leap up three stairs. Super casual. They walk off the way they began, their arms linked. 

• Speaking of casual, Huck and Liz get engaged in the most laid back way ever. Perfect for them.

• I have always loved Stephanie’s expression when she realizes just how dumb (but sweet) John is. 

• The reprise of “I Won’t Dance” ends the film. Newly engaged but still in the same clothes they just performed a slow, romantic duet in, Astaire and Rogers perform a much more energetic dance. She makes her dress work for her superbly. The way they dance is very like “I’ll Be Hard to Handle,” which shows that this celebratory number is Huck and Liz, not the bandleader and the Countess performing for a crowd. And the choice of song is fitting since in the lyrics he said he couldn’t dance with her for fear he’d fall in love with her. But now they have danced quite intimately and they’re engaged. Might as well keeping dancing together. 

• Soooo another film finished! We’re getting into some of the best ones now. Up next: Top Hat.

• Also if fanfiction is your thing, here’s a very sweet one for this film.