The Great Debate: Fred Astaire v. Gene Kelly
They are thesis and antithesis. Fred Astaire defies gravity; Gene Kelly is earthbound. Astaire is spirit; Kelly flesh. Astaire is the embodiment of grace, Kelly of athleticism. For Astaire, dance is the vertical expression of horizontal feelings for another; for Kelly, it is the expression of self. Astaire made dancing look easy; Kelly made it look like a workout. Astaire begot Michael Jackson; Kelly begot Patrick Swayze.
The Great Debate: Fred Astaire v. Gene Kelly
Carrie Rickey, Film Critic
Gene Kelly (left) and Fred Astaire rehearsing a number for The Ziegfeld Follies (1946).
They are thesis and antithesis. Fred Astaire defies gravity; Gene Kelly is earthbound. Astaire is spirit; Kelly flesh. Astaire is the embodiment of grace, Kelly of athleticism. For Astaire, dance is the vertical expression of horizontal feelings for another; for Kelly, it is the expression of self. Astaire made dancing look easy; Kelly made it look like a workout. Astaire begot Michael Jackson; Kelly begot Patrick Swayze.
Fred Astaire or Gene Kelly? The eloquent Paula Marantz Cohen (Drexel professor, author and Astaire advocate) and the learned Andrew Douglas (Bryn Mawr Film Institute education director and Kelly partisan) will make their cases on November 18 at International House (3701 Chestnut Street) at 7 pm. At the event sponsored by the Institute of Contemporary Art, Exhibit A is Top Hat (1935) and Exhibit K Singin' in the Rain (1952), both of which will be shown, enjoyed and argued.
Flickgrrl stands firmly in the Astaire camp, while noting the paradox that though Astaire is the best screen dancer ever, Kelly's Singin' in the Rain is the best dance musical. Though she admires Kelly -- especially in An American in Paris, Singin', The Pirate and On the Town -- she cannot say that she likes him. Because however superb Kelly's choreography and artistry, his aggressive muscularity suggests that he thought there was something sissy about a man dancing.
Of Astaire, whom she loves most in Swing Time, Follow the Fleet, Easter Parade, The Barkleys of Broadway, The Bandwagon and Funny Face, she has only one word: Perfection. To those who argue he wasn't a great actor, Flickgrrl retorts, maybe not, but no screen personality is a better argument that action is character.
Of course, the only possible resolution to the eternal question of Astaire v. Kelly is why either/or, why not both/and? On screen, the two danced together only once, in the 1946 revue musical The Ziegfeld Follies. The accompanying photo is of them rehearsing their number, "The Babbitt and the Bromide." Note how Kelly is conscious of the camera. Note how Astaire is conscious of conveying the sense of floating.
So, Astaire or Kelly? And in which movie(s)?
Comments (20)
I like Fred Astaire in "Top Hat" more than almost anything in the world and think his acting is fine and his performance of the Irving Berlin songs is fabulous. "Action is character" is an excellent description, but it's much more than that. (Of course, Ginger Rogers is amazing and matchless and the other performances are most enjoyable also.) I far prefer Astaire to Kelly for basically the same reasons you do, but think your suggestion that Kelly "thought there was something sissy about a man dancing" is a probably unfair and your description of the differences between what the two men were "conscious" of in the photo is, at best, a "reach" and probably inaccurate. The November 18 lecture sounds terrific. Thank you for alerting me to the event.— ccjroberts- Astaire all the way. And not only for his dancing, but also for his remarkable singing. (Possibly my favorite album ever made was the three-disc set that he recorded with the Oscar Peterson Trio in the early 1950s, containing virtually every notable song that he introduced on stage or screen. What a treasure.) It's funny you should mention "The Babbitt and the Bromide," because what's always kept me at arms' length from Kelly is the strong whiff of Sinclair Lewis's Babbitt that I've always found in his screen personality. The booster, the salesman, the BMOC - I always see these less-than-likable types in Kelly on screen, and my enjoyment is dimmed as a result. A big reason why "Singin' in the Rain" is the one Kelly performance that avoids this problem is the way in which the Comden-Green script gently tweaks this very aspect of Kelly's persona. By acknowledging it, and poking fun at it, I can enjoy Kelly in a way I can't in any other role.— wwolfe
- Kelly for me. While you say "...his aggressive muscularity suggests that he thought there was something sissy about a man dancing," I'd prefer to think he made it acceptable for a man to dance with grace. And his desire to be a sort of dancer/director auteur helped elevate the common musical, as he did in AN AMERICAN IN PARIS. This film's extended dance sequence denouement demonstrated how competitive he was, at once emulating AND attempting to outdo Powell and Pressburger's THE RED SHOES.— Tony Dayoub
- I'm with you firmly in the Astaire camp, Carrie! How very lucky we are to have film, video and other records of his genius. That goes for the more gymnastic Kelly, too. While it's a sightly different genre, my circle of jazz tap and musician friends and acquaintances tell me Honi Coles was both on par with Astaire and overlooked because of the racial barriers present when he was in his prime. Coles was considered by many to be the equivalent of Charlie Parker for jazz tap. I've only been able to find just a little bit of film of him from those prime days. I did meet him once backstage after a jazz tap masters review in New York. His grace, charm, dignity and charity were, for lack of a better word, palpable.— californiafan
- I'm with you firmly in the Astaire camp, Carrie! How very lucky we are to have film, video and other records of his genius. That goes for the more gymnastic Kelly, too. While it's a sightly different genre, my circle of jazz tap and musician friends and acquaintances tell me Honi Coles was both on par with Astaire and overlooked because of the racial barriers present when he was in his prime. Coles was considered by many to be the equivalent of Charlie Parker for jazz tap. I've only been able to find just a little bit of film of him from those prime days. I did meet him once backstage after a jazz tap masters review in New York. His grace, charm, dignity and charity were, for lack of a better word, palpable.— californiafan
- As usual, your description of the two performers and your case for Astaire were eloquent and accurate, but I must take issue with two facets of your assessment, the first being the notion that Kelly gets docked because his physique implied he thought dancing was for sissies. If his physique was any kind of message at all, I think it's far more likely that Kelly thought that many American men of the mid-twentieth century thought dancing was less than masculine, and to give them pause long enough to take in one of his numbers (or better yet a whole musical), he emphasized his--and the art form's--athleticism. Think of him as a "big-tent" dancer. I also object to the comparison to Patrick Swayze. While Swayze was a beloved actor and had far more dance talent than he displayed in Dirty Dancing (let alone in Ghost or Roadhouse), his skills, influence, and cinematic impact paled in comparison to Kelly's. I think a more appropriate heir to Kelly's place in the cinematic firmament is Jackie Chan. While he's an action star rather than a dancer, there is often impressive choreography, grace, and athleticism to his "numbers", he directs many (if not all) of his "performances", he (like Kelly) is involved in various aspects of the production of his films, and he's had a tremendous impact on the practitioners and audiences of his chosen form. And I know what you're thinking: "Andrew, have you ever seen The Tuxedo?" That's a fair point, but over the course of a decades-long career, everyone is bound to have a few missteps. After all, Gene Kelly had Xanadu and Fred Astaire had The Amazing Dobermans. In any case, I suspect we won't be able to definitively settle this, but it sure is fun to debate.— Andrew@BMFI
- As usual, your description of the two performers and your case for Astaire were eloquent and accurate, but I must take issue with two facets of your assessment, the first being the notion that Kelly gets docked because his physique implied he thought dancing was for sissies. If his physique was any kind of message at all, I think it's far more likely that Kelly thought that many American men of the mid-twentieth century thought dancing was less than masculine, and to give them pause long enough to take in one of his numbers (or better yet a whole musical), he emphasized his--and the art form's--athleticism. Think of him as a "big-tent" dancer. I also object to the comparison to Patrick Swayze. While Swayze was a beloved actor and had far more dance talent than he displayed in Dirty Dancing (let alone in Ghost or Roadhouse), his skills, influence, and cinematic impact paled in comparison to Kelly's. I think a more appropriate heir to Kelly's place in the cinematic firmament is Jackie Chan. While he's an action star rather than a dancer, there is often impressive choreography, grace, and athleticism to his "numbers", he directs many (if not all) of his "performances", he (like Kelly) is involved in various aspects of the production of his films, and he's had a tremendous impact on the practitioners and audiences of his chosen form. And I know what you're thinking: "Andrew, have you ever seen The Tuxedo?" That's a fair point, but over the course of a decades-long career, everyone is bound to have a few missteps. After all, Gene Kelly had Xanadu and Fred Astaire had The Amazing Dobermans. In any case, I suspect we won't be able to definitively settle this, but it sure is fun to debate.— Andrew@BMFI
- I also prefer Astaire, though I must admit I haven't seen much of Kelly beyond the obvious flicks. I never was a fan of "An American in Paris," probably because, as Tony points out, the "ballet" sequence was more or less an exorbitant rip off of "The Red Shoes". "Singin' In the Rain" is fantastic, though. I was exposed to Astaire's homunculoid, epicene elegance far more as a child, especially through the films with Rodgers, and musicals like "Holiday Inn" (watching him and Bing Crosby duke it out over dames against a Berlin score is such a joy). Also, I heard (possibly read) rumors that Astaire was a brutally demanding, almost sadistic choreographer and partner, which gives his legend a nice dash of spice -- any truth to this?— josephjonlanthier
- Andrew: Having interviewed Jackie Chan on numerous occasions, I can report that he has huge appreciation for the man he calls "Fred Asta" though physically he is more Kelly-like. (He does a hilarious Astaire impersonation, streamlined as a hood ornament.). Joseph: Astaire was a taskmaster and perfectionist, but I believe it was director George Stevens in "Swing Time" who did 48 takes of :Never Gonna Dance," making Ginger Rogers' feet bleed through her peau de soie t-straps. According to Debbie Reynolds' memoir, Kelly was very sadistic to her and Astaire comforted her through thedemanding "Singin' in the Rain" shoot.— carrierickey
- Without question the better of the two is....a tie! And that decision is based on my movies of choice, "That's Entertainment Part 1 " and "That's Entertainment Part 2" and don't forget, "That's Entertainment Parts 3 and 4"! Definitely a difficult choice for me, since I liked both,but they didn't mention, Donald O'Conner, :( . Oh well Donald, you get my vote,being able to dance with both and still have your self-respect. That is why you get my vote.— dxearLmarc
- Obviously I am in the minority, but in general, I prefer Mr. Kelly. But basically it is a tie. Each was a master of the type of dance he chose. Among the other great performances above, I'd like to add "Brigadoon" and "Easter Parade."— pikectygirl
Carrie, if you promote the theory that Kelly's muscularity was because he felt there was something "sissy" about a man dancing (which I'd also like you to back up with a quote from him if you can), then you hav also have to infer from the physiques/techniques of Kirk Douglas, Burt Lancaster, etc. that they must have thought that there was something "sissy" about being a male actor. I vote for Ginger Rogers who said something along the lines of "I did everything Fred Astaire did...only backwards"....— wfs0868- Wfs: My feelings about Kelly's dancing are inferred not from his physique but in the routines he choreographed numbers with his affable muscleman's pride. When I think of Kelly's signature work, it's either as a solitary thinker or part of an all-male duo or trio (The Pirate, with The Nicholas Brothers; On the Town, with Frank Sinatra and Jules Munshin; Singin' in the Rain, with Donald O'Connor; and It's Always Fair Weather with Dan Dailey and Michael Kidd) where there's a delight in male competition and teamwork. He was perfectly capable of doing romantic dancing, and did, with Leslie Caron in American in Paris and Cyd Charisse in Fair Weather. It's that he seemed to prefer locker-room joshing to boudoir foreplay. I love the Ginger Rogers line, too. It originated with a 1980s cartoon (I can't remember the artist) and was popularized by a speech Ann Richards gave at, I think, the 1988 Democratic Convention.— carrierickey
- I didlike Rogers' line because it's not true. Astaire did many amazing solo dances, while Rogers never did a solo, as far as I know. Certainly she did no solo dance comparable in quality to Astaire's work in "Dancing On the Ceiling," just to pick one among dozens of examples. Astaire also worked with Hermes Pan on the choreography, which Rogers never did. Wit is witty in large measure because it reveals a truth in clever, pithy way. Rogers' quote is pithy, but its main cleverness lies in her ability to misrepresent the truth in a memorable way.— wwolfe
- It's fun to have this discussion, strictly from the point of view of having another good reason to see the work of these two terrific dancers/actors/choreographers and dance directors. They were both more similar than different. Both were extremely talented and dedicated, and worked themselves to the point of exhaustion for the sake of reaching perfection. They were both very concerned with the direction of their musical numbers. Not many people know that Astaire also choreographed specifically for the camera, directed how the dance was shot, and worked with the editor on the final film version of his dances. He was as technically involved as Kelly, although he never wanted to direct the whole film. True, they differed in their style of dancing due in part to their training, as well as mental and physical attributes. But as Cyd Charisse said, comparing them is like comparing apples and oranges, they are both delicious. While I do prefer the style of Astaire, I admire Kelly's exhubarance. Astaire was better at romantic couple dances (no one did sensual choreography better than him), while Kelly was better at "buddy" dances. But both did the full range and did them extremely well. Kelly appeared more earthy, but they were both extremely athletic. It's just that Astaire hid his efforts. People tend to think that if the effort is not visible then it is not athletic. All dancing, at this level, is athletic. This sounds like a fun event, and I wish that I were closer to Philly so I could attend.— Red2blues
- Thanks, Red2, for bringing up Astaire's contribution to the film musical. His insistence that a dance scene be filmed in its continuity, without cuts, featuring the dancers' entire bodies, led the the creation of "the Asraire dolly," the camera mounted on a dolly, that rolled in and out to get different angles of the dancers. Kelly's work as a director (and co-director) of many of his films is an impressive contribution. Had he not been a dancer at all, we would still be talking about him -- like Kenny Ortega --- as an important choreographer.— carrierickey
- In thinking more about the comparison. I would say that the biggest difference between Astaire and Kelly is in their distinctiveness as dancers. Nobody could imitate Astaire's moves. He was an original, largely self-taught, and self-invented and very creative. He aimed never to repeat himself. Kelly was rooted in ballet, classic tap and modern techniques and never went beyond them. While he was an amazing dancer, his movement could be copied by others. Astaire was a one of a kind (and a more versatile dancer).— Red2blues
- I'm not typically a fan of dance, but I love sports. When I watch Gene Kelly dance I feel like I'm watching an inspiring athlete. For instance, there's so much humanity and desire in his performance in An American in Paris that I'm brought to tears, as I am watching a great athlete turn a stunning play. To suggest that his athletic style of dancing, Carrie, is somehow a reaction to any possible perceptions about a man's role in dance limits what dance can be, passes unfair judgment on Kelly, and suggests that "sissified" dancers aren't just as athletic. Bringing homophobia into the debate detracts from your otherwise fine analysis. I'm a man, and if I'm going to watch a man dance I prefer to be able to project my own sense of self into his movements. Others might find Astaire's style more to their imagined movements, and that's cool too.— frankenslade
- I love this debate. It's fun and endless. I don't think anybody's opinion will be changed, either. As for me, I spent my the best part of my youth dreaming of dancing like Fred Astaire, and wishing I was built like Gene Kelly. I am sorry that I won't be able to attend this event, as I would love to meet people who enjoy these movies as much as I do. And I would watch these two movies any time, at the drop of a hat. About the only TV I watch is Turner Classic movies, because they show these fabulous musicals.— WoodyWagon
- From the time I was a child, I was was totally enchanted by Gene Kelly's dancing. His movements and his use of space is a feast for the eyes. I don’t “love” Astaire’s solo dancing. I “love Astaire’s “partnered dancing -- when Astaire partners with Ginger Rogers in “Cheek to Cheek” or with Cyd Charisse in “Dancing in the Dark,” I find the performance very lovely to watch. But when Astaire dances alone, I find his movements jarring and not aesthetically pleasing to watch. For example, in "I'd Rather Lead A Band" from Follow the Fleet, the camera work makes the dance static and the dance movements are at times jerky and uneven and do not flow for me. I’ve read that this is because Astaire plays with the rhythm and does not dance with the beat and that his style is all his own. I know I am in a very small minority, but I have very little appreciation of Astaire’s unique solo style. If I compare it to Kelly’s solo style, in for example, Thousands Cheer, I am left speechless; those who prefer Astaire’s solos, flummox me. In Kelly’s solos, every movement flows with grace and power; it is wondrous to watch. Usually, I find in my reading about dance and cinema, when comparisons are made between Kelly and Astaire, Astaire comes out on top, and I don’t understand why.— phillydeb
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Reach Carrie at carriedrickey@gmail.com.
Carrie Rickey
Film Critic
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