Back in grade school, every girl was supposed to have a favorite movie actress. Fond of musicals and ignorant of celebrities, I learned the name of the lead in Oklahoma and was thenceforth ready with “Shirley Jones” whenever the question arose.
Film musicals peaked in the 1950s and faded fast. What happened? Television cut the movie-going audience from 90 million per week in the mid-1940s to 16 million by the late 1950s. Rock and roll changed musical tastes. The specialized expertise to film elaborate song-and-dance sequences dwindled with the end of the Hollywood studio system, which held actors, directors, cameramen, and crew under long-term contracts.
Beth Genné’s Dance Me a Song: Astaire, Balanchine, Kelly, and the American Film Musical (Oxford University Press, June 2018) traces the creation of a whole new dance form specifically for motion pictures. Fred Astaire’s distinctively American “outlaw style” fused elements from jazz, tap, ballet, and ballroom. Dancers dressed casually and sauntered out onto the street. Camerawork was part of the choreography. Genné’s “lucid and exuberant prose” (in the words of one reviewer) lets me watch old favorites with fresh eyes.
Image: Michael Kidd, Gene Kelly, and Dan Dailey in It’s Always Fair Weather. Public domain.
I'm a historian who writes novels and literary nonfiction. My home base is Madison, Wisconsin.