Top Hat (1935)
Swing Time (1936)
The Wizard of Oz (1939)
Yankee Doodle Dandy (1942)
Meet Me in St. Louis (1944)
On The Town (1949)
An American in Paris (1951)
The Band Wagon (1953)
Singin’ in the Rain (1952)
A Star is Born (1954)
Guys and Dolls (1955)
High Society (1956)
The King and I (1956)
West Side Story (1961)
The Music Man (1963)
My Fair Lady (1964)
Mary Poppins (1964)
The Sound of Music (1965)
Happy Birthday Virginia Katherine McMath aka Ginger Rogers!
(July 16, 1911 –
April 25, 1995)
“Ginger owes much of her professional longevity to her singular versatility. There are few who can act comedy and drama, as well as sing and dance. Ginger continues to conceive fresh activity and new fields. She is still stagestruck and screenstruck. Further, she retains the nerve of a newcomer, and the courage of a champion. What is a movie star, anyway? Is it magnetism? Well then, what’s magnetism? Or personality, for that matter. The mysterious quality is more than talent. The indefinable has been defined as ‘human warmth’, ‘mass appeal’ and ‘identification’, among other things. Whatever it is, Ginger Rogers had it and has it.” - Garson Kanin
“She was the dance queen of Hollywood … and George Balanchine once remarked that he only came to America because it was a land of girls like Ginger Rogers. Some of the others may have been better dancers; Ginger Rogers was a better star. Only with her did dance in the movie musical become a medium of serious emotion, only with her did Fred Astaire do his very best work, only with her did sophistication suddenly become accessible to all.” – Sheridan Morley
"I don’t think there’s ever been anyone like Ginger, never. She was heaven." - Stanley Donen
If you know who made this gif I’d like to credit it, please.
A kiss on the hand may be quite Continental…
Fred Astaire and Ginger Rogers in Top Hat (1935).
Dean knew that Wood was jumpy. He tried to get her to relax - albeit in his own teasing way. “You look green,” he said, while they waited to begin the love scene. “And you know how green photographs in color.” But his jab did not break through. “I managed a grin, I think,” Wood said. In his narcissism, Dean may have felt that Wood was nervous about him. But Wood was actually not thinking of him at the moment, which may have been the problem. Instead, her mind was on the technical performance, the mechanics of the kiss. “I felt like a fighter before a match - let’s go in and get it over with. Jimmy was saying something, but all I could think of was: Is this the way - should I do it the way I rehearsed? Maybe that was too smooth. Maybe I should fumble a little.”
The big moment came for the kiss. Their lips met and Ray called cut, but Dean continued to press his lips against hers, and Wood (ever the pro) could tell that the camera was still rolling. “I didn’t exactly know what to do,” Wood said, “but I had no choice. Jimmy held and held and held. ‘Might as well enjoy it,’ he kidded me afterwards as I turned from green to red.” This time, Dean’s audacity worked. According to Wood, “the nervous spell was broken.”
Fun Fact: During the bench scene in ‘Rebel without a Cause’ James Dean adlibbed his script in order to make a secret tribute to ex girlfriend Liz Sheridan. In the scene, Jim strokes Plato’s head in comfort after he confesses the truth about his father, although the camera is focused on Mineo, Jimmy is clearly heard saying “suuure. Suuuuuure.” Dizzy illustrates in her book that it was an expression used constantly between them, describing it as ‘our own little security blanket, cooing it to each other the way you would to a child’
"Do you love me?"
"Are you hungry?"
"Will you rub my back?"
In an extract of Dizzy and Jimmy, Liz Sheridan describes the first time she’d seen this scene working in a movie theatre in New York, after Jimmy’s death, and after prolonging seeing it for so long.
'Finally, one night after my first set, I walked into the back of the theatre. There were no empty seats; it was as crowded as it had been since it opened. So I stood in the corner and watched. There on the screen were Natalie Wood, Sal Mineo and Jimmy. Natalie whisper-sang a lullaby; Sal told them the story of his father. Jimmy reached over to stroke Sal's head, to comfort him…and then, suddenly, I heard him say it: “Suuuuure. Suuuuuuure.” The way he'd said it to me, the way I said it to him. There it was, a gift for me. I stood in the dark and began to cry.'