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Mardi, septembre 28th, 2010
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I realize that many Fred Astaire fans may not agree that DADDY LONG LEGS is his best film made without Ginger Rogers. But I stand by that concept. The film is a delight, lavishly produced, with an great script and cast, and some outstanding musical sequences.
DADDY LONG LEGS is the memoir of third-generation multi-millionaire Jervis Pendleton (Astaire) who, while on a good-will ambassadorial slouch to France, observes and is charmed by young Julie Andre (Leslie Caron), who lost her parents during World War II and has been raised in a countryside orphanage. Jervis lavishes material encourage on Julie, bringing her to the U.S. and sending her to a women’s college. Yet he doesn’t command himself to Julie, who knows her benefactor only as “Daddy Long Legs.” Then the two meet at a college dance, and romance–and complications–follow.
DADDY LONG LEGS was Astaire’s only film for 20th Century-Fox, and the studio gave him a advantageous supporting cast, including Terry Moore, Fred Clark, and the peerless Thelma Ritter. The film’s script is by Henry and Phoebe Ephron, parents of today’s celebrated writer/director Nora Ephron (SLEEPLESS IN SEATTLE, YOU’VE GOT MAIL) . The script is witty and tender and features two wonderfully developed central characters, who are brought to life beautifully by Astaire and Caron. This was (sadly) the last musical in which Caron showed her dancing talents, but she also shows here the abundant acting talent that has sustained her career to the prove day. And Astaire, too, displays the outstanding acting abilities that were unfortunately always overshadowed by his dwelling as the screen’s leading male dancer.
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Good as the rest of the movie is, it’s the musical portions that really hold DADDY LONG LEGS to the heights. First, there are two lavish ballet sequences choreographed by Caron’s dance mentor, Roland Petit. The second features a distraught Caron searching for Astaire in settings representing Paris, Hong Kong and Rio. Caron’s abilities are on excllent prove here (although I leave to dance critics the ask of the sequence’s precise artistic merit) . The other dance sequence is an humorous and incandescent daydream showing Caron’s musings about who her benefactor might be: a Texas millionaire, an international playboy, or her guardian angel. The “angel” segment is particularly outstanding, featuring salubrious dancing, a lavish setting, and the bravura orchestral accompaniment of Alfred Newman and the 20th Century-Fox orchestra.
Even more satisfying than the ballets, though, are Astaire and Caron’s “celebrated” dance duets, the romantic “Something’s Gotta Give” and the college dance ensemble, “The Sluefoot.” The two dancers create a valid pair, and their work together conveys great of the same exhiliration and joy that Astaire helped acquire during those legendary 1930s dances with Rogers. And adding to the magic of both numbers are Johnny Mercer’s friendly songs–”Something’s Gotta Give” has, of course, become a “standard,” while “The Sluefoot” features an humorous lyric corpulent of Mercer’s distinctive vernacular wordplay. In addition, the film also makes splendid employ of Mercer’s pretty ballad “Dream,” which had actually been written as a pop tune ten years earlier.
As other reviewers have celebrated, DADDY LONG LEGS has a long running time, over two hours. But I appreciate every magical moment of a film that is certainly one of Astaire’s best.
The point of a Fred Astaire movie is Fred Astaire dancing. Daddy Long Legs is an discouraged attempt to do two additional things. First, to pick advantage of the emerging popularity of Leslie Caron, who had caught the American public’s attention with her first movie, An American in Paris, made when she was fair 20. Caron at that age had an endearing, innocent quality, a scrumptious accent, and the American public loved it. Second (and in order to attain the first point), to meld Astaire’s style of easy, dazzling sophistication with what Caron was most comfortable with, ballet. The result is a musical that has many apt things, but is probably one of the weaker of the Fred Astaire films.
Buy,Download, Or Stream Daddy Long Legs! Click Here
Buy,Download, Or Stream Daddy Long Legs! Click Here
Jervis Pendleton III (Fred Astaire), a rich, charming, middle-aged American businessman from a mainline family of inherited wealth, comes across an orphanage in France while on a high-level government-sponsored inch to Paris. By chance he sees a young woman taking care of the orphans and is charmed by her vitality and simplicity. The girl, he learns, is 18 years veteran and is called Julie Andre (Leslie Caron) . She is an orphan, too. When he realizes her future is probably to age into eventually running the orphanage herself or to marry a paunchy French farmer, he takes steps to mosey her to America, enroll her in unusual Walston College and glimpse to it that she has every advantage. All this he does anonymously. Then he forgets about her. His assistant, Griggs (Fred Clark) and Griggs’ assistant, Alicia Pritchard (Thelma Ritter), retain track of Julie, monitor her progress and file the letters she writes to her anonymous benefactor, whom she has advance to call Daddy Long Legs. Eventually, the two meet. Jervis realizes he loves Julie. Julie realizes she loves Jervis and that he had been her benefactor. After a few misunderstandings are cleared up, they dance away together to the strains of Johnny Mercer’s “Dream.”
Why is this movie, for me, so unsatisfying? First, the age dissimilarity is noticeable. Astaire was 56 when he made the movie; Caron was 24. Well, Astaire was 58 when he made Comic Face with Audrey Hepburn. She was 28, but the disparity there wasn’t so apparent. With Daddy Long Legs, I deem it’s because Caron, at this point in her career, wasn’t a very suited actress. She seems unformed, both as an actress and as a person. To indicate excitement, she simply shakes her hands and cries, “Ooo la la!.” Playing against a man 32 years older than she, she impartial seems too malleable for comfort. Second, Astaire was a tall dance stylist, but ballet-influenced routines never showed him at his best. Caron was a competent ballet dancer and there are two long ballet sequences for her, one enthralling Astaire, to exhibit her off. They were choreographed by Roland Petit to suit her strengths. In my view, they’re journeyman works. When paired with Astaire for two dances, Caron seems stiff and sometimes looks like she’s concentrating on what she’s doing. They objective don’t manufacture a generous match. Third, the movie is long, over two hours. Remarkable of the time is spent with Julie Andre. Once Andre’s character and spot are established, however, there’s not great to withhold us interested with her.
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And why is this movie worth looking at? Well, first, Astaire is a joy to glimpse even if he’s fair walking down the street. He has three superb dance routines. “History of the Beat” is a speedily tap number that also shows his skill at the drums, not to mention with drum sticks. He can get drumsticks do things in a dance that most dancers can’t do with their feet. Then there’s “Sluefoot,” a jitterbug number at the college dance. It’s satisfying to search for the passe smoothie point to the youngsters how things are really done. And there’s “Something’s Gotta Give,” a romantic, handsome dance number, sung by Astaire and then performed with Caron. If it’s not at the level of “I’m Extinct Fashioned,” which he did with Rita Hayworth more than a decade earlier, it’ll do. Second, there are the songs written by Johnny Mercer. They’re intelligent, hip and easy to listen to. One, “Something’s Gotta Give,” hit the charts and became a classic. A tremendous song Mercer wrote earlier, “Dream,” drifts in and out of the movie like a wisp of sleepy romance. Third, Astaire is backed by two gigantic Hollywood character actors, Fred Clark as his aroused right-hand man and Thelma Ritter as the tough talking secretary who finally takes things in hand.
All in all, Daddy Long Legs has a number of splendid things. After watching the movie once, however, I reflect you’re going to want to exhaust the fast-forward button to regain to them. The DVD features an grand relate and audio. The most essential extra is a film commentary which includes Astaire’s daughter and archival commentary by Mercer.
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