“I think I can pinpoint the one moment when the American style of dressing first appeared. It was in an appalling 1933 movie called Dancing Lady during an otherwise forgettable dance number. It also just happened to be Fred Astaire's first on-camera dance. But don't look at the steps. Look at the outfit: Astaire is wearing a single-breasted, soft flannel suit with two-tone spectator shoes and a turtleneck. You wish you could look that stylish! Later that year, in Flying Down to Rio, we get the full Astaire impact. The muted plaid suit is not all that striking, but Fred is wearing it with a soft button-down shirt, a pale woven tie, silk pocket square, bright horizontally striped hose and white bucks. Whoa! Now that's different. This melange of the classic and the sporty was an American innovation. As we approach the impeccable Astaire's 100th birthday on May 10, it's worth remembering that he remains the greatest exemplar of that style.”

— Fred Astaire

G. Bruce Boyer in "Shall We Dress?" Forbes, May 3rd, 1999.

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American dancer, singer, actor, choreographer and televisio… 1899–1987

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“Dancing in Tijuana when I was 13 — that was my "summer camp." How else do you think I could keep up with Fred Astaire when I was 19?”

Rita Hayworth (1918–1987) American actress, dancer and director

As quoted in New York Times (25 October 1970)

“The major difference between Astaire and Kelly is a difference, not of talent or technique, but of levels of sophistication. On the face of it, Kelly looks the more sophisticated. Where Kelly has ideas, Astaire has dance steps. Where Kelly has smartly tailored, dramatically apt Comden and Green scripts, Astaire in the Thirties made do with formulas derived from nineteenth-century French Farce. But the Kelly film is no longer a dance film. It's a story film with dances, as distinguished from a dance film with a story. When Fred and Ginger go into their dance, you see it as a distinct formal entity, even if it's been elaborately built up to in the script. In a Kelly film, the plot action and the musical set pieces preserve a smooth community of high spirits, so that the pressure in a dance number will often seem too low, the dance itself plebeian or folksy in order to "match up" with the rest of the picture.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Arlene Croce, in Croce, Arlene. The Fred Astaire and Ginger Rogers Book, W.H. Allen, London, 1974. p. 7. ISBN 0491001592.

“The main point of Flying Down to Rio is the screen promise of Fred Astaire…. He's assuredly a bet after this one, for he's distinctly likeable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself. The latter observation will be no news to the professsion, which has long admitted that Astaire starts dancing where the others stop hoofing.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Variety. Flying Down to Rio, December 26, 1933. (M).

“(Cary Grant) is, along with Fred Astaire, the best-dressed actor in American movies”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Benjamin Schwarz in " Becoming Cary Grant http://www.theatlantic.com/magazine/archive/2007/01/becoming-cary-grant/5548/" The Atlantic, January/February 2007

“You look ridiculous if you dance
You look ridiculous if you don't dance
So you might as well
dance.”

Gertrude Stein book Three Lives

Source: Three Lives

“They climb the clouds/ To come through with airmail/ The dancing crowds/ Look up to some rare male/ Like that Astaire male.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

from Lorenz Hart's title number to On Your Toes.

“The history of dance on film begins with Astaire.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Gene Kelly in Heeley, David, producer and director. Fred Astaire: Puttin' on his Top Hat and Fred Astaire: Change Partners and Dance (two television programs written by John L. Miller), PBS, March 1980. (M).

“We look at the dance to impart the sensation of living in an affirmation of life, to energize the spectator into keener awareness of the vigor, the mystery, the humor, the variety, and the wonder of life. This is the function of the American dance.”

Martha Graham (1894–1991) American dancer and choreographer

"The American Dance", in Modern Dance, ed. Virginia Stewart (1945).

“Our homeward step was just as light/As the tap-dancing feet of Astaire/And, like an echo far away,/A nightingale sang in Berkeley Square”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

from Eric Maschwitz's lyrics to A Nightingale Sang in Berkeley Square with music by Manning Sherwin

“As one of the handful of girls who worked with both of those dance geniuses, I think I can give an honest comparison. In my opinion, Kelly is the more inventive choreographer of the two. Astaire, with Hermes Pan's help, creates fabulous numbers - for himself and his partner. But Kelly can create an entire number for somebody else… I think, however, that Astaire's coordination is better than Kelly's… his sense of rhythm is uncanny. Kelly, on the other hand, is the stronger of the two. When he lifts you, he lifts you!… To sum it up, I'd say they were the two greatest dancing personalities who were ever on screen. But it's like comparing apples and oranges. They're both delicious.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Cyd Charisse in Charisse, Cyd; Martin, Tony; Kleiner, Dick. The Two of Us, New York: Mason/Charter, 1976. ISBN 0-884-053636.

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Fred Astaire 73

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