Every ship's engine room that I've ever worked in, just like this one, has had shimmering Bakelite floors, happy coal trimmers and perfect lighting. So I don't understand why folks are complaining about realism here. This is as real as it gets.
No back the old days in the Navy they had black salors doing the dirty work.The only racism here that Fred Alstair never dance with a black person.Even though a black tap dancers John Bubbles taught fred back in the 1920s.
@@LeoThePrezPretlo Fred Astaire learned how to dance many tears before the 1920's. Here is a dance routine that features Fred Astaire dancing with a black man in the 1953 MGM picture "The Band Wagon" ruclips.net/video/4AwQb4rbaTg/видео.html
Weelll, it looked nice and shiny so what the diff? Who wanted realism then? Matter of fact, he didn't dance with anybody in this, except himself. The US may note these details, the rest of us just enjoy the wonderful ability and talent, even when he's dancing with a broom, as he did later.
That is the cleanest ship engine room I've ever seen in my life. These guys are even more amazing cleaners than they are musicians, and that's saying a lot.
I find it so beautiful how black men were so talented and aloud to be a part of such a marvelous thing at a time when they were not aloud to be a part of a lot of others.
Scottie Baxter They were "allowed" to be part of it and they were all singing "aloud". It also wasn't that beautiful as they were still being portrayed as "happy black workers" (like happy slaves in the 1850s) even thought it's supposed to be a steamy engine room.
I think you can separate intent from implication. Yeah, there are some problematic implications in a piece like this (as with, say, 'All God's Chillun Got Rhythm' from A Day at the Races, or indeed the blackface 'Bojangles of Harlem' from Swing Time), but I think the intent of Astaire, Gershwin, the Marx Brothers etc. was to give black artists a spotlight and show solidarity with black characters. It was progressive at a time when even most jazz bands were segregated (the Benny Goodman trio/quartet being the only real exception). I think this scene would have been shocking to a segregationist audience, which can only be a good thing.
@@samuelcardwell577 There may have been a tacit restitution involved for Fred's blackface in his previous movie, 'Swing Time', when he did 'Bojangles of Harlem'. Not so much bc it was felt to be patronizing- that was a reaction that developed many years later- but bc George Gershwin was anxious to give black talent its share of limelight. He was coming off 'Porgy and Bess' and this number, as noted, is a step forward in integration. Hollywood, playing to a less sophisticated public than George's and Ira's Broadway, took it forward more slowly; but it is striking that the singing prelude is given to a black artiste. Normally Fred would have done it himself. Moreover, he is putting on a display for the ship's 'lower orders'. We know George Gershwin took a personal interest in the scene. He shot a home movie of its filming which is on YT. Had he not died soon after, he might have taken the lead in mainstreaming non-white talent as happened during WW2. It might not have taken 20 years to get 'Porgy' in the can.
Showbiz displayed everything and any hint of racial discrimination would have been seen by the rest of the world. Better to keep it hidden, they thought. Later, things were eventually quite different but you still realise it was there underneath. But, nobody can ask why. This is meant to be happy, of course.
I'm glad you put the disclaimer "super-stylized" in there. I've been in the engine room of the U.S. Battleship North Carolina, and it looked NOTHING like that! Lots of tight quarters and catwalks. :-D
Thing is, Laura, they weren't meant for some Bozo to come along and tap dance when he should have been swabbing something. I may have been blind but I never saw a US gob tap dancing like that anyway!!
Would have been way cool if Fred had tapped into some of that wonderful talent available and added a few black dancers to his dance routine. That could have been a fantastic dance.
When Fred danced it was generally a solo dance, except with Ginger Roger's and a few other ladies. Don't have to bring racism in. But as it was, he was amoung the pioneers who blew the roof off of segregation in movies.
@gone away Oh I did enjoy it very much, however this came to my mind because I have been watching lots of dancing videos from that time and many of them were black dancers. And they were hot stuff too, so my mind just went there. No need to get your panties in a bunch either.
@@aliceharvey1226 Fred also danced with a black group playing in the background (twice) in an Army jail in You'll never get Rich - both hot tap solos. In the 30s it seems only Shirley Temple was allowed to dance directly with a black (the Great Bill Robinson - her servant in the films). Blacks often had a one-off routine in films of the 30s and 40s but didn't have much of a part in the rest of the films - most famously the Nicholas and Berry brothers. Dan Dailey and Gene Kelly both dance with the Nicholas brothers in one routine each; a very brave decision by those two dancers!
yep, same with people such as "Bojangles" , another amazing tap dancer. Gene Kelly... and Nicholas Brothers.. all amazing. I like solo tap dancing, race doesn't matter to me. Feeling the beat of the music is what matters to me. I Love music :)
Fred and Busby Berkeley were walking in the studio lot and saw a road grader or something, stomping away and they suddenly saw the potential in that sound. Fred devised this no. based on that. At least, that's what we were all told in his biog.
Here's a bit of history for you movie fans, Astaire and George Gershwin were very good friends and worked together on Broadway before they worked together in the movies! "Shall We Dance " was difficult for George due to the brain cancer he was dealing with and died shortly after this movie was released! Astaire was and is still the greatest dancer and singer, along with Bill Robinson and the Nicolas Brothers we have the privilege of having their artistry on video and films! I grew up in show business as my mom and family past and present have continued to be involved in the business! It's important to "Know our History "as we continue to fight for fairness and democracy!!
@1928jazz no I'm not, I'm related to Bill Samuels jazz pianist and singer who worked with all the jazz legends during the 30s, 40s, and 50s, he had his trio "The Bill Samuels trio " and had a hit song "I cover the Waterfront " his brother in law Ernest Ashley was a great guitarist whom I adored as my Uncle Ernie worked as a session musician with many bands and singers including Dinah Washington who was my great Aunts best friend!
This was actually an innovation, because no one did interracial song-and-dance numbers in the 30's, unless the white person was in blackface, and then the chorus could be black.
Pour cette scène, Fred Astaire à imposé ses musiciens noirs , alors que la production ne voulait pas ! Don, en plus d'être un fabuleux danseur, chanteur, acteur, c'était aussi un homme de conviction !!!
He not only inspired him, he taught him how to tap dance, but he said Fred was better because he could do other forms of dance . . . and Fred had been a star on Broadway and in Vaudeville before he ever put a pair of tap shoes on.
"Dictators would be better off if they'd zoom-zoom now and then." An odd-sounding line. I suppose Ira Gershwin was being topical, with dictators being very much in the news in the 1930s.
Van Nest Polglase was head of a 150-strong design team at RKO and most think his best work is in the Astaire-Rogers musicals. I'm no expert on art/design terms but Art Deco, post-modernistic and neo-classical are words usually associated with Polglase: an ultra-stylised engine room in Shall we Dance above, to a neo-classical Venice in The Gay Divorcee, to the Art Deco rooftop in Follow the Fleet. Style overkill to transport people from the realities of the Great Depression!
Actually, I don't think that's quite right, James. Gershwin was asked about that and his answer was that Fred was the best salesman for his songs, many of which he composed with Astaire and his voice deliberately, as you mentioned.
Amazing that Gershwin wrote this in the 30s, the lyrics are so timely. Then I realize it's really about playing the bass, which my dad did professionally with Kenny Burrell and others. Sounds like politics have not changed much since this was written. What is the name of the black group?
@@Fintyrae123 They were an ad hoc ensemble recruited for the film. Dickerson was far better known as an actor than a singer... which on the strength of his rendition here seems a pity.
Why? You'll only go on to say, "No! That's the name their ancestral slave owners gave their ancestors", as you enter into a masturbatory orgy of race-baiting ecstasy.
@@richardmartins1541 some school him and his sister went to. I don't feel like searching it up but it's well known. Like look at his way of dancing in his earlier movies they're very formal
That's Fred Astaire and the black guy who taught him how to tap dance John William Sublett -- stage name John W. Bubbles -- claimed Astaire was the better dancer because he could do other types of dance. And he was a star in Vaudeville and on Broadway with his sister from the age of 9.
FRED ASTAIRE IS WONDERFUL✨😍
Every ship's engine room that I've ever worked in, just like this one, has had shimmering Bakelite floors, happy coal trimmers and perfect lighting. So I don't understand why folks are complaining about realism here. This is as real as it gets.
No back the old days in the Navy they had black salors doing the dirty work.The only racism here that Fred Alstair never dance with a black person.Even though a black tap dancers John Bubbles taught fred back in the 1920s.
@@LeoThePrezPretlo Fred Astaire learned how to dance many tears before the 1920's.
Here is a dance routine that features Fred Astaire dancing with a black man in the 1953 MGM picture "The Band Wagon"
ruclips.net/video/4AwQb4rbaTg/видео.html
Weelll, it looked nice and shiny so what the diff? Who wanted realism then? Matter of fact, he didn't dance with anybody in this, except himself. The US may note these details, the rest of us just enjoy the wonderful ability and talent, even when he's dancing with a broom, as he did later.
and also an upright bass?
I LOVE good sarcasm!
That is the cleanest ship engine room I've ever seen in my life. These guys are even more amazing cleaners than they are musicians, and that's saying a lot.
An astonishing dancer. Thanks for the share.
I find it so beautiful how black men were so talented and aloud to be a part of such a marvelous thing at a time when they were not aloud to be a part of a lot of others.
Scottie Baxter They were "allowed" to be part of it and they were all singing "aloud". It also wasn't that beautiful as they were still being portrayed as "happy black workers" (like happy slaves in the 1850s) even thought it's supposed to be a steamy engine room.
I think you can separate intent from implication. Yeah, there are some problematic implications in a piece like this (as with, say, 'All God's Chillun Got Rhythm' from A Day at the Races, or indeed the blackface 'Bojangles of Harlem' from Swing Time), but I think the intent of Astaire, Gershwin, the Marx Brothers etc. was to give black artists a spotlight and show solidarity with black characters. It was progressive at a time when even most jazz bands were segregated (the Benny Goodman trio/quartet being the only real exception). I think this scene would have been shocking to a segregationist audience, which can only be a good thing.
Music is universal!
@@samuelcardwell577 There may have been a tacit restitution involved for Fred's blackface in his previous movie, 'Swing Time', when he did 'Bojangles of Harlem'. Not so much bc it was felt to be patronizing- that was a reaction that developed many years later- but bc George Gershwin was anxious to give black talent its share of limelight.
He was coming off 'Porgy and Bess' and this number, as noted, is a step forward in integration. Hollywood, playing to a less sophisticated public than George's and Ira's Broadway, took it forward more slowly; but it is striking that the singing prelude is given to a black artiste. Normally Fred would have done it himself. Moreover, he is putting on a display for the ship's 'lower orders'.
We know George Gershwin took a personal interest in the scene. He shot a home movie of its filming which is on YT. Had he not died soon after, he might have taken the lead in mainstreaming non-white talent as happened during WW2. It might not have taken 20 years to get 'Porgy' in the can.
Showbiz displayed everything and any hint of racial discrimination would have been seen by the rest of the world. Better to keep it hidden, they thought. Later, things were eventually quite different but you still realise it was there underneath. But, nobody can ask why. This is meant to be happy, of course.
I'm glad you put the disclaimer "super-stylized" in there. I've been in the engine room of the U.S. Battleship North Carolina, and it looked NOTHING like that! Lots of tight quarters and catwalks. :-D
He-he! Not much oil to be seen!!
Thing is, Laura, they weren't meant for some Bozo to come along and tap dance when he should have been swabbing something. I may have been blind but I never saw a US gob tap dancing like that anyway!!
Well, it's a musical for crissakes!
One of my all time favorite songs from one of my all time favorite movies
I love Freddie so much😭😭😭💜
Would have been way cool if Fred had tapped into some of that wonderful talent available and added a few black dancers to his dance routine. That could have been a fantastic dance.
When Fred danced it was generally a solo dance, except with Ginger Roger's and a few other ladies. Don't have to bring racism in. But as it was, he was amoung the pioneers who blew the roof off of segregation in movies.
@gone away Oh I did enjoy it very much, however this came to my mind because I have been watching lots of dancing videos from that time and many of them were black dancers. And they were hot stuff too, so my mind just went there. No need to get your panties in a bunch either.
@@aliceharvey1226 Fred also danced with a black group playing in the background (twice) in an Army jail in You'll never get Rich - both hot tap solos. In the 30s it seems only Shirley Temple was allowed to dance directly with a black (the Great Bill Robinson - her servant in the films). Blacks often had a one-off routine in films of the 30s and 40s but didn't have much of a part in the rest of the films - most famously the Nicholas and Berry brothers. Dan Dailey and Gene Kelly both dance with the Nicholas brothers in one routine each; a very brave decision by those two dancers!
yep, same with people such as "Bojangles" , another amazing tap dancer. Gene Kelly... and Nicholas Brothers.. all amazing. I like solo tap dancing, race doesn't matter to me. Feeling the beat of the music is what matters to me. I Love music :)
I heard and saw this in Joker. I like this song. Great song. Thank you Joker movie.
Zoom zoom zoom take them shrooms, life will be a bit brighter
Wow what a set
Fred Astaire is the best👍💯
Great Gershwin number in the ship's engine room.
El graaaan único y magnífico Fred Astaire: bravoooo!!!
🎼👞🎵👞🎶👞🎵👞🎶👞🎵🎼
I reckon that there needs to be a heavy revival of tap dance!
That little maschine part might be the first Technomusic.
Fred and Busby Berkeley were walking in the studio lot and saw a road grader or something, stomping away and they suddenly saw the potential in that sound. Fred devised this no. based on that. At least, that's what we were all told in his biog.
@@petertaylor3600 Hermes Pan, not Berkeley.
@@esmeephillips5888 Beg Pardon, I think you're right. I always mix those two!
Here's a bit of history for you movie fans, Astaire and George Gershwin were very good friends and worked together on Broadway before they worked together in the movies! "Shall We Dance " was difficult for George due to the brain cancer he was dealing with and died shortly after this movie was released! Astaire was and is still the greatest dancer and singer, along with Bill Robinson and the Nicolas Brothers we have the privilege of having their artistry on video and films! I grew up in show business as my mom and family past and present have continued to be involved in the business! It's important to "Know our History "as we continue to fight for fairness and democracy!!
Are you related to 1930's bandleader Jimmy Grier?
@1928jazz no I'm not, I'm related to Bill Samuels jazz pianist and singer who worked with all the jazz legends during the 30s, 40s, and 50s, he had his trio "The Bill Samuels trio " and had a hit song "I cover the Waterfront " his brother in law Ernest Ashley was a great guitarist whom I adored as my Uncle Ernie worked as a session musician with many bands and singers including Dinah Washington who was my great Aunts best friend!
@@kennethgrier9417
This?
ruclips.net/video/CxLKhySq17o/видео.html
This was actually an innovation, because no one did interracial song-and-dance numbers in the 30's, unless the white person was in blackface, and then the chorus could be black.
love this
That feeling when I finally find this clip after watching Joker
I avoided that film like the plague. So glad I did. It kinda clouds your vision, when it should be Fred you see, not Nicholson.
Absolutely slaps
This goes so hard at 3:30!
Techno music 🎶 circa 1991 lol
Pour cette scène, Fred Astaire à imposé ses musiciens noirs , alors que la production ne voulait pas ! Don, en plus d'être un fabuleux danseur, chanteur, acteur, c'était aussi un homme de conviction !!!
His inspiration was John Bubbles Sublet. A great dancer from old vaudeville.
He not only inspired him, he taught him how to tap dance, but he said Fred was better because he could do other forms of dance . . . and Fred had been a star on Broadway and in Vaudeville before he ever put a pair of tap shoes on.
I wonder if the comically clean engine room was inspired by the futuristic sets of Everytown in 'Things to Come', released the year before.
Well, they couldn't have Fred tap dancing in the middle of sump oil and potato peelings, now, could they? All those films were made with fantasy.
If anyone missed him "Dudley Dickerson of The Three Stooges fame sings 0:41
No shade on Astaire, but it seems like there could’ve been a lot more dancing going on, with the whole crew there.
Was this set designed by Fritz Lang?
SLAP THAT BASS
Slap it til you're dizzy...
Meanwhile, in the Love Boat engine room...
Woah! 1940s industrial music!
Extraordinario.
"Dictators would be better off if they'd zoom-zoom now and then." An odd-sounding line. I suppose Ira Gershwin was being topical, with dictators being very much in the news in the 1930s.
Who appropriated the beat?
Art Deco set design?
Van Nest Polglase was head of a 150-strong design team at RKO and most think his best work is in the Astaire-Rogers musicals. I'm no expert on art/design terms but Art Deco, post-modernistic and neo-classical are words usually associated with Polglase: an ultra-stylised engine room in Shall we Dance above, to a neo-classical Venice in The Gay Divorcee, to the Art Deco rooftop in Follow the Fleet. Style overkill to transport people from the realities of the Great Depression!
What a gangster
Johnny Chrome engines works on the titanic.
They do a version of this in the show “ Crazy for you”. It stops the show.
👏😘💐
I was sad to discover that George Gershwin didn't care for Fred Astaire's singing( although he composed for two of his movies).
Actually, I don't think that's quite right, James. Gershwin was asked about that and his answer was that Fred was the best salesman for his songs, many of which he composed with Astaire and his voice deliberately, as you mentioned.
Gershwin preferred writing for Broadway, where it was his name over the title rather than some random song and dance guy.
Amazing that Gershwin wrote this in the 30s, the lyrics are so timely. Then I realize it's really about playing the bass, which my dad did professionally with Kenny Burrell and others. Sounds like politics have not changed much since this was written. What is the name of the black group?
Don't know what the group are called (if they are a group; they may be session musicians, I suppose) but the singer is apparently Dudley Dickerson.
@@Fintyrae123 They were an ad hoc ensemble recruited for the film. Dickerson was far better known as an actor than a singer... which on the strength of his rendition here seems a pity.
Why? You'll only go on to say, "No! That's the name their ancestral slave owners gave their ancestors", as you enter into a masturbatory orgy of race-baiting ecstasy.
The war was coming and they knew it. References to dictators and their happiness, dead giveaway.
lol this vid is older than me
🖐🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼🖐🏼🤝🤝🤝
What is interesting is the tap dancing really does not make sense in the song perhaps it was over done and that is why it does not work.
Weird RUclips recommended
That was cool, to dance to the off beat rhythm of noisy machines, I know that God can use SITUATIONS, like this get glory to himself.. wow!
This is cute, but ill take the ink spots.
Today all must be dirty, even the operating rooms. Sorry, I prefer this aesthetic.
This is great till Fred comes in and makes it super white.
@Mr. Shark Tooth Why?
"Not bad dancing for a white boy!"
Oh yes bojangles taught him how to dance and nobody say fred astaire is racist doesn't know about him
@@richardmartins1541 Fred went to school
@@mewesquirrel6720 what school 🤔🧐
@@richardmartins1541 some school him and his sister went to. I don't feel like searching it up but it's well known. Like look at his way of dancing in his earlier movies they're very formal
@@mewesquirrel6720 he was taught by bonjangles the reason he tributed him on that dance
Somebody should have checked his DNA.
4q
Yeah i'm sorry i wasn't feeling his dance at all, it lacked so mush soul.
There's nothing uncomfortable about the opening part unless you are schooled in politically correct academic whining and nonsense.
I presume you have no problem with cowboy movies that portray Native Americans as villains for defending their homeland.
I love how all the black guys were the real talent and this white dood was looking like someone trying to learn tiktok dances
That's Fred Astaire...
That's Fred Astaire and the black guy who taught him how to tap dance John William Sublett -- stage name John W. Bubbles -- claimed Astaire was the better dancer because he could do other types of dance. And he was a star in Vaudeville and on Broadway with his sister from the age of 9.
Yes, the top tap dancers were black, but not every black performer was a great tap dancer working as an extra in films.
So not only can you not spell 'dude' but you've never heard of Fred Astaire. But I agree with you on one thing - TikTok is where you belong.